In 1936, while an expatriate in London, László Moholy-Nagy signed the Manifeste dimensioniste, crafted by Hungarian poet Charles Sirató, declaring his allegiance to the pursuit of creating artistic works in higher dimensions. In his artworks and writings, Moholy-Nagy was deeply invested in emerging technologies of the early twentieth century in the service of seeing the world differently, augmenting and training the sensory organs to visualize higher dimensions of space, essentially to see what does not appear, what is apparently invisible. Through his work with light and movement, which took many forms, painting, photography, film, kinetic sculpture, and theater, he worked through traditional and avant garde notions of space and time as related to psychophysical experience. Moholy-Nagy held that higher dimensions could be experienced through a re-education of human senses and began to lay out his claim for the education of the senses in order to see the world differently as early as 1922 in "Produktion–Reproduktion" (De Stijl). In Malerei, Fotografie, Film (Painting, Photography, Film, 1925), Moholy-Nagy asserted that through the visual objectivity produced photographs, especially in oblique photographs, "[w]e may say that we see the world with entirely different eyes." In this dissertation, I examine the influence of contemporary psychophysical, space-time theories on a stage/ performance design created by Moholy-Nagy, in particular, the two versions of his design for a synaesthetic theatrical performance entitled, Partiturskizze zu einer mechanischen Exzentrik (Score-Sketch for a Mechanical Eccentric): one a hybrid, mixed media drawing (c. 1923) and the other a revised version printed in Die Bühne im Bauhaus (The Stage of the Bauhaus, 1925). Following the structure of the hybrid drawing, each chapter is an interpretation of a single panel of the drawing, corresponding to the prelude and the five acts of the performance. This interpretation was made through a close reading of the drawing itself, examining the references made in the images and notations, comparing the two versions, and uncovering similar themes in his lectures, writings, and artistic works, and, in turn, pursuing references to physics, psychology, mathematics, and literature, whose profound influence was acknowledged by Moholy-Nagy in those texts. These influences include the writings of Albert Einstein, Hermann Minkowski, János Bolyai, Hermann von Helmholtz, Rudolf Carnap, Sigmund Freud, Wilhelm Wundt, E. T. A. Hoffmann, James Joyce, and many others. Through this analysis, I reveal the ambitious intention at the heart of the Exzentrik, to immerse the audience in a synaesthetic experience that expands their psychophysical consciousness using electromagnetic vibrations in the form of visible and invisible light and sound, as well as shocking and comedic forms and movements, and that, thereby, opens the audience to the construction of a new vision that endows them with the capacity to envision higher dimensions of space. / Doctor of Philosophy / In 1936, while living in London, László Moholy-Nagy signed the Dimensionist Manifesto, written by Hungarian poet Charles Sirató, declaring his allegiance to the pursuit of creating artistic works in higher dimensions, such as three-dimensional paintings or four-dimensional space-time constructions. In his artworks and writings, Moholy-Nagy was deeply invested in the emerging and advancing technologies of the early twentieth century in the service of seeing the world differently, augmenting and training the sensory organs to visualize higher dimensions of space, essentially to see what does not appear to the naked eye, for instance x-ray images reveal what is apparently invisible. Through his work with light and movement, which took many forms, painting, photography, film, moving sculptures, and theater, he explored how a person experiences space and time both physically and intellectually and Moholy-Nagy began to lay out his claim for the education of the senses in order to see the world differently. In Malerei, Fotografie, Film (Painting, Photography, Film, 1925), Moholy-Nagy asserted that through the visual objectivity produced photographs, especially in oblique photographs, “[w]e may say that we see the world with entirely different eyes.” In this dissertation, I have examined the influence of contemporary space-time theories on two versions of Moholy-Nagy’s design for a theatrical performance called the Score-Sketch for a Mechanical Eccentric, one a hand-drawn and painted collage (c. 1923) and the other a revised version printed in The Stage of the Bauhaus (1925). Following the structure of the former, each chapter is an interpretation of a single panel of the drawing/collage, corresponding to the prelude and the five acts of the performance. This interpretation was made through a close reading of the drawing itself, examining the references made in the images and notations, comparing the two versions, and uncovering similar themes in his lectures, writings, and artistic works, and, in turn, pursuing references to physics, psychology, mathematics, and literature, whose profound influence was acknowledged by Moholy-Nagy in those texts. These influences include the writings of Albert Einstein, Hermann Minkowski, János Bolyai, Hermann von Helmholtz, Rudolf Carnap, Sigmund Freud, Wilhelm Wundt, E. T. A. Hoffmann, James Joyce, and many others. Through this analysis, I will reveal the ambitious intention at the heart of the performance, to immerse the audience in a multi-sensory experience that will expand their consciousness, thereby, to expand their sensory perception, using shocking and comedic displays to psychologically open the audience to the possibility of perceiving higher dimensions of space.