- Satie and Leger were both glad that Relache was able to be the success that it was.
- Satie was praising his work that intelligent people disagreed with saying it wasn't a real ballet and that he was mocking the world.
- Leger was proud that he was able to bring ballet and music hall together.
Surrealist love and death
- Antonin Artaud and Roger Vitrac founded the Theater Alfred Jarry in 1927 to avoid the dead end surrealism was reaching at the time.
- From this Artaud produced Le Jet de sang(The Jet of Blood) that was almost classified as a play for reading due to its lack of words.
- The film showed the the dream world of the Surrealist and how they utilize memory as well as lucidity.
- Jarry and Satie were able to alter the course of theatrical developments as Surrealism began to end by introducing psychological studies into art so the mind would become material for performance.
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- Bauhaus was a stage in Germany that was first a workshop for Margarete Schreyer who later resigned his position due to ideological battles with students and staff that questioned his work.
- After schreyer's resignation Oskar Schlemmer a painter and sculptor took his place at the Bauhaus Stage and took over Bauhaus week.
- This gave Schlemmer the opportunity to do two pieces Figural Cabinet I that consisted of differently shaped figures animated by unknown hands. Then Figural Cabinet II that involved metallic figures and was just a variation of the first performance.
-Schlemmer was able to combine art and technology with each piece as the figures we suggested by Schlemmer's paintings and he later became the director of Bauhaus Stage.
Bauhaus festivities
- The Bauhaus community stayed afloat due to its manifesto and social events such events included the Bauhaus festivities organized by Schlemmer.
- Schlemmer produced a new piece called Meta that had a simple plot that moved along with placards as the actors acted around couches, ladders, and doors. Later in 1929 Schlemmer held a Metallic Festival covering the school in metallic colors.
- These festivities set the standard for Bauhaus performance of creative theater that were expressed through parties, improvisations, and imaginative costumes. The student actors that Schlemmer utilized were never trained and niether was Schlemmer until after a few more productions.
Schlemmer's theory of permanence
- Due to Schlemmer's duel talent of painting and performance he struggled with "two souls" an ethical soul and aesthetic one
- So Schlemmer had a theory where painting is a theoretical research and performance is the practice of painting.
- In 1926-7 Schlemmer produced a dance for a piece called Gesture Dance in which he would illustrate his theory. He graphically discussed to his dancers a set of linear paths to follow.
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Performance Space
- Schlemmer believed that there was a felt volume around dancing and what was felt was a set of straight, curved, and diagonal lines that made up a geometrical plane on stage.
- In a demonstration in 1927 schlemmer and his students demonstrated this theory with taut wires being put across an empty stage while an individual stood center showing the cubic dimension of the stage as well as the volume.
- These demonstrations involved a variety of elements and theater as well as circus aspects once the final product was constructed.
Mechanical ballets
- The Bauhaus analysis of art and technology included the man and machine aspect. Schlemmer used his own way of expressing man and machine in that the 'object' quality of the dancers captured the mechanical effect matching that of puppets.
- By 1923 puppets and mechanical figures, masks, and costumes became the norm at many of the Bauhaus performances.
- With these performances came a circus aspect that began to form from the puppet like figures and abstract costumes. Thus including a circus practice of juggling in to the exercises of the students at Bauhaus.
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Painting and Performances
- As the theater of Bauhaus still tried to bridge the gap of performance and painting Schlemmer began a new piece that would mostly capture this blending of arts.
- In 1928 Schlemmer began a recreation of a painting through performance by capturing the atmosphere with angles of objects, masks and an oversized mirror as well as a normal sized one.
- With this Schlemmer was able to recreate the same atmosphere of a painting as well as its perspective.
Triadic Ballet
- Schlemmer finally gained an international reputation with piece called Triadic Ballet that was being considered for ten years.
- The piece kept with the mechanical style while the music provided a parallel to the costumes and outlines of the body. It also created a unity of concept and style with doll-like characters and music box piano music.
By: Kyle Woods
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