After WWI, a young generation of artists involved in art, aesthetics, and technical development got interested in theatre work as well. Those who stood at the origins of the avant-garde stage in the newly established state of Czechoslovakia were seeking inspiration for their programme in actual social and pro-social visions built upon an illusion of re-development of the whole social structures which, as far as we know now, remained only an idea and led to the crisis of theatrical culture. The leading figures of Czech avant-garde kept in connection with the European artists and worked on the international profile of Czech art. They also worked on preparing theoretical conceptions of up-to-date theatre and performing art, while others took care of the practical application of those concepts. After all, the first avant-garde stage was connected with Vladimir Gamza, born in Russia, who brought the inspiration of the MAT Studios (esp. Meyerhold, Vakhtangov and Sulerzhitsky) to Czechoslovakia. At the same time, the very first practical project inspired by this actual trend was completed by the Union of Modern Culture´s (called Devětsil): a concept combining the theories of poetism and constructivism as an antropho-centriphical unity. The first theatric groups of young artists had already been trying to find different theatre style; they had been searching for a theoretic understanding of theatre as modern art mirroring the ideals of after-war visionaries. During the 1920s, a wide range of avant-gardist activities in cooperation with the artists from abroad was happening. While using the modern techniques, theatre theory and praxis merged into a synthetical unit connecting all the elements of theatre. Theatre experiments in the 1920s helped to find modern ways that innovated theatre art and brought a new insight into the stage and its three-dimensional layout. Acting was regarded as the art which creates a synthesis of movement, rhythm, dynamics, and speech in the very modern way of voice-work. Avant-gardists managed to transform the appreciation of theatre as the synthetic art through their cooperation with personalities who represented modern architecture, design, painting, music, dance, and art of acting. The most important role in this composition of the elements was assigned to a director who created his individual poetics as the synthetical artwork.