Part II.
As you all know, I’ve tried hard to reach further into the banks of memory and of knowledge that would make oskar Schlemmer into the genius of his field. I like Oskar Schlemmer, despite his Nazism and meaner spiritedness, and think that there really is something that he might, indeed, be on to.
In this installment of my essay, I’d like to discuss what Schlemmer’s conception of Man actually was, and contrast his own conception with other appropriations of his work. As I’ll go to great lengths to point out, Schlemmer’s conception of man often loses sight of his deep humanism, which, complicated as it might indeed be, cannot be mistaken for an overall program of dematerialization and impersonal robotic figures. In order to grasp Schlemmer, in other words, we need a good understanding of what Schlemmer himself stood for.
Oskar Schlemmer was an artist and dance choreographer known for his innovative Triadic Ballet (in the original German, Triadisches Ballett), a avante-garde dance piece that featured often rigidly geometric costumes. (see Figure 1).
Figure 1 – The Triadic Ballet.
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