This article focuses on how the aesthetics of representation had changed regarding landscape in the libretto “Four Saints in Three Acts”, by the prominent 20th-century author Gertrude Stein (1874-1946). The text of this libretto has no specific plot, place, time, or actor, nor does the language directly represent any entity from the external world. Instead, the work represents itself here and now, thus becoming performative and acquiring a visual aspect. The new aesthetic Stein established by this use of a landscape text formed as a result of inspiration from the Cubist landscape paintings of her contemporary Pablo Picasso. Cubism sought to represent the world using a new method in the 20th century. This search transformed into a new perception of reality wherein wholeness and continuity disintegrated. In this new reality, objects were no longer depicted imitatively but were instead portrayed by artists through different uses of style and space. This new style resulted from the optical shattering experienced by the linear perspective, which has been widely used in the art of painting. Now, cornered, cubic shapes instead began being used that were formed using multiple perspectives as a technique where each object and plane had separate focus points and where the broken surfaces of these objects were shown to overlap from different perspectives. These paintings were made by excluding the linear perspective, which subsequently modified how viewers perceived them. This offered a way of simultaneous viewing a scene from different angles. This new art technique that had formed through simultaneous ways of viewing was based on multiple perspective drawings known as Cubist landscape paintings. The Cubist understanding of painting had started with Picasso, who would became the representative of the movement in 1908 with his landscape paintings, and was shaped not by recreating something that had already been painted, but by a creative telling of the now. Its purpose was to catch the moment as it exists in the present, which is why it uses the Cubist drawing technique that is formed using multiple perspectives. As such, the linear perception of time that had been formed through the linear perspective was replaced by a continuous now through the multiple perspectives in the Cubist shapes, with each perspective being perceived simultaneously, thus creating a perception of being present in a continuous now. This style of seeing as offered by the Cubism can be observed in the writing technique Gertrude Stein used in her libretto “Four Saints in Three Acts.” The language of her text is used in the continuous now, and the world is set up with unusual explanations without stories, working in parallel with Cubism’s principle of simultaneity. The situations that take place in the text do not progress with the support of a story through the usual sense of linear time. Instead, the text revolves around the reiterations occurring in a continuous now. This revolution presents the viewer of each iterating scene with a different perspective each time. Every scene that forms a different perspective through its reiteration reminds one of the shapes whose varied corners are highlighted within the simultaneity of Cubist painting. Thus, Stein did with words what Picasso did using colors and drawings. She used every kind of available argument to make the language performative, such as rhythmically repeating words and employing homonyms and homophones. The vocal similarity of words and the arrangements of words formed by connecting these similarities reveal the action (i.e., performativeness) of the language. This situation can also be read in the context of Derrida’s poststructuralist theory1 , which is based on the performativeness of words, with the performative quality of words leaving them open to instantaneous interactions due to the language not being a simple repetition of the same words, but a reproduction that exceeds imitation. Changing up the language and distinguishing it from its previous meaning opens the door for producing new narrations. As a result, the language becomes performative and gives the impression of being in the continuous now, thus forming a landscape of text.