The concepts of ‘total art’ and ‘total theatre’ developed at the Bauhaus within the manifesto published in 1919, deeply reformed the ways of teaching by means of an educational programme based on a didactic and social community of masters and students gathered by Walter Gropius. (Argan, [1951] 2010). Gropius asserted that a new society was needed, where total individuals were at the same time artists and scientists, i.e. universal beings. The maximum expression of this vision was reached in the stage workshop of the school directed by the master Oskar Schlemmer from 1923 to 1929, where he applied his didactic programme based on abstract choreographies focused on the search for conciliation between the laws of human body and designed space. By this assumption Schlemmer develops his theoretical corpus as a monographic subject “Der Mensch” and finds its application in the dynamic dimension of the twentieth century, where the laws of body and geometrical space cross themeselves. The fundaments of the neo-humanistic total artwork, pursued by the community of the Bauhaus, have become the basis for the contemporary meaning of word “learning”.