Abstract
ABSTRACTIn April 2018, a play called Figural Space Cabinet directed by Törsten Blume, a research associate at the Bauhaus Dessau Foundation, was performed during the opening ceremony of China Design Museum on the campus of the China Academy of Art (CAA) in Hangzhou. As a salute to Bauhaus theatre, this play borrowed faithfully from the form of Schlemmer's original production in Weimar. However, the play was called off during performance by the leaders of the Academy because it was ‘too chaotic and sluggish’. This somewhat embarrassing event, although not mentioned in official media reports, revealed the gap between the ostensible openness towards avant-garde art and a true understanding of the potential of (past) artistic experiments to realise radical transformation in the present. On the one hand the audience, who regarded the Bauhaus only as a modern architectural movement were not yet ready to accept the Bauhaus stage and all it stood for. On the other hand, the performers or artists appeared to be satisfied with merely reconstructing the external form of Bauhaus dance and not yet ready to reactivate the full potential of the Bauhaus experiments.
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