From universalism to the universatility. Bauhaus triad: subject, suit, dance

Abstract

The relevance. The ХХ century universalism became the platform of the Bauhaus experiment. Author of different art forms took part in it. Today, universalism is transformed into universality. Over the course of a hundred years, the author’s thinking system has changed. The composition of the stage work was decided by using household stuff. Household object becomes worthy of the stage space and overlaps the person. The author of the ХХI century regains the right to be the main in interaction with the subject. This is the paradigm shift of the century.
 The purpose of the study. Analysis of the transformation of the idea of universality of movement and subject-suit from “Triadical Ballet” and O. Schlemmer’s theatre workshop to modern experimental performance projects. Art analysis of the interaction of movement and subject in the stage space of O. Schlemmer, G. Bohner and contemporary authors.
 The methodology: historical and comparative analysis.
 The result of the study was the analysis of the the author-creator’s thinking system of plastic modern work.
 The topicality of the study is the analysis of “Bauhaus tanzt II” (2018). Authors: M. Shurkal (Ukraine), A. Possarnig, P. Dominici (Austria).
 The practical significance. The experience discussed in the article proves that without the past there is no future. We analyze the change of consciousness of the author-creator, which was visualized in the change of the technique of staged activity. We make a visual change of the way the subject is used on the stage as a scenery or prop, and as an acting character.
 The conclusions. The mechanism of possible interaction of the object, costume, dance in the space of creative experiment gave universality to the Bauhaus triad.
 We see the value of the transformation of the “Triadic Ballet” of the ХХ century in changing the author’s thinking system. At the beginning of the ХХ century, the author’s focus is on the suit object, which should be moved. Аt the beginning of the ХХI century the author’s focus is on the interaction of the human performer and the object-suit by exploring the possibility of variety and amplitude of the movement.