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In 1917 Tatlin designed the interior of Moscow's Cafe Pittoresque with Rodchenko and Yakulov, in which constructions on the walls and ceiling disturbed and fractured the solidity of the space. Futurists celebrated this death of ?Time and space'2 and Constructivists like El Lissitzky extended the sculptural possibilities of the gallery space itself; exemplary in the hanging of his Prouns in Berlin's 1923 Russian exhibition.
This new approach to space in turn had a liberating effect on set design which concerned itself with deluding and involving its audience. Meyerhold's productions ?presented to the spectator a new consciousness of space and making him participate in the action'3...
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