Ballet triádico

New themes emerge, new designs appear, forms are liberated, and even new models are incorporated. And those who are also moving, albeit in an unconventional way, are the characters up here! Yes, yes, these adorable figurines with a diver's face and a cylindrical torso. Their gestures are clumsy and comical, hilarious and provocative. Because, how can one move somewhat naturally embedded in a square? With spherical feet or oval joints? Encased in metallic tights or wearing heavy diving suits? Crammed into these costumes that also include prosthetics and artifacts of all kinds, they don't even look human but rather... dolls! But what have they done to deserve this? Who is responsible?

Well, the visionary artist Oskar Schlemmer, ideologue of The Bauhaus, who pushed the possibilities of the body to the limit in his Triadic Ballet (1922) in a revolutionary fusion of dance, architecture and costume that aimed to put an end to all classical past. Because in this anti-dance there are no dramas or romances. Nor are there prominent protagonists or relevant stories to tell: everything that appears on stage are ambulatory architectures, unsettling silhouettes that explore new avenues of expression through unprecedented dances.

But the revolution goes further, as the entire work is an exercise in simplification, an incessant search for the essential, reducing the representation of the human figure to a minimum, through geometry: a square for the rib cage, a circle instead of the belly, cylinders as limbs… The elements are broken down, the forms are reconstructed to achieve, after an exhaustive process of purification, a new dimension of man and space.

And that is precisely what we wanted to do with Schlemmer's unclassifiable ballet - who are we to say! - through the Maxi earrings and necklaces, HANGS and DOTS that we present below: for the first time, dispensing with pure geometry, freeing up straight lines, materializing through organic forms these puppets, bobbleheads and marionettes almost as irreverent as us.

Although the affinities go further! Because the entire work, like papiroga, revolves around the number three: three are its scenes, like our moods; three are the dancers, like the lines of the new collection; three are the shapes of the costumes (round, triangular and square), like our brand identity, which in turn shares the same colors as the set design…

Everything changes and everything moves

Welcome (again) to papiroga!