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Less
than a decade later, in his 1924 essay describing the theater
of the Bauhaus, "Theater, Circus, Variety," L‡szl— 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 Ð space, composition, motion, sound, movement,
and light Ð into an organic whole could give expression to the
full range of human experience.
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