Spatial Practice. Schlemmer
- Publisher:
- Spector Books
- Citation:
- Bauhaus News Contemporary REmarks, 2015, pp. 143 - 144 (2)
- Issue Date:
- 2015-11-11
Closed Access
Full metadata record
| Field | Value | Language |
|---|---|---|
| dc.contributor.author | Brejzek, T | en_US |
| dc.date.issued | 2015-11-11 | en_US |
| dc.identifier.citation | Bauhaus News Contemporary REmarks, 2015, pp. 143 - 144 (2) | en_US |
| dc.identifier.isbn | 9783959050579 | en_US |
| dc.description.abstract | This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. | en_US |
| dc.format | Scholarly Essay | en_US |
| dc.publisher | Spector Books | en_US |
| dc.relation.ispartof | Bauhaus News Contemporary REmarks | en_US |
| dc.title | Spatial Practice. Schlemmer | en_US |
| utslib.location | Leipzig | en_US |
| pubs.embargo.period | Not known | en_US |
| pubs.organisational-group | /University of Technology Sydney | |
| pubs.organisational-group | /University of Technology Sydney/Faculty of Design, Architecture and Building | |
| pubs.organisational-group | /University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design | |
| pubs.organisational-group | /University of Technology Sydney/Strength - CCDP - Contemporary Design Practice | |
| utslib.copyright.status | closed_access | |
| pubs.consider-herdc | true | en_US |
| pubs.place-of-publication | Leipzig | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
| pubs.rights-statement | Research Background This short essay is positioned in the field of scenography and theatre and performance design. Oskar Schlemmer (1925), Hannes Meyer (1928) and Walter Gropius belong to the three central figures in the debate on the Bauhaus theatre at the time and differed gretly in their view as to the role of theatre in society. Schlemmer, decidedly apolitical, and Meyer, a Marxist dogmatic, both lost. Research Context Part 3, The Bauhaus doesn’t need an update, contains essays by Moholy-Nagy and Marianne Brandt next to contemporary voices such as the architect Juergen H.Mayer, the architecture scholar Lilo Breddel and myself. Read in conjunction and with the knowledge of the demise of the historical Bauhaus with the rise of Nationalsocialism in Germany, a new vision for a new understanding of the contemporary Bauhaus emerges. Research Significance This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now. My contribution extends the often overly metaphysical debate on Oskra Schlemmer’s Triadic Ballet towards an acknowledgment of its formal radicalism as an inspiration for today’s spatial practice by artists, dancers, and scenographers alike. | en_US |
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This volume comprises short essays by 100 key thinkers on the state of the Bauhaus then and now.
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