«With The Man who was Thursday, we see the beginning of the set which becomes an encompassing container, making the theater almost completely irrelevant as a building. And when we see the resemblance between Vesnin’s stage set and his design for a Palace of Labor, it is clear that his model for the set is architecture. It’s an interesting solution because he is still illustrating the play by providing an appropriate scenic setting but if the entire set is actually the theater, then there really is no set. […] Lake Liul, produced by Meierkhold and architecturally quite different from Thursday, had the same implication as the set for Thursday: the set is self-contained and can exist without a theater. The touring production made that clear. »

“Against the Reified Image: The `Failure´ of Constructivist Stage Design«. RADFORD UNIVERSITY.”