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He saw the movement of puppets and marionettes as aesthetically superior to that of humans, as it emphasised that the medium of every art is artificial. This artifice could be expressed through stylised movements and the abstraction of the human body. His consideration of the human form (the abstract
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The
Triadisches Ballett was conceived in 1912 in Stuttgart in a cooperation between the dance troupe of Albert Burger (1884â1970) and his wife Elsa Hötzel (1886â1966) and Oskar Schlemmer. Parts of the ballet were performed in 1915, but though Burger asked Arnold Schoenberg to write the score ("Your
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and his observations and experiences during the First World War, Oskar
Schlemmer began to conceive of the human body as a new artistic medium. He saw ballet and pantomime as free from the historical baggage of theatre and opera and thus able to present his ideas of choreographed geometry, man as
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The idea of the ballet was based on the principle of the trinity. It has 3 acts, 3 participants (2 male, 1 female), 12 dances and 18 costumes. Each act had a different colour and mood. The first three scenes, against a lemon yellow background to affect a cheerful, burlesque mood; the two middle
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Oskar
Schlemmer made many similar performance pieces, including his "Figural Cabinet" (1923), described as a âmechanical cabaret'; the Bauhaus âFun Departmentâ parties and festivals; Gesture dance, Hoop dance, Rod dance, Metal and Glass dances, and the futuristic "Men in Space."
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music, which I know from the local concert, seemed to me to be the only one suitable for my ideas") he had no success so
Schlemmer and the Burgers performed to music by Enrico Bossi. It premiered in the Stuttgart landestheater on 30 September 1922, with music composed by
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Schlemmer saw the modern world driven by two main currents, the mechanised (man as machine and the body as a mechanism) and the primordial impulses (the depths of creative urges). He claimed that the choreographed geometry of dance offered a synthesis, the
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geometry of the body e.g. a cylinder for the neck, a circle for head and eyes) led to the all important costume design, to create what he called his âfigurine'. The music followed and finally the dance movements were decided.
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exhibition in New York. The figurines were exhibited in stasis, without their choreography. Much later, Schlemmer's figurines appeared in the
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exhibition accompanied by video recordings of their movement. Some of
Schlemmer's original costumes were preserved and can be seen at the
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scenes, on a pink stage, festive and solemn and the final three scenes, on black, were intended to be mystical and fantastic.
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the 'figurines' were also shown at a 1930 exhibition at the
Societe des Arts Decoratifs in Paris, and again in 1938 at the
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The
Triadic Ballet. Poster for an unrealized performance in Hanover, February 19 + 26, 1924, designed by Oskar Schlemmer.
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OuvertĂŒre zum "Fliegenden HollĂ€nder", wie sie eine schlechte
Kurkapelle morgens um 7 am Brunnen vom Blatt spielt
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136:. The ballet became the most widely performed avant-garde artistic dance and while Schlemmer was at the
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from 1921 to 1929, the ballet toured, helping to spread the ethos of the
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and emotional origins of dance, becomes strict and
Apollonian in its final form.
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Instruments for New Music : Sound, Technology, and Modernism
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the work was produced as a 30-minute color film in 1970 by
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Symphonic Metamorphosis of Themes by Carl Maria von Weber
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With the help and contribution of Schlemmer's friend
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Costumes from Schlemmer's Triadisches Ballett (1922).
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179:dancer, transformed by costume, moving in space.
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354:Four centuries of ballet : fifty masterworks
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