Bauhaus. The Theater of the Bauhaus. Introduction by Walter Gropius.

Wesleyan University, 1971. Softcover, first Wesleyan paperback edition, uncommon first printing, very good with evidence of use on covers, interior fine. 110 pages. Translated from the original German.  Chapters by Oskar Schlemmer, Laszlo Moholy-Nagy (also illustrations by him), and Farkas Molnár. Photographs by Consemüller, T.Lux Feininger, Grill, Hatzold, Hollos, and Strauch-Halle, as well as unidentified photographers. Summary:

The Theater of the Bauhaus, originally published in German in the 1920s as Die Bühne im Bauhaus and later translated and released by Wesleyan University Press in hardcover in 1961 (reprinted in softcover in 1971 and later), is a seminal collection of essays that outlines the school’s revolutionary approach to performance art.

The book features primary contributions from Oskar Schlemmer, László Moholy-Nagy, and Farkas Molnár, who collectively argue for a shift away from traditional, literary-driven drama toward a "total theater" that emphasizes space, light, movement, and technology.

Key Concepts and Contributions

Oskar Schlemmer’s "Man and Figure": As the head of the Bauhaus theater workshop, Schlemmer focuses on the relationship between the human body and the abstract geometry of the stage. He explores how costumes can transform the human shape into a "mathematical figure," leading to his famous Triadic Ballet. His goal was to achieve a harmony between the organic human and the mechanical stage environment.

László Moholy-Nagy’s "Theater, Circus, Variety": Moholy-Nagy proposes a "Theater of Totality" that moves away from the actor as the central focus. He envisions a multi-sensory experience involving film projections, mechanical apparatuses, odors, and dynamic lighting. He argues that the stage should be a laboratory for exploring modern technology and "organized motion."

Farkas Molnár’s "U-Theater": Molnár contributes architectural visions for new performance spaces. He critiques the traditional "proscenium" stage (which separates the audience from the action) and proposes the "U-Theater"—a functional, multi-directional stage design that allows for greater interaction and mechanical flexibility.

Core Themes

Anti-Naturalism: The Bauhaus rejected psychological realism and the "spoken word" in favor of visual and kinetic expression.

Synthesis of Arts: Theater was viewed as the ultimate "Gesamtkunstwerk" (total work of art), where architecture, painting, dance, and music merged into a single unity.

Mechanization: The book reflects the 1920s fascination with the "machine age," treating the stage as a precision instrument and the actor as a mechanical or puppet-like element.

Historical Significance

The book is essential for understanding how the Bauhaus applied its design principles—functionality, abstraction, and the marriage of art and technology—to the performing arts. It remains a foundational text for modern performance art, experimental theater, and scenic design, influencing everything from 20th-century avant-garde dance to contemporary multimedia spectacles.