Meticulously crafted in the style of a stage production, the ballroom scene from Joe Wright’s 2012 film Anna Karenina relies on the detailed layering of spatial moves to illustrate the concept of a puppet theatre. The ballroom itself represents how the nobles are trapped as the puppets of their own strict social moral codes. This can be seen through the relationship between the performer and the observer in an upstairs/downstairs binary, or prospect + refuge. Ballroom culture within this context, is a caged puppet theatre with little room for subversion designed to exclude and include with rigid specificity. Through manipulating the interference and interruptions of the refuge and prospect area, a gradient would be formed to provide a spacial mask for the guests to wear in performing whichever role is most comfortable to them in public or private.