In Space Dance, three dancers—blue, red, and yellow—trace geometric patterns on a gridded floor, with the respective tempi of slow, medium, and fast. Each represents not only time and color, but also, temperament. By padding and masking the dancers, Schlemmer reiterated the Bauhaus principals of uniformity of elements and standardization through abstraction. Schlemmer prophetically envisioned dancers in a black box 50 years prior to Pac-Man.

In Pole Dance, the inherent anatomical proportion of the human figure is extended into space via 12 poles, engaging the geometry of abstract space to create a dance of the Golden Mean or Golden Section.

Schlemmer asked “What type of forms emerge when dancers improvise using props of primary shapes?”

This whodunnit mystery asks, “What is going on behind the stage wings?”

Metal Dance evokes the medieval sensibility present in Gropius’s vision of the Bauhütten, the guild huts surrounding the cathedral.

White hoops create optical illusions against the blackened cubical stage space as the dancer configures them in a variety of ornamental patterns.

The Lecture Dances begin with Figure in Space. The figure delineates the architectonic stage space—lines, planes, volume.

A parody of the competition amongst architects at the Bauhaus, dancers in Block Play create their own constructions, compete, and finally unite to create a “tower,” a play on the cathedral woodcut on the cover of the 1919 Bauhaus Manifesto.

Outfitted with glasses, mustaches and coattails, the figures in Gesture Dance engage in a playful nonsensical conversation of abstract gesture. They plot, whisper, laugh, jump onto the furniture, and dance to a toy piano.