This practice is known as ‘transrational poetry’ (or zaum). The purity and dynamism artists of this movement found in mechanisation and technology, literary Cubo-Futurists found in transrational poetry, with this poetic experimentation later developing to involve the deconstruction of language to onomateopeic forms. One such example of this is Velimir Khlebnikov‘s sound-paintings in his play Zangezi. Poets of this movement also utilised unorthodox methods during their public poetry recitals, such as painted faces, public clowning, and extravagant clothing in order to gather attention to their work, and highlight their futuristic experimentation. Theatre Introduction of Cubo-Futurist theories and ideologies into the realm of theatre production came with widespread scandal among those within the turn-of-the-century Russian society. Similar to those that engaged with Cubo-Futurism within the art world, individuals within the theatre community utilised the movement’s characteristic ideology of cultural renewal, transformation, and revolution within their works, expanding futurism from the literary and artistic realm and into theatre. In July 1913, a collection of poets and artists within the Cubo-Futurist movement came together for a meeting entitled Pervyi vserossiiskii sezd Baiachei Budushchego (poetov futuristov) (First-All Russian Congress of Bards of the Future [The Futurist Poets]), establishing that the group would create a “new ‘Futurian’ theatre” that would be run by their own collective and “transform Russian theatre” into a modern art form. The Cubo-Futurists employed a more aggressive style within their performances, making use of arte-azione’s'' (art-in-action) playfulness, provocative or unintelligible language, improvisation, and unpredictability. As stated by Roman Jakobson (1896–1982): “The evenings of the Futurists brought… the public… The public’s reaction was various: many came for the scandal, but a broad segment of the student public awaited the new art, wanted the new world”. Effects of Cubo-Futurism Cubo-Futurism was incredibly significant in the development of art styles like Rayism, Suprematism, and Constructivism, with the movement acting as a transitionary phase between objective, figurative works and radical non-objective, non-representational abstract art. Cubo-Futurism gave artists the freedom to engage with the limitations of representation and subjectivity, and experiment with use geometric shapes and fragmented forms in order to convey a movement and dynamism that reflected their attempts to reconstruct understandings of their world and their art. Cubo-Futurism acted as the jumping point for artists Mikhail Larionov (1881–1964) and Natalia Goncharova to develop Rayism (also called Rayonism), one of the first non-objective Russian artistic styles. It was either Rayism or, once more, Cubism and