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'''Lothar Schreyer''' (1886 in [[Blasewitz]] – 1966 in [[Hamburg]]) was a [[German]] artist, editor, stage designer and gallery owner. He was the first Master of the stagecraft workshop at the [[Bauhaus]] art school.<ref>[https://www.bauhaus100.com/the-bauhaus/training/workshops/stagecraft/ Bauhaus100. Workshops. Stagecraft]. Retrieved 6 December 2018</ref>
'''Lothar Schreyer''' (1886 in [[Blasewitz]] – 1966 in [[Hamburg]]) was a [[German]] artist, editor, stage designer and gallery owner. He was the first Master of the stagecraft workshop at the [[Bauhaus]] art school.<ref name=stagecraft>[https://www.bauhaus100.com/the-bauhaus/training/workshops/stagecraft/ Bauhaus100. Workshops. Stagecraft]. Retrieved 6 December 2018</ref>


==Life and Work==
==Life and Work==
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In 1918 Scheyer and Walden founded the 'Sturm-Bühne', an [[expressionist theatre]]. Schreyer’s first plays Kreuzigung (Crucifixion) and Kindssterben (Death of a Child) were performed during his tenure as director there. Scheyer left the theatre in 1921. <ref name=ebook>[http://publishing.cdlib.org/ucpressebooks/view?docId=ft167nb0sp&chunk.id=d0e5280&toc.depth=100&brand=eschol Walter Holdt and Lavinia Schulz], UC Press E-Books Collection, 1982-2004, Retrieved 26 May 2016</ref>
In 1918 Scheyer and Walden founded the 'Sturm-Bühne', an [[expressionist theatre]]. Schreyer’s first plays Kreuzigung (Crucifixion) and Kindssterben (Death of a Child) were performed during his tenure as director there. Scheyer left the theatre in 1921. <ref name=ebook>[http://publishing.cdlib.org/ucpressebooks/view?docId=ft167nb0sp&chunk.id=d0e5280&toc.depth=100&brand=eschol Walter Holdt and Lavinia Schulz], UC Press E-Books Collection, 1982-2004, Retrieved 26 May 2016</ref>


In 1921 [[Walter Gropius]], director of the Bauhaus in Weimar, invited him lead school's stagecraft workshop. Gropius established the workshop to explore theatrical methods, as he saw similarities between building and stage work. Students from all departments were encouraged to participate.<ref name=stagecraft />
In 1921, he was invited to lead the stage workshop at the [[Bauhaus]]. Scheyer, like fellow teachers [[Johannes Itten]] and [[Gertrud Gunow]], was regarded as one of the Bauhaus 'esoterics', as opposed to the more technically-minded school director [[Walter Gropius]].<ref name=harmon>[https://www.bauhaus100.com/the-bauhaus/training/curriculum/classes-by-gertrud-grunow/ Bauhaus100.Curriculum. Harmonisation theory 1919-1924]. Retrieved 2 December 2018</ref>
Scheyer, like fellow teachers [[Johannes Itten]] and [[Gertrud Gunow]], was regarded as one of the Bauhaus 'esoterics', as opposed to the more technically-minded Gropius.<ref name=harmon>[https://www.bauhaus100.com/the-bauhaus/training/curriculum/classes-by-gertrud-grunow/ Bauhaus100.Curriculum. Harmonisation theory 1919-1924]. Retrieved 2 December 2018</ref>
His production of ''Mondspiel'' failed: this play caused a protest among the students. He left the Bauhaus in 1923.


He was experimental and concealed his players behind geometric full-body masks to explore the language of form. However, his plays such as ''Mondspiel'' (Moon Play) and ''Kreuzigung'' (Crucifixion) were not well received at the school and he left in 1923. He was succeeded by [[Oskar Schlemmer]].<ref name=stagecraft />
⚫
From 1924 to 1927, he was a teacher at the Berlin art school 'Der Weg'. From 1928 to 1931, he was head editor of the publishing house 'Hanseatische Verlagsanstalt'.

He corresponded with [[Paul Klee]].<ref>[https://books.google.com/books?id=-lGT6ruYLDEC&pg=PA79&dq=Lothar+Schreyer&lr=&as_brr=3&cd=13#v=onepage&q=Lothar%20Schreyer&f=false The Bauhaus and America: First Contacts, 1919-1936 - Margret Kentgens-Craig - Google Boeken]</ref>
⚫
From 1924 to 1927, he was a teacher at the Berlin art school 'Der Weg'. From 1928 to 1931, he was head editor of the publishing house 'Hanseatische Verlagsanstalt'. <ref>[https://books.google.com/books?id=-lGT6ruYLDEC&pg=PA79&dq=Lothar+Schreyer&lr=&as_brr=3&cd=13#v=onepage&q=Lothar%20Schreyer&f=false The Bauhaus and America: First Contacts, 1919-1936 - Margret Kentgens-Craig - Google Boeken]</ref>
In 1933 he converted to [[Catholicism]]. During the 1930s, he was concerned with Christian mysticism and folk ideas, and ultimately the Nazi ideology, signing the [[Gelöbnis treuester Gefolgschaft]], the 1933 declaration in which 88 German authors vowed faithful allegiance to [[Adolf Hitler]].<ref name=letters>[https://books.google.co.uk/books?id=7iC7BGIcvTQC&pg=PA367 88 "writers", from ''Letters of Heinrich and Thomas Mann, 1900-1949, Volume 12 of Weimar and Now: German Cultural Criticism'', University of California Press 1998] {{ISBN|0-520-07278-2}}, p.&nbsp;367-8</ref> However, his work was included in the "[[Degenerate art]]" exhibition of 1937.<ref>{{cite web |url=http://kunst.gymszbad.de/nationalsozialismus/entartet/schandausstellungen/katalog_1937/faksimilekatalog_1937.htm |title=Archived copy |accessdate=2010-05-21 |deadurl=yes |archiveurl=https://web.archive.org/web/20110616020406/http://kunst.gymszbad.de/nationalsozialismus/entartet/schandausstellungen/katalog_1937/faksimilekatalog_1937.htm |archivedate=2011-06-16 |df= }}</ref>
In 1933 he converted to [[Catholicism]]. During the 1930s, he was concerned with Christian mysticism and folk ideas, and ultimately the Nazi ideology, signing the [[Gelöbnis treuester Gefolgschaft]], the 1933 declaration in which 88 German authors vowed faithful allegiance to [[Adolf Hitler]].<ref name=letters>[https://books.google.co.uk/books?id=7iC7BGIcvTQC&pg=PA367 88 "writers", from ''Letters of Heinrich and Thomas Mann, 1900-1949, Volume 12 of Weimar and Now: German Cultural Criticism'', University of California Press 1998] {{ISBN|0-520-07278-2}}, p.&nbsp;367-8</ref> This did stop his work being classified by the Nazis as [[degenerate art]]. It was shown in the 1937 [[degenerate art exhibition]] in Munich.<ref>{{cite web |url=http://kunst.gymszbad.de/nationalsozialismus/entartet/schandausstellungen/katalog_1937/faksimilekatalog_1937.htm |title=Archived copy |accessdate=2010-05-21 |deadurl=yes |archiveurl=https://web.archive.org/web/20110616020406/http://kunst.gymszbad.de/nationalsozialismus/entartet/schandausstellungen/katalog_1937/faksimilekatalog_1937.htm |archivedate=2011-06-16 |df= }}</ref>


His work is held in the [[Los Angeles County Museum of Art]].<ref>[http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=browse;dept=modern;method=artist;term=Schreyer%2C%20Lothar LACMA Collections Online]</ref>
His work is held in the [[Los Angeles County Museum of Art]].<ref>[http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=browse;dept=modern;method=artist;term=Schreyer%2C%20Lothar LACMA Collections Online]</ref>

Revision as of 14:55, 6 December 2018

Lothar Schreyer (1886 in Blasewitz – 1966 in Hamburg) was a German artist, editor, stage designer and gallery owner. He was the first Master of the stagecraft workshop at the Bauhaus art school.[1]

Life and Work

File:Mann, from the Kreuzigung Spielgang Werk VII collection.jpg
Mann, painting by Lothar Schreyer, 1920. From the Kreuzigung (Crucifixtion): Spielgang Werk VII collection

Schreyer was born in Blasewitz in 1886. He studied art history at University of Heidelberg and then law at universities in Berlin and Leipzig. In 1910 he graduated in literary and artistic copyright law.[2]

From 1911 to 1918, he worked as a dramaturge and assistant director at the Deutsches Schauspielhaus in Hamburg and from 1916 until 1928 he was the editor of Der Sturm magazine, owned by Herwarth Walden, with whom he became a close collaborator on a several projects. At the same time, he also taught at the Sturm-Schule für Bühnenkunst und Pantomime ('Sturm school of stagecraft and pantomime'), until 1924.[2]

In 1918 Scheyer and Walden founded the 'Sturm-Bühne', an expressionist theatre. Schreyer’s first plays Kreuzigung (Crucifixion) and Kindssterben (Death of a Child) were performed during his tenure as director there. Scheyer left the theatre in 1921. [3]

In 1921 Walter Gropius, director of the Bauhaus in Weimar, invited him lead school's stagecraft workshop. Gropius established the workshop to explore theatrical methods, as he saw similarities between building and stage work. Students from all departments were encouraged to participate.[1] Scheyer, like fellow teachers Johannes Itten and Gertrud Gunow, was regarded as one of the Bauhaus 'esoterics', as opposed to the more technically-minded Gropius.[4]

He was experimental and concealed his players behind geometric full-body masks to explore the language of form. However, his plays such as Mondspiel (Moon Play) and Kreuzigung (Crucifixion) were not well received at the school and he left in 1923. He was succeeded by Oskar Schlemmer.[1]

From 1924 to 1927, he was a teacher at the Berlin art school 'Der Weg'. From 1928 to 1931, he was head editor of the publishing house 'Hanseatische Verlagsanstalt'. [5]

In 1933 he converted to Catholicism. During the 1930s, he was concerned with Christian mysticism and folk ideas, and ultimately the Nazi ideology, signing the Gelöbnis treuester Gefolgschaft, the 1933 declaration in which 88 German authors vowed faithful allegiance to Adolf Hitler.[6] This did stop his work being classified by the Nazis as degenerate art. It was shown in the 1937 degenerate art exhibition in Munich.[7]

His work is held in the Los Angeles County Museum of Art.[8]

Bibliography

  • Theateraufsätze, Issue 3 of Works, Lothar Schreyer, Editor Brian Keith-Smith, Edwin Mellen Press, 2001, ISBN 978-0-7734-1354-2

References

  1. ^ a b c Bauhaus100. Workshops. Stagecraft. Retrieved 6 December 2018
  2. ^ a b Bauhaus100. Lothar Schreyer. Retrieved 6 December 2018
  3. ^ Walter Holdt and Lavinia Schulz, UC Press E-Books Collection, 1982-2004, Retrieved 26 May 2016
  4. ^ Bauhaus100.Curriculum. Harmonisation theory 1919-1924. Retrieved 2 December 2018
  5. ^ The Bauhaus and America: First Contacts, 1919-1936 - Margret Kentgens-Craig - Google Boeken
  6. ^ 88 "writers", from Letters of Heinrich and Thomas Mann, 1900-1949, Volume 12 of Weimar and Now: German Cultural Criticism, University of California Press 1998 ISBN 0-520-07278-2, p. 367-8
  7. ^ "Archived copy". Archived from the original on 2011-06-16. Retrieved 2010-05-21. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)CS1 maint: archived copy as title (link)
  8. ^ LACMA Collections Online
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