Despite the notable differences that separate their respective productions, the Italian scenographer Adolphe Appia, who died in Switzerland in 1928, and the architect and theorist Edward Gordon Craig (see the article by Aurora Herrera in this same issue) shared a common concern in their work. In their scenographic constructions, both were committed to granting space an attribute it had previously lacked: its dramatic capacity. Space had to admit within its own structure – and not only in its merely decorative appearance – a variability that would determine the rhythmic cadence on which the drama would rely at each moment...[+]