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The Theater of the Bauhaus
Classic essays about theater design from Bauhaus masters
Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition.
From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.
Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition.
From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.
Paperback
First published July 1, 1971
About the author
Oskar Schlemmer
31 books3 followersOskar Schlemmer was a German painter, sculptor, designer and choreographer associated with the Bauhaus school.
In 1923, he was hired as Master of Form at the Bauhaus theatre workshop, after working at the workshop of sculpture. His most famous work is Triadisches Ballett (Triadic Ballet), which saw costumed actors transformed into geometrical representations of the human body in what he described as a "party of form and colour".
Along with Schlemmer's diary, his private letters to Otto Meyer and Willi Baumeister have given valuable insight on what happened at the Bauhaus; especially his writings of how the staff and students responded to the many changes and developments at the school.
In 1923, he was hired as Master of Form at the Bauhaus theatre workshop, after working at the workshop of sculpture. His most famous work is Triadisches Ballett (Triadic Ballet), which saw costumed actors transformed into geometrical representations of the human body in what he described as a "party of form and colour".
Along with Schlemmer's diary, his private letters to Otto Meyer and Willi Baumeister have given valuable insight on what happened at the Bauhaus; especially his writings of how the staff and students responded to the many changes and developments at the school.
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Displaying 1 - 4 of 4 reviews
March 30, 2025
Published by the Wesleyan University in 1961, this is a book written by the creators themselves: Schlemmer, Moholy-Nagy, Molnár and edited by the soul of the Bauhaus movement, Walter Groupius. It contains five articles with plenty of photographs and illustrations: an introduction by Gropius, Man and art figure by Oskar Schlemmer, Theater, circus, variety by Laszlo Moholy-Nagy and Theater by Farkas Mólnar and also by Oskar Schlemmer.
Previous to reading this book I have seen the triadic ballet on Youtube and read everything about it on Wikipedia and other sources so I didn’t expect to learn so much as I did. It is really useful to understand the intentions of these artists, why they choose those materials, colors and forms. How they wanted to challenge everything in performing arts, even the stage (I loved The Spherical Theater by Andreas Weininger). They applied to the performing arts the abstraction that Kandinsky and others were reflecting in their paintings: removing the human actor from the center and experimenting with automation, marionettes and combinations of geometries.
Much less known than Schlemmer and his triadic ballet (which became the epitome of Bauhaus theater), many artists and their work are rescued: Kurt Schmidt, Siedgoff, Kaminsky, Weininger, Hildebrandt, Loew, Lou Scheper. I want to see Dance of Gestures I and II, Dance of forms, Space Dance, Form Dance, Equilibrist, Musical Clown and others but I am afraid there is no footage of them. Also, I guess no one dares to build any of all the theaters and stages mentioned in this book.
In summary, this book is perfect for someone who loves the Bauhaus, knows the basics and is interested in deep diving in its performing arts. It is not technical but you have to read it with patience because it provides many details. As a bonus track of this review I suggest you take a look at Mummenschanz and Michael Moschen. Both of them are good examples of contemporary artists whose explorations have many similarities with these Bauhaus artists.
Favourite quote:
“The word Theater designated the most basic nature of the stage: make-believe, mummery, metamorphosis.” (Oscar Schlemmer)
Previous to reading this book I have seen the triadic ballet on Youtube and read everything about it on Wikipedia and other sources so I didn’t expect to learn so much as I did. It is really useful to understand the intentions of these artists, why they choose those materials, colors and forms. How they wanted to challenge everything in performing arts, even the stage (I loved The Spherical Theater by Andreas Weininger). They applied to the performing arts the abstraction that Kandinsky and others were reflecting in their paintings: removing the human actor from the center and experimenting with automation, marionettes and combinations of geometries.
Much less known than Schlemmer and his triadic ballet (which became the epitome of Bauhaus theater), many artists and their work are rescued: Kurt Schmidt, Siedgoff, Kaminsky, Weininger, Hildebrandt, Loew, Lou Scheper. I want to see Dance of Gestures I and II, Dance of forms, Space Dance, Form Dance, Equilibrist, Musical Clown and others but I am afraid there is no footage of them. Also, I guess no one dares to build any of all the theaters and stages mentioned in this book.
In summary, this book is perfect for someone who loves the Bauhaus, knows the basics and is interested in deep diving in its performing arts. It is not technical but you have to read it with patience because it provides many details. As a bonus track of this review I suggest you take a look at Mummenschanz and Michael Moschen. Both of them are good examples of contemporary artists whose explorations have many similarities with these Bauhaus artists.
Favourite quote:
“The word Theater designated the most basic nature of the stage: make-believe, mummery, metamorphosis.” (Oscar Schlemmer)
July 12, 2026
This review specifically relates to Oskar Schlemmer: Tanz Theater Buhne published by Hatje - not ‘Theater of the Bauhaus’ which seems to have blended reviews with the former here.
Hatje’s book is on a purely visual level the single best resource for the stage work of Schlemmer both before and after the Bauhaus. The coverage is phenomenal - a huge assortment of masks, costumes, stage designs and props which are only fragmented or covered in black and white images in other volumes.
Especially fascinating is the coverage of obscure work from Schlemmer’s late life.
It is only available in German, which slowed down my reading of the text, but it is primarily an image based book in any case; it is so much more than just an exhibition catalogue.
Absolutely fascinating and essential for any fans of the Bauhaus stage.
Hatje’s book is on a purely visual level the single best resource for the stage work of Schlemmer both before and after the Bauhaus. The coverage is phenomenal - a huge assortment of masks, costumes, stage designs and props which are only fragmented or covered in black and white images in other volumes.
Especially fascinating is the coverage of obscure work from Schlemmer’s late life.
It is only available in German, which slowed down my reading of the text, but it is primarily an image based book in any case; it is so much more than just an exhibition catalogue.
Absolutely fascinating and essential for any fans of the Bauhaus stage.
October 28, 2025
un días más: gracias por tanto, perdón por tan poco.
no solo articula a la perfección las ideas y conceptos en los que se basaba la bauhaus, si no que explica todo su proceso para desarrollar el "teatro total" que me persigue en sueños. sus teorías sobre cómo romper la pared entre escenario y público, diseños de escenarios, luces y sonido.......me estaba volviendo loca en directo leyendo esto.
por último, el echo de que incluye fragmentos de ensayos de lászló moholy-nagy y oskar shlemmer * perfección *
no solo articula a la perfección las ideas y conceptos en los que se basaba la bauhaus, si no que explica todo su proceso para desarrollar el "teatro total" que me persigue en sueños. sus teorías sobre cómo romper la pared entre escenario y público, diseños de escenarios, luces y sonido.......me estaba volviendo loca en directo leyendo esto.
por último, el echo de que incluye fragmentos de ensayos de lászló moholy-nagy y oskar shlemmer * perfección *
December 27, 2024
chulo, son los propios integrantes de la escuela explicando el nuevo modo de hacer teatro, y viene muchísimas fotos del ballet triadico
“el actor cuenta con las ventajas de la inmediatez y de la independencia, su material es él mismo”. “el teatro, en términos generales, es ese ámbito a medio camino entre la liturgia religiosa y la simple diversión popular”. ”será tarea del FUTURO ACTOR descubrir y activar lo que es COMÚN a todos los seres humanos”
“el actor cuenta con las ventajas de la inmediatez y de la independencia, su material es él mismo”. “el teatro, en términos generales, es ese ámbito a medio camino entre la liturgia religiosa y la simple diversión popular”. ”será tarea del FUTURO ACTOR descubrir y activar lo que es COMÚN a todos los seres humanos”
Displaying 1 - 4 of 4 reviews