Russian twentieth century starts under the sign of speed and scientific experiment. Life moves fast, changes are radical, therefore literature is forced to fundamentally change the shape in order to be able to fully realize its communication function. Mankind dealing with machines creates a new anthropological project with dominants such as: alienation, depersonalization, anonymity. The categories of time and space are redefined. Compared to the speed of a vehicle and new technologies, art must become life – fastly changing because of technology. Within the avant-garde culture, literature becomes the work of exploring the hidden mechanisms of life and the representation of their movement , their sinuous flow. The artistic text is searching for forms that would allow it to exceed the limits of literary page ; it is no longer an end in itself but a self-sufficient autonomous world. In search of a new communication language, literature joins the other arts and usesall forms of new scientific technologies. In the early twentieth century, Russian theater had to take a big leap to bridge the gap between old-fashioned sentimentality of classical theater and new abstract forms . It must shock and amaze. The new theater, with its philosophy of becoming, history seen as progress and life as man’s constant evolution, begins in Russia in 1913 by two synthetic plays : „ Vladimir Mayakovski . Tragedy” (Vladimir Mayakovsky ) and” Victory Over the Sun” (Aleksei Kruchenykh), the last becoming the hymn of the new freed man.