空间舞、姿态舞、棒舞、三段式芭蕾。奥斯卡·施莱默将他的穿上服装，戴上面具的舞者发展成一个综合了舞蹈、化装和音乐的 "艺术人物"。第四卷《包豪斯布丛书》介绍了包豪斯舞台概念的主要特征。包豪斯的舞台是魏玛时期的舞台，基本上是由1923年接管舞台部门的奥斯卡·施莱默塑造的。同年被委派到包豪斯的拉兹洛·莫霍利·纳吉（Laszlo Moholy-Nagy）对抽象的动感和发光现象产生了兴趣，他在《剧院、马戏团、综艺》一文中对此进行了探讨。法卡斯·莫尔纳则专注于舞台建筑，他在本卷中对此进行了详细的讨论。

Spatial dance, gestural dance, rod dance, Triadic Ballet: Oskar Schlemmer developed his costumed, masked dancer into an "art figure" synthesizing dance, masquerade, and music. The fourth volume of the Bauhausbucher presents the main characteristics of the Bauhaus concept of the stage. The Bauhaus stage is that of the Weimar period, essentially shaped by Oskar Schlemmer, who had taken over the stage department in 1923. Laszlo Moholy-

Nagy, who was appointed to the Bauhaus the same year, took an interest in abstract kinetic and luminary phenomena which he examines in his essay "Theatre, Circus, Variete." Farkas Molnar focused for his part on stage architecture, which he discusses in detail in this volume.