Hipertexto

O termo hipertexto foi criado por Theodore Nelson,

na década de 1960, para denominar a forma de escrita e de
leitura não linear na informática. O hipertexto se assemelha
à forma como o cérebro humano processa o conhecimento:
fazendo relações, acessando informações diversas,
construindo ligações entre fatos, imagens, sons, enfim,
produzindo uma teia de conhecimentos. É a apresentação de
informações escritas, organizada de tal maneira que
Reta Final Descomplica • Português
o leitor tem liberdade de escolher vários caminhos, a partir
de sequências associativas possíveis entre blocos vinculados
por remissões, sem estar preso a um encadeamento linear
único.
1. Intertextualidade
2. Velocidade
3. Precisão
4. Dinamismo
5. Interatividade
6. Acessibilidade
7. Estrutura em rede
8. Transitoriedade
9. Organização multilinear
“Em 1588, o engenheiro militar italiano Agostinho Romelli
publicou Le Diverse et Artificiose Machine, no qual descrevia
uma máquina de ler livros. Montada para girar verticalmente,
como uma roda de hamster, a invenção permitia que o leitor
fosse de um texto ao outro sem se levantar de sua cadeira.
Hoje podemos alternar entre documentos com muito
mais facilidade – um clique no mouse é suficiente
para acessarmos imagens, textos, vídeos e sons
instantaneamente. Para isso, usamos o computador, e
principalmente a internet – tecnologias que não estavam
disponíveis no Renascimento, época em que Romelli viveu.”
BERCITTO, D. Revista Língua Portuguesa. Ano II. N°14.
============
Agricultura brasileira
Com o avanço do agronegócio, que produz para exportação
e obtém maior lucratividade é possível observar um aumento
da concentração fundiária, uma vez que exige uma maior
área para a produção. Por outro, lado a agricultura familiar
caracterizada por pequenos e médios produtores e que
produz para o mercado interno enfrenta dificuldades.
Assim, é possível observar um aumento dos conflitos
no campo, principalmente nas regiões do MAPITOBA
(acrônimo de Maranhão, Piauí, Tocantins e Bahia) e do Bico
do Papagaio (região no norte de Tocantins) No Sudeste
também é possível encontrar esses conflitos por terra
principalmente na região do Pontal do Paranapanema,
em São Paulo.

Essa expansão da produção agrícola no País gera diversos

impactos. O principal deles é o desmatamento na região
Norte. Esse processo é denominado expansão da fronteira
agrícola, e tem sido o principal fator no desmatamento
da Amazônia. A remoção dessa vegetação passa a expor
os solos aos processos erosivos, o que pode afetar os
recursos hídricos, diminuindo a capacidade de infiltração
das águas no solo.
======
QUEBRADORAS DE COCO
---
prefix+verb/noun(+suffix)

ÿÿÿÿÿÿÿÿÿÿ

Miranda: português burguês casado com Estela e que vive ao lado do cortiço.
Estela: esposa infiel do português Miranda.

FONDAMENTAUX DU RYTHMIQUE ET SES CONTRIBUTIONS À L'ÉDUCATION

MUSICALE

GORE FEST

Vienna Academy of Fine Arts.

Schulz’s art reverses Nietzsche’s notorious epigram, “Will you go to a woman? Then take a
whip!” One of Schulz’s masochistic paintings portrays “a woman with a whip in her hand and
a man perversely pleased with the blows given to him.” Another picture “depicted a nude
woman stepping into a bath into which a black man was pouring blood from a headless
body.” At her feet were the severed heads of Schulz and several friends. His greatest
wartime fantasy was “to die at the hands of a female bombardier.”

сандро БОТТИЧЕЛЛИ

he pacing and temporal rhythm of the textual and visual story in the scroll also develops
according to the speed of the scrolling motion, which is determined by the reader. That
tempo can be manipulated, however, by skillful artists who use pictorial devices to prompt a
viewer to slow down—by depicting extended passages of gently rolling hills and landscapes,
for example, or by painting enough intricate details in a scene to make readers stop
altogether to examine them closely. Devices that hasten the pace abound as well, from
strategically angled architectural motifs that point the viewer leftward, to the placement of
figures in the midst of action, or scenes that compress time by placing two different moments
side-by-side and showing the same character twice, a convention called “different time same
scene” (iji dōzu).
—---------------
“Even in the sterile, minimalist setting of the Screen Tests,” she writes, “glamor is staged.”
She looks at the setting—a static 16mm camera, 100 inches of black and white film, a
spotlight and a background screen—and finds that it enabled a kind of artificial reality, one in
which people could show up as themselves or pose as glamorous version of themselves.

The true test of a screen test subject, writes Weingart, is “not just the capacity to turn oneself
into a living picture; rather, it is the capacity to bear the gaze of the camera.” This gaze could
empower or upset its subjects, some of whom came out of the experience feeling either
exhilarated and star-like or deflated and broken down. Their engagement with the gaze took
many forms, such as “the luxurious exhibition of oral activities” like eating or smoking that
played with the erotics of being stared at.

But ultimately, says Weingart, it’s Warhol himself who “bestows” glamor on his subjects by
turning his gaze toward them. That remote, overarching presence, Weingart concludes, is
what makes glamor possible, even despite the camera and Warhol’s apparent sadism. “If
there is undeniably a form of mutuality between the subject and object of the gaze here,” she
writes, “it falls short of reciprocity. Whether magical, prescriptive, or cruel, there is much
more to glamor than meets the dazzled eyE

More frequently he took a passive role, to the point of leaving the room during the filming.

The camera loves stillness

What I liked was chunks of time all together, every real moment… I only wanted to find great
people and let them be themselves… and I’d film them for a certain length of time and that
would be the movie.

When he began making Screen Tests, Warhol’s instructions were to stay as still as possible
– no moving, talking, or even blinking. Some met the challenge. But others erupted in
laughter and a few flouted the rules by performing to the camera.

Students explore formal qualities in Warhol’s filmsStudents explore formal qualities in

Warhol’s films

The Factory camera (not necessarily operated by Warhol) would record the subject on a
single unedited one-hundred-foot 16 mm silent cartridge. The tests were shot at sound
speed (twenty-four frames per second), but Warhol wanted them projected at silent speed
(sixteen frames per second), so they take longer to see than they did to make: They retard
time. (The viewing duration of each is four and a half minutes.) The sitter was often
instructed not to move. Most disobeyed. Each test performs an identical protest against
career and futurity: Not a prelude to a later performance in a “real” film, the test is (in most
cases) the event itself, a warm-up for nothing. The screen tests, in toto, are among Warhol’s
greatest works of conceptual or minimalist art (I use these terms loosely). They radiate
double and triple meanings, however unintended by Warhol, who was only partially their
maker.
Warhol’s screen tests transvalue failure’s nausea into the giddiness of unadulterated,
motiveless, lightly sexualized gazing. Watching the screen tests, we’re being tested: Will we,
the viewers, comprehend what we see, or will we scoff, walk away, give up this chance for
vision?

Poet Gerard Malanga in a screen test tries to stay immobile, but he finally swallows
Jane cheerfully plays the Warhol torture game
These screen tests are not aptitude tests but existence tests: Are you visible?
Warhol is (if you wish him to be) a minimalist, whose morphemes are not shapes or colors
but personalities. A face is interesting, but so is the time we spend looking at it. Seeing a
Warhol screen test, we compose a conceptual sculpture: an empty box, containing our
time-of-beholding. Face equals duration: Warhol leaves us contemplating formal equations
that contain more gaiety than we could ever guess.
.................
I bring my piteous work, in form
Like the dreaming of a corse,
And the moon illumes the storm
O'er the creatures of remorse.
....................
Maeterlinck's drama is mostly a static drama, where there is very little action and this little is
hesitant. This empirical aspect is connected to another (less evident) realization: in
Maeterlinck's theatre the future is never made pertinent, it is rather a representational
impasse. Castles are ruins, but they don't collapse; kings are old and decrepit, but alive
nevertheless, while young people die instead. The lack of a future affects also the
representation of space: the setting is always a closed, suffocating space, with locked doors
and windows, and the characters seem to prefer their isolation to any outdoor experience.
There is thus a compelling connection between the inability to conceive the future and the
difficulty to come out of a recluse condition.

---
In the beginning, the house is shabby and worn-down. Then, the complex is repaired.
Finally, the residence is returned to its shabby and worn-down state with the shocking
revelation at the end of the tale.

He was not a political writer. And many of his references are esoteric or willfully obscure
Reading his notes and correspondence it is clear that the allusions to Jewish mysticism in
his writings are metaphorical or allegorical, and possess no religious content.
a atração erótica foi combinada com uma grande influência intelectual

—----------------------------
It ends on this dramatic crescendo, and yet there is a sort of subtle kind of quiet ending as
well where the protagonists reflect upon what's just happened to them.
We don't get a kind of moral didactic conclusion, but any reader at the timefamiliar and
immersed in the tenets of Buddhism, as they would have been,have understood that this
was a tale about a kind of awareness of becoming aware of the illusory nature of the world.
------
In the beginning, the house is shabby and worn-down. Then, the complex is repaired.
Finally, the residence is returned to its shabby and worn-down state with the shocking
revelation at the end of the tale.

In the beginning, the house is slowly revealed as if the viewer were walking into the
compound, beginning with the run-down gate. Then, the viewer looks at the main house from
straight on. Finally, the back part of the house is shown before the viewer travels on out the
back gate and into scenes of lush nature.

In the beginning, the house is looked down into from a high vantage point. Then, the house
is seen from straight on. Finally, the house is viewed from an intimate vantage point at the
end, as if all barriers were “exploded” away.
---------

A dramatic introduction, rapid-paced story development, and a cliff-hanger ending.

A slow poetic introduction, span of story development, and a dramatic crescendo.

A slow poetic introduction, leisurely story development, and an undramatic climax.

An introduction rich with story development, a slow poetic passage, and a dramatic
crescendo.

A fast-paced sequence of events set in the middle of the story, a passage that slowly
explains the backstory, and a dramatic conclusion.
correct
--------
problèmes, avec le gas j'oublie
---
Platão defende que a realidade se
divide em dois mundos distintos, a saber:
o mundo sensível e o mundo inteligível.
O mundo sensível recebe esse nome
justamente porque nós o percebemos por
meio dos sentidos (visão, audição, tato,
olfato e paladar). Nele estão presentes todos os objetos
materiais. Entretanto, por sua própria condição material,
esses objetos são imperfeitos e estão sujeitos ao movimento
e à transformação
O mundo inteligível (também chamado de mundo das
Ideias ou mundo das Formas) recebe esse nome justamente
porque nós só o acessamos por meio do intelecto, isto é, da
razão. Nele estão presentes as ideias, que são imateriais,
perfeitas, eternas e imutáveis. Com isso, surge a teoria da
participação, segundo a qual as ideias são a essência das
coisas que existem no mundo sensível. Ou seja, um objeto
material como uma cadeira, por exemplo, existe no mundo
sensível porque participa da ideia de cadeira presente
no mundo inteligível.
Há, portanto, uma superioridade do mundo inteligível em
relação ao mundo sensível, uma vez que os objetos materiais
são apenas cópias imperfeitas das ideias. Além disso, dado
que os sentidos são enganosos e que os objetos materiais
estão em constante transformação, o mundo sensível não
nos proporciona um conhecimento verdadeiro.
Nessa perspectiva, o conhecimento verdadeiro
se encontra apenas no mundo inteligível.
----
Interlacing ballet, a freak show and the fitness craze, Holzinger and the other women on
stage are sharp as knives in their efforts to dismantle our gaze. There is even a naked
camera woman running around, who films and zooms in on every detail on stage.
====
They would have eventually wandered on into the vast, rectangular, main hall, where they
would have been met by a startling, glowing light. Never before had these visitors entered a
room like this, which was not artificially lit, but rather acted itself as a lighting body, diffusing
light equally in every direction, recreating what seemed like natural daylight.
Described as “objective, neither cold, nor hot, but rather of a marvelously living consistency
… with an imperceptible dynamism” (Appia 206; original), interior of Hellerau theaterthis light
created a “milky ambiance” or “elysian atmosphere,” and caused visitors to feel as if the
“fresh air of the Greek sky [had been technically transposed] into the northern night” (Appia
212; original). Puzzled by the lack of an elevated stage, and curious as to why the lights
were not dimming, the audience moved towards the steep risers arranged at one end of the
room “as in a harsh amphitheater, with no balconies or boxes”
The production they staged that night represents one of the first significant attempts in the
twentieth century to create a dramatic stage work by visualizing music through bodily
movement. Jaques-Dalcroze called this union of music and movement plastique animée.
Whereas Eurydice experienced an Apollonian transformation in which her dancing body
dissolved into pure light, Orpheus the musician failed to transcend, remaining fixed in an
unhealthy, static state linked visually in the opera to Freud’s theory of sexual repression.

Dalcroze developed the idea that bodily gesture functioned expressively and not
symbolically, communicating emotions or spiritual ideals much more powerfully than words

“Gesture has been given to man to reveal what speech is powerless to express. The
gesture, then, like a ray of light, can reflect all that passes in the soul. Hence if we desire that
a thing shall be always remembered we must not say it in words; we must let it be divined by
gesture … Gestures are [sic] the sense of the heart … Tone [the sounds or tone of voice]
expresses bodily conditions and sensations, physical pleasures and pains. Words are
arbitrary mental symbols and interpret thoughts and ideas—they describe, label and limit.
But gestures relate us to other beings, expressing our emotions, from the highest to the
lowest, from spiritual joy to hate, lust and greed.”

He limited his students’ personal agency by demanding from them “a corporeal state of
absolute submission to the rhythm being realized;” this created an atmosphere in which
many of his audience members felt subjugated as well (Appia 7; original). Without
individually reflected emotional reactions, his students risked becoming impersonal,
objectified vehicles for musical ideas requiring stylized bodily representations.
Jaques-Dalcroze accentuated his students’ loss of personal agency by training them to
understand space through the use of stairs designed by Appia, thus instilling in them the
sense that their movement did not originate in their own bodies, but rather plastically related
to an objectified space around them

If plastique animée had merely replaced subjective expression with depersonalized,

objective responses to music, it would hardly have touched its contemporaries and
motivated modern dancers in the manner in which it did. Its effect was so powerful precisely
because it created an unsettling ambiguity about the nature of automization and its
consequences for human spiritual development. On the one hand, Jaques-Dalcroze’s
method seemed to issue directly from late nineteenth–century studies of human and animal
mechanisms and psychological automization initiated by Etienne-Jules Marey, Edward
Muybridge, and (in Geneva) Pierre Janet. These studies suggested the possibility of
scientifically dissecting and defining every aspect of human gesture with the aim of creating
a grammar of human movement with the depth and aesthetic potential of human speech or
music. The physician at Hellerau, Dr. Weber-Bauler, thought that Jaques-Dalcroze’s method
directly related to the psychological automatisms of Pierre Janet. In 1924, Weber-Bauler
suggested that the automisation of human movement best be understood in terms of a “law
of economic movement” (“loi d’économie”) that gives the least in order to obtain the greatest
result.29 Jaques-Dalcroze himself never allowed this automization to take the upper hand,
always insisting that its ultimate purpose was the release of joy, a feeling of spiritual
fulfillment, or the development of personality (Le Rythme 97). His method remained unclear
about how mechanization related to the attainment of transcendental truth—an uncertainty
reflected in Jaques-Dalcroze’s vague, shifting notion of what constituted musical rhythm.
Whereas he frequently defined rhythm as meter, thus emphasizing its measurability and
easy translation into mechanized human movement, Jaques-Dalcroze at other times
equated rhythm more with an inner pulse or free rhythmic flow, something which could not
be measured or translated scientifically. This inherent contradiction in his method between
mechanized movement and metric rhythm, as opposed to free psychological time and
spiritual essence, was not lost on his audiences. Their conflicting reactions to his work
reflected their own uncertainty about how to appreciate aesthetically human movement in
time.

Their state of half relaxation, or what Jaques-Dalcroze called “detente,” realized itself in
luxuriously slow movements that allowed the dancers to gather their creative energies.

Through their gentle walk, the nymphs of Act I make us aware that Orpheus is remembering
Eurydice not as a woman, but rather as a classically stylized embodiment of feminine grace.

Enveloped in a dreamy blue light, overwhelmed by the disembodied sound of choral singing
from behind the curtain, Jaques-Dalcroze’s Orpheus seems to be inhabiting the same dream
world as Jensen’s archaeologist, haunted by a similar archaeological manifestation of his
own sexual repression

Unlike Wilhelm Jensen’s archaeologist, Orpheus is not awakened by this musical and visual
nightmare to the hidden meanings of his archaic Eurydician vision. Rather, he remains in a
state of troubling psychological blindness that is significant for Jaques-Dalcroze’s
interpretation of the opera.

“slow evolutions”

Eurydice’s disappearance into the hazy blueness of the plush curtains communicated in the
strongest terms that Jaques-Dalcroze’s method was not concerned with the human body
and its sexuality, but rather with its transcendence. Her body evaporates into thin air, her
energy transformed into the shining glow of the clear bright light that floods the stage,
releasing what Jaques-Dalcroze described as energy or “joy,” “a new factor of moral
progress, a new stimulant of the human will”

Mary Wigman, Rosalia Chladek, Bertha von Zoete, Grete Wiesenthaler, and Micho Ito

--------
An encounter with the sublime is an experience like no other. The jaw drops, the spine
tingles and the mind flounders in its attempt to make sense of things. It is unnerving yet
calming, joyous and indeterminate.

He argued that all the things that evoke intense emotion in poetry should also be considered
as evocative of sublimity. This ranged from supernatural phenomena (such as devils,
witches and gods) to natural phenomena (such as earthquakes and floods).

put great emphasis on the element of terror present in sublimity

a delightful Horror, a terrible Joy, and at the same time… I was infinitely pleas’d, I trembled.”

Addison’s conception prefigured that of Edmund Burke (1729-1797), in his assertion of the
beautiful as something with strict boundaries and order, that “lies in a narrow compass.”
Similarly, Addison also identified the concept of infinity as a key feature of sublimity.

The object must have superiority over the subject, in terms of power

In very simple terms, the ‘will’ is that of striving and desire; it is our fundamental attachment
to everything in existence. By eliminating the will from our lives, Schopenhauer thought we
could reach a state of serenity and higher knowledge, similar to that of nirvana in the
Buddhist tradition.

As it can be seen, the sublime is both timeless and borderless. It is a concept, and a human
experience, as old as that of love and death. And, as made clear by the German Idealists, it
is something to be sought. Not only do we gain a deeper knowledge of the world through
sublimity: we gain a deeper knowledge of ourselves.

....
John Locke interpreta que a luz causa mais dores do que a escuridão. A partir desta leitura,
Edmund Burke realiza uma crítica ao seu antecessor para mostrar o papel da escuridão e
da obscuridade no desenvolvimento das ideias de sublime. O sublime de Burke
compreende a uma transformação da dor em deleite, quando a dor desaparece. Desta
forma, a escuridão, sendo fonte de horror e dor, seria também uma das fontes para extrair
ideias sublimes a partir da evocação de algo que se esconde por trás de sua miragem da
ausência. Seguindo a leitura acerca do que é o sublime em Burke, do papel da escuridão
em promover o sublime, do conflito entre escuridão e luz,

...........;;;;;
"To them who by patient continuance in well-doing,
seek for glory, and honor, and immortality; eternal life."
ROM. 2:7.
------
“não podemos pensar nenhum objecto que não seja por meio de categorias (conceitos); não
podemos conhecer nenhum objecto pensado a não ser por intuições correspondentes a
esses conceitos.''
KANT

—---------------------------------

Mao classified Confucianism as part of the past to be overcome. In “On

New Democratism” (新民主主义论) (1940), Mao claimed that those who
worshipped Confucius and advocated reading the classics of Confucianism
stood for old ethics, old rites and old thoughts, which Were against the new
culture and new thought. As imperialist culture and semi-feudal culture
which served imperialism and the feudal class, they should be eliminated
在中国，又有半封建文化，这是反映半 封建政治和半封建经济的东西，凡属主
张尊孔读经、提倡旧礼教 旧思想、反对新文化新思想的人们，都是这类文化
的代表。帝国 主义文化和半封建文化是非常亲热的两兄弟，它们结成文化上
的 反动同盟，反对中国的新文化。这类反动文化是替帝国主义和封 建阶级服
务的，是应该被打倒的东西)

Mao classified Confucianism as part of the past to be overcome. In “On New Democratism” (xīn
mínzhǔ zhǔyì lùn) (1940), Mao claimed that those who worshipped Confucius and advocated
reading the classics of Confucianism stood for old ethics, old rites and old thoughts, which Were
against the new culture and new thought. As imperialist culture and semi-feudal culture which
served imperialism and the feudal class, they should be eliminated zài zhōngguó, yòu yǒu
bànfēngjiàn wénhuà, zhè shì fǎnyìng bànfēngjiàn zhèngzhì hé bànfēngjiàn jīngjì de dōngxī, fán
shǔ zhǔzhāng zūn kǒng dújīng, tíchàng jiù lǐjiào jiù sīxiǎng, fǎnduì xīn wénhuà xīn sīxiǎng de
rénmen, dōu shì zhè lèi wénhuà de dàibiǎo. Dìguó zhǔyì wénhuà hé bànfēngjiàn wénhuà shì
fēicháng qīnrè de liǎng xiōngdì, tāmen jié chéng wénhuà shàng de fǎndòng tóngméng, fǎnduì
zhōngguó de xīn wénhuà. Zhè lèi fǎndòng wénhuà shì tì dìguó zhǔyì hé fēngjiàn jiējí fúwù de, shì
yīnggāi bèi dǎdǎo de dōngxī)
Mostrar menos
​

Mao classificou o confucionismo como parte do passado a ser superado. Em “Sobre o Novo

Democratismo” (1940), Mao afirmou que aqueles que adoravam Confúcio e defendiam a leitura

dos clássicos do confucionismo defendiam a velha ética, os velhos ritos e os velhos

pensamentos, que eram contra a nova cultura e o novo pensamento. Como cultura imperialista e

cultura semifeudal que serviram ao imperialismo e à classe feudal, devem ser eliminadas

Na China, existe também uma cultura semifeudal, que reflecte a política semifeudal e a

economia semifeudal.Aqueles que defendem o respeito por Confúcio e a leitura das escrituras,

defendem velhas éticas e ideias, e se opõem a novas culturas e novas ideias são

representantes desta tipo de cultura. A cultura imperialista e a cultura semifeudal são duas irmãs

muito próximas e formaram uma aliança cultural reacionária para se opor à nova cultura da

China. Este tipo de cultura reacionária serve o imperialismo e a classe feudal e deve ser

derrubada)

BURROS

Partindo do básico de uma narrativa cinematográfica, podemos considerar que o

principal desafio na realização de um filme é prender a atenção do espectador. Desta

forma, uma história precisa ter uma boa estrutura, e faz parte da soma empregar artifícios

auxiliares para que o público entre num regime de credulidade maior diante do

inverossímil.

Assim sendo, nesta busca em trazer ao espectador o espetáculo que uma obra pode

proporciona
“Meu melhor MacGuffin, e, por melhor, entendo o mais vazio, o mais inexistente e o mais

irrisório, é o de Intriga Internacional. A importância sobre os segredos do governo é o

MacGuffin reduzido à sua mais pura expressão: nada”.

"If today's arts love the machine, technology and organisation, if they aspire to precision

and reject anything vague and dreamy, this implies an instinctive repudiation of chaos

and a longing to find the form appropriate to our times."

“Se as artes de hoje amam a máquina, a tecnologia e a organização, se aspiram à

precisão e rejeitam tudo o que é vago e sonhador, isso implica um repúdio instintivo ao

caos e um desejo de encontrar a forma adequada aos nossos tempos.”

Dinastia dos tsares e imperadores da Rússia que reinou desde 1613 até 1917. Foi a

segunda e última dinastia imperial que governou por 8 gerações entre 1613 e 1762. Entre

1762 e 1917 a Rússia foi governada por uma ramificação da Casa de Oldenburgo, que

manteve o apelido Romanov.

O primeiro czar Romanov que a Rússia teve foi o czar Mikhail, o último foi Nicolau II que

foi executado junto com sua esposa e suas filhas no porão da casa Ipatiev na cidade de

Ekaterimberg em julho de 1918, após a revolução de 1917.

Ah, ça ira, ça ira, ça ira

Les aristocrates à la lanterne

Ah, ça ira, ça ira, ça ira

Les aristocrates, on les pendra

thought.is.your.enemy

—------------------
Using cartoonish costumes and bright colours in a bizarre exploration of modernity, The

Triadic Ballet (1922) by Oskar Schlemmer pushed dance into the 20th century. Described

by Schlemmer as a ‘party in form and colour’, in 1970 the ballet was captured in film for

future audiences to enjoy.

Oskar Schlemmer born September 4th, 1888 in Stuttgart, Gernany. He was a painter,

sculptor, designer and choreographer. He was also a professor at the BAUHAUS

School.Oskar Schlemmer described his Triadic Ballet as a ‘party in form and colour’.

Form, colour and abstraction began to define the way in which the human figure was

depicted in the work of painter and sculptor Oskar Schlemmer from an early stage. The

Triadic Ballet was his first major theatrical work, already created in Stuttgart in 1922

before his time at the Bauhaus. In 1970 Schlemmer’s ballet was captured in film for future

audiences to enjoy and be inspired by