I recall an early company concert in which members presented their own choreography. In Tensile Involvement (1955) the dancers pull the shimmering lines and weave their intricacies. In Tent (1968) they parade the fabric and hang it up (although eventually the deus ex machina takes over—man can’t always have his way). But she appreciates the opportunities she’s had to learn much of the Nikolais’ repertory. Nikolais, Alwin.

“Sometimes dancers — we are trained to just be concerned about the technique and the steps,” del Saz said, “but in this work, besides the steps, you have to understand the overall picture you are trying to create on the stage.”.

You don’t know why you do what you do until suddenly you see it.” Of course, Nik knew of the Bauhaus. All Bauhaus quotations and reproductions herein refer to The Theater of Bauhaus (the essays of Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár), Walter Gropius and Arthur S. Wensinger (eds. A completely encased body supplied Nikolais a completely new instrument of planes and volumes with which to choreograph. It's to swing on Saturn's rings while one sits in one's theater seat; it's noon on a country road; it's midnight in Times Square; it's first love. While I wish to make it clear that I do not feel that Bauhaus was the conscious source of Nik’s esthetic philosophy, there are undeniable parallels. The choreographer was known for his creative use of colorful costuming and props—he even composed his own music. President Donald Trump says he’s "no longer angry" at Mitt Romney over his impeachment decision because the Utah senator supports a vote on the impending U.S. Supreme Court nominee. However, I note in this passage from Schlemmer the word entranced. Children cannot be enchanted by fake transformations, and Nik’s dancers had to be “for real.” In theory classes, his students explored the transforming energies of all kinds of artifacts—cloth and ropes, tubes and poles, boxes and wigs, any and all of which help performers become other than what they are. He started with the then-standard nine acting areas, with footlights and border lights for fill, and scoops for lighting the background. “And he of course believed in the whole experience. 1910 until the mid-thirties when totalitarian dogma led the Bauhaus principals figures to disburse. “Here, that’s not been the habit — maybe the movies they do — and that’s great, because movies are terrific, too. For the most part they care about presenting Nik’s works as “authentically” as they can. Home Los Angeles Public Library Photo Collection "Kaleidoscope", Alwin Nikolais Dance Company . Beginning in technique classes, Nikolais made his students aware of these aspects of form, which he designated as elements of space. ... Kaleidoscope (1956), Imago (1963), Tent (1968), Scenario (1971), Gallery (1978), Velocities (1986), and Aurora (1992). Upon Nikolais' death in 1993, they merged to one dance company that faded out by 1999. He’d say, “You’ve lost the Gestalt.” We were, being young, prone to become so engrossed in the prowess of our facility that we abandoned the sense of the matter at hand. Companies all over the world perform separate Nikolais works and excerpts, but Ririe-Woodbury is the only professional dance company licensed to put on an entire performance of Nikolais’ work. And finally slide projectors, which were retrofitted for his purposes, as had the flashlights, black lights, strobes, kaleidoscopes, flash pots, and standard stage lighting instruments. How Nik would have hated these analogies of mine! In Scenario (1971) vocal sounds, screams and grunts, hysterical laughter, deep sobbing—for the most part “real” human utterances that the dancers make during performance—are an integral part of the statement.

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