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Less than a decade later, in his 1924 essay describing the theater of the Bauhaus, "Theater, Circus, Variety," László Moholy-Nagy called for a theater of abstraction that shifted the emphasis away from the actor and the written text, and brought to the fore every other aspect of the theatrical experience. Moholy-Nagy declared that only the synthesis of the theater's essential formal components – space, composition, motion, sound, movement, and light – into an organic whole could give expression to the full range of human experience.