Picasso, Schlemmer and beyond: Scenography and costume design from a critical disability studies lens

This article proposes a joint reading of the scenography and costume designs of Cubist artist Pablo Picasso and Bauhaus member Oskar Schlemmer, arguing that they share a common project of re-articulating the body and its movements that echoes contemporary concerns about how notions of normalcy govern the relationships between bodies and space. We propose that Picasso’s ballet Parade (1917) and Schlemmer’s Das Triadische Ballett (1922) can be productively read through the prism of critical disability studies (CDS), specifically in relation to Rosemarie Garland-Thompson’s feminist disability studies and her key concept of misfitting, enriched through the perspective of ecological affordances, as understood by James Gibson. This approach proposes to see disability from an ecological perspective that foregrounds the relationship between the body and space, as well as the affordances that are created and re-negotiated in the process of moving. By connecting Picasso and Schlemmer with CDS, this article puts forward a novel hermeneutic line from the artists’ work to the practice of contemporary artists Marco Donnarumma and Sandie Yi who share a relational conception of body, space and costume when designing in the field of crip couture, dance and AI prosthesis. This article proposes a CDS lens through which to re-evaluate the stage work of Schlemmer and Picasso, and their connection to contemporary artists’ interests, in order to open new paths of experimentation for contemporary artists and designers, as well as suggestive conceptual tools for both CDS and costume design scholars.