Melissa Trimingham | University of Kent (original) (raw)
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Papers by Melissa Trimingham
Short animation exploring the untold stories of autistic girls and women in their own words to pr... more Short animation exploring the untold stories of autistic girls and women in their own words to provide an insight into the intensity and sensory reality of their experiences
Bloomsbury Academic eBooks, 2017
The chapter researches empathy in relation to mainly Modernist costumes using a costume centered ... more The chapter researches empathy in relation to mainly Modernist costumes using a costume centered and practice orientated methodology. Trimingham ascertains the gestural empathy of costume and the dynamic impulses that are generated by the wearing of costume, all of which were discovered in the early years of the twentieth century by avant-garde performers and visual artists moving into the medium of theatre and performance. Trimingham looks at early twentieth century Russian costume, the Viennese dancers of the 1920s such as Hilde Holger, the Bauhaus and finally Robert Wilson
Scenography Expanded, 2016
Short animation exploring the untold stories of autistic girls and women in their own words to pr... more Short animation exploring the untold stories of autistic girls and women in their own words to provide an insight into the intensity and sensory reality of their experiences
Knowing from the Inside, 2022
A summary of the contribution of the Bauhaus stage to twentieth century scenograph
The chapter researches empathy in relation to mainly Modernist costumes using a costume centered ... more The chapter researches empathy in relation to mainly Modernist costumes using a costume centered and practice orientated methodology. Trimingham ascertains the gestural empathy of costume and the dynamic impulses that are generated by the wearing of costume, all of which were discovered in the early years of the twentieth century by avant-garde performers and visual artists moving into the medium of theatre and performance. Trimingham looks at early twentieth century Russian costume, the Viennese dancers of the 1920s such as Hilde Holger, the Bauhaus and finally Robert Wilson
The function of light is explored in relation to the Bauhaus stage,as an articulator of space and... more The function of light is explored in relation to the Bauhaus stage,as an articulator of space and architectural tool.Moholy Nagy's visionary approach to aethetics is demonstrated through analysing his Lichtrequisit fuer Elekrischen Buehne (light Prop for an Electric Stage) and his plans for a mechanised stage production, Mechanischen Exzentrik (Mechanised Eccentric). Other figures active on the Bauahus stage who used light as an active stage tool include Schlemmer, Kandinsky, Schwerdtfeger and Hirschfeld-Mack, and this essay links the visionary element of Modernism with their efforts radically to transform the stage space, both its purpose and its reception.
This chapter argues that understanding how the notion of Gesamtkunstwerk or “total work of art” p... more This chapter argues that understanding how the notion of Gesamtkunstwerk or “total work of art” played out in the Bauhaus and especially on Oskar Schlemmer’s stage requires a radical recasting of the idea of Einheit or unity in the work of art. This arises from the deeply changed circumstances of art and aesthetics between late nineteenth century Bayreuth and the Weimar of 1918. We need to recognize, as Nicholas Vazsonyi does in this volume, that the idea of Einheit originates in late eighteenth and early nineteenth Romantic thought. Seen in this way, both Wagner and the Bauhaus are embodied manifestations, peculiar to their time, of what is essentially the same impulse.
Anthropology and Beauty, 2018
Theatre and Performance Design, 2019
Contemporary Theatre Review, 2017
The Cognitive Humanities, 2016
Journal of Applied Arts & Health, 2010
Theatre Research International, 2004
In Germany in the 1920s, Oskar Schlemmer engaged in three years of practical research at the Dess... more In Germany in the 1920s, Oskar Schlemmer engaged in three years of practical research at the Dessau Bauhaus School of Art, on the nature of ‘non-naturalisitic’ or ‘abstract’ stage space, that is, space exploited theatrically for its dynamism, scale, texture and sonic properties. It is argued here that Schlemmer attempts to recreate on stage the metaphysically resonant spaces which he depicts in his paintings. By engaging with an embodied art form, performance, Schlemmer defies the commonly held assumption that the Bauhaus Stage is locked into the ‘machine age’ mentality and rigid Modernist essentialism. On the contrary Schlemmer's work is revelatory of stage space in direct, simple and phenomenologically intense ways and has much to teach us about the nature of theatrical power in postmodern visual and object theatre, and is better interpreted in the light of postmodern, rather than Modernist, sensibilities.
Studies in Theatre and Performance, 2002
Modern Drama, 2012
The American Dream to Me, Myself, & I (2010), and Albee in Performance offers an important ac... more The American Dream to Me, Myself, & I (2010), and Albee in Performance offers an important account of Albee’s own double act as playwright/director. While the work of Albee as director may never outshine the brilliant work of Albee as playwright, Solomon has done a service to both by showing the deep relationship between these twins; and in getting to know the former, one can better understand and appreciate the latter.
Short animation exploring the untold stories of autistic girls and women in their own words to pr... more Short animation exploring the untold stories of autistic girls and women in their own words to provide an insight into the intensity and sensory reality of their experiences
Bloomsbury Academic eBooks, 2017
The chapter researches empathy in relation to mainly Modernist costumes using a costume centered ... more The chapter researches empathy in relation to mainly Modernist costumes using a costume centered and practice orientated methodology. Trimingham ascertains the gestural empathy of costume and the dynamic impulses that are generated by the wearing of costume, all of which were discovered in the early years of the twentieth century by avant-garde performers and visual artists moving into the medium of theatre and performance. Trimingham looks at early twentieth century Russian costume, the Viennese dancers of the 1920s such as Hilde Holger, the Bauhaus and finally Robert Wilson
Scenography Expanded, 2016
Short animation exploring the untold stories of autistic girls and women in their own words to pr... more Short animation exploring the untold stories of autistic girls and women in their own words to provide an insight into the intensity and sensory reality of their experiences
Knowing from the Inside, 2022
A summary of the contribution of the Bauhaus stage to twentieth century scenograph
The chapter researches empathy in relation to mainly Modernist costumes using a costume centered ... more The chapter researches empathy in relation to mainly Modernist costumes using a costume centered and practice orientated methodology. Trimingham ascertains the gestural empathy of costume and the dynamic impulses that are generated by the wearing of costume, all of which were discovered in the early years of the twentieth century by avant-garde performers and visual artists moving into the medium of theatre and performance. Trimingham looks at early twentieth century Russian costume, the Viennese dancers of the 1920s such as Hilde Holger, the Bauhaus and finally Robert Wilson
The function of light is explored in relation to the Bauhaus stage,as an articulator of space and... more The function of light is explored in relation to the Bauhaus stage,as an articulator of space and architectural tool.Moholy Nagy's visionary approach to aethetics is demonstrated through analysing his Lichtrequisit fuer Elekrischen Buehne (light Prop for an Electric Stage) and his plans for a mechanised stage production, Mechanischen Exzentrik (Mechanised Eccentric). Other figures active on the Bauahus stage who used light as an active stage tool include Schlemmer, Kandinsky, Schwerdtfeger and Hirschfeld-Mack, and this essay links the visionary element of Modernism with their efforts radically to transform the stage space, both its purpose and its reception.
This chapter argues that understanding how the notion of Gesamtkunstwerk or “total work of art” p... more This chapter argues that understanding how the notion of Gesamtkunstwerk or “total work of art” played out in the Bauhaus and especially on Oskar Schlemmer’s stage requires a radical recasting of the idea of Einheit or unity in the work of art. This arises from the deeply changed circumstances of art and aesthetics between late nineteenth century Bayreuth and the Weimar of 1918. We need to recognize, as Nicholas Vazsonyi does in this volume, that the idea of Einheit originates in late eighteenth and early nineteenth Romantic thought. Seen in this way, both Wagner and the Bauhaus are embodied manifestations, peculiar to their time, of what is essentially the same impulse.
Anthropology and Beauty, 2018
Theatre and Performance Design, 2019
Contemporary Theatre Review, 2017
The Cognitive Humanities, 2016
Journal of Applied Arts & Health, 2010
Theatre Research International, 2004
In Germany in the 1920s, Oskar Schlemmer engaged in three years of practical research at the Dess... more In Germany in the 1920s, Oskar Schlemmer engaged in three years of practical research at the Dessau Bauhaus School of Art, on the nature of ‘non-naturalisitic’ or ‘abstract’ stage space, that is, space exploited theatrically for its dynamism, scale, texture and sonic properties. It is argued here that Schlemmer attempts to recreate on stage the metaphysically resonant spaces which he depicts in his paintings. By engaging with an embodied art form, performance, Schlemmer defies the commonly held assumption that the Bauhaus Stage is locked into the ‘machine age’ mentality and rigid Modernist essentialism. On the contrary Schlemmer's work is revelatory of stage space in direct, simple and phenomenologically intense ways and has much to teach us about the nature of theatrical power in postmodern visual and object theatre, and is better interpreted in the light of postmodern, rather than Modernist, sensibilities.
Studies in Theatre and Performance, 2002
Modern Drama, 2012
The American Dream to Me, Myself, & I (2010), and Albee in Performance offers an important ac... more The American Dream to Me, Myself, & I (2010), and Albee in Performance offers an important account of Albee’s own double act as playwright/director. While the work of Albee as director may never outshine the brilliant work of Albee as playwright, Solomon has done a service to both by showing the deep relationship between these twins; and in getting to know the former, one can better understand and appreciate the latter.