The Nerve Tank to perform 'bauhaus the bauhaus' at The Brooklyn Lyceum October 9 to November 22.

What was the Utopian ideal of the Bauhaus School, and how does it apply to contemporary society? This is the subject of a multi-disciplinary theater work now being developed by The Nerve Tank, to debut at The Brooklyn Lyceum October 9 to November 22.

The Bauhaus movement celebrated its 90th birthday April 1, 2009 in Weimar, where the design movement was founded. The Nerve Tank is an ensemble known primarily for physical theater, site-specific design and poetic language. (Time Out called the troupe "physical theatre alchemists.") It was started in 2006 by Melanie S. Armer and Chance D. Muehleck as an outgrowth of LIVE Theater Company. The company is an incubator for theatrical performance that follows the model of ensemble creation. It has staged productions at Theatre for the New City, chashama, the New York International Fringe Festival, Dixon Place, and Pittsburgh's Flux Festival. It is currently in residence at The Brooklyn Lyceum, a multi-theater facility that is a welcome addition to Brooklyn's growing community of presenters of avant-garde theater. That list also includes BAM's Next Wave Festival, Irondale Ensemble, The Brick, Collapsible Hole and Cave Art Space.

The Brooklyn Lyceum is a former municipal bathhouse, over 100 years old. Its concrete, brick and twisted metal interiors offer an evocative setting for resourceful stagings. Its cavernous spaces facilitate a rich sonic environment and are a delight to sound designers. The title of the show, "bauhaus the bauhaus," is written in lower case as a reference to the typography of Herbert Bayer, who sought the elimination of capital letters in Bauhaus designs. The piece follows several researchers searching for the essence of Utopia, who try to make sense of what the Bauhaus movement was and how it relates to contemporary society. Among its characters are such historical figures as the German architect Walter Gropius, Andy Warhol, Henry Ford and Tom Wolfe. The performance has been developed in workshops that emulated techniques used by the Stage Department of the Bauhaus between 1921 and 1929, which Oskar Schlemmer called "the meeting point of the metaphysical, in contrast to far too objective tendencies." (At other times, he described it as "the flower in the buttonhole of the Bauhaus.")

The Nerve Tank's production, as currently conceived, will be a compilation of dialogue scenes, some with direct audience address, and sequences of precise physical movement. There will be interaction between video and live performers. Often two or more things will happen at the same time.

Playwright Chance D. Muehleck said, "The members of the Bauhaus wanted to create a microcosm of the perfect life. We ask, could it succeed today? Also, what role did fascism play in pushing out their ideals?" Part of the visual concept is to use aspects of the Brooklyn Lyceum that evoke aspects of the Bauhaus philosophy. Technical components (lighting, sound) will be visible to the audience and actor-manipulated whenever possible. The ensemble will use the raw upstairs space of the Brooklyn Lyceum and project video on available surfaces that simulate Bauhaus designs. For example, a white geometric block at the top of a staircase will be used as a projection surface. The rest of the installation will be oriented around it, similarly using architectural facets of the space. Deconstructed Bauhaus costumes will be used, as well as Andy Warhol wigs and lab coats.

The project began at the instigation of German dramaturge and stage director Lutz Kessler, who is a collaborator with The Nerve Tank, on the occasion of the 90th anniversary of The Bauhaus. A variety of similar artistic explorations have been commissioned in Europe. An informative website with the history of the Bauhaus movement is maintained by the Bauhaus Archive in Berlin. Its English pages are found at www.bauhaus.de/english/bauhaus1919/index.htm.

Bauhaus design remains influential today. "Ikea is Bauhaus-lite," says Muehleck, "from the standpoint that it is sleek, easily assembled, mass-produced design." He notes that some of Manhattan's landmarks embody Bauhaus designs. The Metlife Building was co-designed by Walter Gropius and the Seagram Building was designed by Mies van der Rohe, who took over the Bauhaus after Gropius left.

The production is written by Chance D. Muehleck and directed by Melanie S. Armer. Set/Light Designer is Solomon Weisbard. Sound Designer is Stephan Moore. Video Designer is Shawn Duan. The performing ensemble includes: Brian Barefoot, V. Orion Delwaterman, Stacia French, Karen Grenke, Irene Hsi, Anna Konkle, Robin Kurtz, Kevin Lapin, Sandie Luna, Rachael Richman and James "Face" Yu.

Director Melanie S. Armer is the Co-founder of The Nerve Tank, where she developed and directed Chance D. Muehleck's "In The Heart of a Chinese Curse" at Dixon Place as a part of their "Under Construction" series in 2008. She also developed and directed Mr. Muehleck's "The Attendants" at chashama in the fall of 2007. She is the Co-founder and Artistic Director of LIVE Theater Company, where she has produced and directed the world premieres of Muehleck's "The Honeypot Redux" and Jane Shepard's "Eating the Dead." She has also worked with EST, The Women's Project & Productions, New Georges, Theater for the New City, the 2002, 2005 & 2007 NYC Fringe Festivals and Circle East. She assisted Leonard Foglia on the Broadway revival of "Wait Until Dark" and director Michael Warren Powell on Lanford Wilson's A Sense of Place. She Armer is a member of SSDC and an alumna of The Lincoln Center Directors Lab. She has taught at Marymount Manhattan College and Point Park University in Pittsburgh. Her current focus is on developing non-traditional theater in collaborative environments.

Playwright Chance D. Muehleck has had work developed or produced at Theatre Artists of Marin in California, Circle Repertory Theatre, Ensemble Studio Theatre, and The Present Company in New York. Primary Stages commissioned him to write a short play on the American experience, which was then presented Off-Broadway. He is the recipient of the John Golden Award for Excellence in Playwriting and was a finalist for The Actors Theatre of Louisville's Heideman Award. His multimedia performance installation, "The Attendants," was developed while in residence at chashama. His physical theatre piece, "In the Heart of a Chinese Curse," was workshopped at Dixon Place. He has taught playwriting at Hampshire College and Point Park University, has written reviews for The New York Theatre Experience, and served as an adjudicator for the New York International Fringe Festival. Two of his monologues appear in the Audition Arsenal series published by Smith & Kraus. In 2008 United Stages published his short play Tagging April in the collection En Avant Playwrights. His memberships include The Dramatists Guild, Inc. and Circle East.

For more information, please visit http://www.nervetank.com

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