This full-length investigation of the Bauhaus stage workshop and Schlemmer's contribution to it is not, as claimed on the first page, the first ever. However, it is a major study with a methodological approach substantially different from previous books by Eric Michaud (Théâtre au Bauhaus, 1919–1929 (1978)) and Dirk Scheper (Oskar Schlemmer, das Triadische Ballett und die Bauhaus (1988)). Trimingham's investigation is deeply rooted in phenomenological thinking, which has a number of limitations; but given the fact that a considerable body of studies (some quoted by Trimingham, and quite a few missing in her bibliography) have focused on exploring the history of the stage workshop, its personnel and its performances, it is indeed appropriate to examine the institution from a more systematic rather than historiographical viewpoint.

Trimingham outlines the origins of her interest in the topic and the purpose of her study and she is convinced that Schlemmer ‘can still act as our model and our guide’ (p. 173). The main chapters of this volume (‘Space, Light and Scenery’; ‘Body and Motion’; ‘Body and Objects’; ‘Sound’; ‘Time’) have a certain kaleidoscopic quality. Occasionally, this entails repetitions that should have been avoided, but more often it produces insights that have considerable relevance to contemporary theatre practices. In fact, throughout the book she cuts pathways to postmodern theatre and dance and seeks to establish Schlemmer as a precursor of many performance practices of today.

Leaving some organizational flaws aside, this is an insightful and penetrating study of Schlemmer's work at the Bauhaus which can be highly recommended to students of the modernist and postmodern stage. It does not devote much space to the design and performance work of other Bauhaus members, which means that its main title is rather misleading. But as far as Schlemmer is concerned this is one of the best books one can read on his theatrical oeuvre. Trimingham clearly demonstrates that Schlemmer was not at all trapped in any narrow concepts of functionality and rationality (supposedly ‘typical’ Bauhaus traits) but must be interpreted in the context of the romantic tradition. She places great emphasis on German gestalt philosophy and builds useful links with the wider cultural landscape of the expressionist era and the Weimar Republic. This German focus means that she misses out on some parallels to other European developments (e.g. amongst Italian Futurists and East European constructivists who explored some similar terrain). But Trimingham certainly succeeds in introducing the reader to the complex fusion of heterogeneous influences in the art school, to the burgeoning creativity amongst its personnel and to the intimate connection between stage work and lived human experience. Thus she is able to peel away some of the erroneous accretions and popular beliefs that have long distorted our view of the Bauhaus.