Figures are indicated by page numbers followed by fig. and notes are indicated by page numbers followed by n.
acting: agents in, 232; attention and, 143–150, 174, 183; awareness in, 185; biomechanical training and, 185; bodily movement in, 59, 173–75; circles of attention and, 144–47; connections and, 167–68, 172; contact in, 1–2, 173, 181; credentials and, 128; details in, 127; directors and, 177–78, 180–81; drills for, 68; gaze in, 63–64; gestural training in, 58, 143; influence of, 9–10; limits of, 21; Method, 9, 70–72; micro-expressions, 58; participation frameworks in, 143; perception in, 57; play in, 156; psychophysical energy in, 59–63; sensation in, 58, 60, 64; technologies for intuition in, 2; telepathy and, 7, 24; temporitm (temporhythms), 60–62. See also Russian Academy for the Theatrical Arts (GITIS)
affective memory, 71
All-Russian Exhibition Center, 236fig.
Amazing World of Kreskin! The, 12, 40
America’s Psychic Challenge, 13–14
anachronistic interdiscursivity, 166
Andromeda Nebula (Efremov), 86, 104
animation, 192–96
antirealism, 207
antitheatricality, 205–7
Arendt, Hannah, 206
Aristotle, 181
Army Medical Intelligence and Information Agency, 7
Asad, Talal, 136
Atlas Shrugged (Rand), 80
attention: avoiding, 130–32; being seen and, 121–23; channeling, 148–150; circles of, 143–150, 212; organizing, 150; sensory, 174
auditions: for Battle of the Psychics, 64–65, 65fig., 66, 107; entrance, 35, 109, 152, 189; star, 126–28
Austen, Jane, 204
Austin, John L., 163
automation, 88
avant-garde, 184–85, 197–98, 207, 211
Avatar, 79
back formations, 167
Bakhtin, Mikhail, 18, 49, 137, 148, 150, 163–64, 188
Bakunin, Mikhail, 192
Barish, Jonas A., 206
Barrett, William F., 47
Bateson, Gregory, 16, 26, 203–4
Battle of the Psychics, 83fig.; auditions for, 64–65, 65fig.; celebrity psychics on, 120–22; credentials and, 113–14; development of, 12; division of sensory labor in, 210fig.; expertise in, 25, 68, 74, 111; failure in, 64–66, 75; framing, 209–10; magical orientalism and, 82, 84; phatic experts in, 69, 81; phatic obstacles in, 68; regional and national identity and, 82, 84–85; sensory differences in, 67; skepticism of, 13–14, 115; tests for psychics on, 139
Battleship Potemkin (Eisenstein), 181
Bauman, Richard, 27
Bedbug, The (Mayakovsky), 207
Bekhterev, Vladimir, 47, 50, 59, 72, 113
Bekhterova, Natalja Petrovna, 113
Bells from the Deep, 196
Bely, Andrei, 158–59
Belyaev, Alexander, 100
Bennetts, Marc, 10
Besnier, N., 17
bioenergetic healing, 103
biomechanical training, 185
biomechanico-poetic function, 59
Bitva Ekstrasensov, 12
Blade Runner, xxi
Blok, Aleksandr, 158–59
Boas, Franz, 190
bodily movement, 59
Boleslavsky, Richard, 70
Book of Tasty and Nutritious Food, The, 168–170
borders, 15
Bourdieu, Pierre, 167
Boym, Svetlana, 197
Bradbury, Ray, 166
Bronnikov, Fyodor, 113–15
Bulgakov, Mikhail, 133–35, 160–62
Bulychev, Kira, 52
bureaucracy, 131–33, 136, 138–39
Butler, Octavia, 80
Captive Mind, The (Miłosz), 42
Card, Orson Scott, 80
Carnicke, Sharon, 70–71
Carnival Nights, 4
Carson, Johnny, 14
Cazzamalli, Ferdinando, 47
celebrity psychics, 80, 107–8, 117–121, 123, 216
censorship, 135
chains of documents, 134–35
chains of encounter, 134
channels: defining, 3, 29; digital, 135; distraction in, 140–42; information, 95–99; media and, 29; switching, 133–34; telephonic, 134
Charcot, Jean Martin, 72
Chumak, Allan, 100–103, 196, 217–220
Churchill, Winston, 6
circles of attention, 143–150, 212
Clark, Katerina, 232
cold reading, 73–75
Cold War: borders in, 15; effects of war and, 191; elites in, 89; paranoia in, xvii, 5, 8; political communication in, 43; racism in, 87–89; radio broadcasts in, 95–99; study of Russians in, 6–7; technologies for intuition in, 8; telepathic contact in, 105–6
collective creativity, 154–58, 162–63, 178
collective play, 155
Comaroff, Jean, 38
Comaroff, John, 38
combinations, 158
Commission to Investigate Pseudoscience and Falsification in Scientific Work, 114
communication: conative function and, 26; critiques of, 155; defining, 29; dyadic, 138; expressive function and, 26; failed, 29–30; frames in, 203; gaps in, 30–31; ideologies of, 162–63, 176–77; lies in, xx, xxi; meta-functions of, 27; metalinguistic function and, 26; opacity in, xxii, xxiii; phatic function and, 26–29; poetic function and, 26; press tactics in, 201; referential function and, 26; Soviet modes of, 41
communicative contact: broken, 16; dyadic, 137–38, 140, 150; mediated, 16
conative function, 26
contact: distraction and, 29; mediated, 111; merged materiality in, 55; obstacles to, 117; phatic function and, 27–29; prevention of, 28; problems of, 12; sense of, 155; social division and, 75; telepathy and, 24
contact drills, 33, 54, 54fig., 55
contact improvisation, 1–2
cosmopolitanism, 151
creativity: collective, 154–58, 162–63, 178; destructive, 192–93; individual, 162; laughter and, 154–55
crises: occult surges in, 38–39; stakeholders in, 37–38
Custine, Astolphe, marquis de, 42
Dali, Salvador, 198fig.
Daston, Lorraine, 46
Davis, Angela, 93
Davitashvili, Evgenia (Dzhuna), 100
Dead Souls (Gogol), 132
deanimated animation, 192–95
Department of Defense (DoD) reports, 10–11, 46–49, 104
Derrida, Jacques, 156
destructive creativity, 192–93
directors: actors and, 172, 176–79; demonstrations of, 172; dramatic conflict and, 179–181; training of, 176–77
disjuncture, 188–190
distance viewing, 112
divisions of labor, 153, 158, 172–73
Dmitrova, Vangelia (Vanga), 100
Dostoevsky, Fyodor, 163–64
double consciousness, 91
Douglas, Mary, 189
Dracula (1897), 46
dramatic conflict, 179–183, 185–86
Dr. Strangelove, xvii
Druzhba Narodov (Friendship of the Peoples), 82, 83fig., 84
Dubrov, A. P., 75
Dubrovka Theater, 201
dyadic fetish, 136–38
dyadic illusion, 138–39
Edwards, John, 14
Egides, A. P., xxi
Eisenstein, Sergei, 10, 24, 181, 185
electromagnetism, 63
elites, 88–90
emotion memory, 70–71
Empire of the Csar (Custine), 42
Ender’s Game (Card), 80
energy, 59–63
Ermolaev, Boris, 24
Ermolaev, Nikolai, 75–76
estrangement (ostranenie): animation and, 184; artists and, 183, 197; awareness in, 186–88; biomechanical training and, 185; creative destruction and, 192; disjuncture and, 188–190; theatrical frames as, 204
Evans-Prichard, E. E., 38
Evdokimova, Arina, 114
expertise: phatic, 31–35, 63; shifting, 35–36
expressive function, 26
extrasensation, 66–67
extrasensory powers: expression of, 64; failure of, 64–67; military applications of, 7–8; tests for, 139–140. See also paranormal science; psychics
Faddeev, E. T., 48–49
Fahrenheit 451 (Bradbury), 166
Fame of Gawa, The (Munn), 18
familiar-alien, 183
Fitzpatrick, Sheila, 133
Forest, The (Ostrovsky), 188
Foucault, Michel, 111, 132, 136, 190
frames and framing: blending, 212–13; breaking, 211; changes in, 203–4; communication and, 203; distinguishing, 204; dominant, 208; elite culture and, 205; experimenting with, 207–8; film-making and, 222–231; hierarchy in, 208–9; intuition and, 215; layering, 209–11; psychics and, 215–19; shifts in, 212–14; television and, 217–19; theatrical, 203–5, 208–11, 230
Frankenheimer, John, 8
Freud, Sigmund, 70
Friedland, Paul, 42
Fukuyama, Francis, 81
futurism, 159–160
Gagarin, Yuri, 193
Galvan, Jill, 5
Garrick, David, 62
Gates, Henry Louis, 18
Geller, Uri, 14, 113, 141–42, 219
Generation P (Pelevin), xxii, xxiv, 164
geopolitics, 190–92
GITIS. See Russian Academy for the Theatrical Arts (GITIS)
Gluckman, Max, 38
Goffman, Erving, 49, 137, 148, 150, 188, 208
Golding, William, 79
Gorbachev, Mikhail, 100
Gorchakov, Nikolaj, 179
grotesque, 184
Guest from the Future, 52
Hard to Be a God (Strugatsky), 80
Hegel, G. W. F., 87
Heidegger, Martin, 190
Herzog, Werner, 196–97
Hitchcock, Alfred, 10
Hoffman, E. T. A., 183
Houghton, Norris, 33, 152, 207, 232
How to Learn to Tune in with People (Egides), xxi
Hundred Years Ago in the Future, A (Bulychev), 52
hypnosis: antitheatricality and, 206; discovery of, 159; experiments in, 25, 36; fascism and, 247n8; Gypsies and, 84, 126, 150; messages and, 22; performances of, 24, 56, 60, 101; social crises and, 38, 100; telepathy and, 30
ideals, 131
illusion, 138–39
impersonation, 121
individuation, 136–37
information channels, 95–99
infrastructures: automation and, 88; breakdown of, 89, 191–92; material, 90; phatic, 90, 136; racism and, 87–91, 93; telecommunications, 103
Inheritors, The (Golding), 79
Inspector General (Gogol), 188
interdiscursive expertise, 164, 167
interpretants, 28–29
interrogation technologies, 187–88
intertexts, 163–64
intertextual enchantment, 164–66
intertextual expertise, 167
intuition: biomaterial mechanisms of, 57; framing of, 215; improvement of, 8; interpretants and, 29; sensation and, 63; technologies for, 2–4, 8, 34, 37–38, 56, 153; theatrical skills for, 35
Ivanov, Vjacheslav, 59
Jain, Chandra Mohan, 82
Jakobson, Roman, 26–27, 58, 160
James, William, xiv
Jastrow, Joseph, 57
Kaletski, Alexander, 136
Kandinsky, Vasily, xiii, xiv, xv
Kashpirovskii, Anatoly, 100
Kaverin, Venjamin, 201
Kazhinskij, Bernard, 100
Kelly, Catriona, 168
Kin-dza-dza! 79
King Lear, 4
KinoEye, 125
Kitajgorodsky, A., 77–78
Klint, Hilma af, xiii
Knebel’, Maria Osipovna, 3–4, 7, 19, 24, 57, 75, 127, 182
Knocking on Heaven’s Door (BBC), 193
kommunikatsija, 20
Kotik, Naum, 11
Krugljakov, Eduard Pavlovich, 114–15
Kulagina, Nina, 56
Kuprin, Alexander, 175
Labyrinth of Communication (Egides), xxi
Lamont, Peter, 13
language: connections and, 158–59; patterns in, 158–59; philosophy of, 163; poetry and, 158–160; polyphony in, 163
laughter, 154–56
Law, Alma, 58
Leadbeater, Charles W., xiii
Lenin, Vladimir, 47
Leontevich, Kirill, 113
“Lesson in Telepathy, A” (Soloukhin), 52
Lindquist, Galina, 100
linguistic anthropology, 26, 137–38, 148, 156, 163
Lipovetsky, Gilles, 80
Lord of the World (Belyaev), 100
Lunacharsky State Institute for Theatrical Arts (GITIS), 19
Lutsik, Piotr, 134
magic orientalism, 81–82, 84–85
Magija Slov (Bely), 158
Malinowski, Bronislaw, 26, 163
Manchurian Candidate, The, 8–9
Mandelstam, Osip, 45
Marrs, Jim, 104
Masco, Joseph, 67
masking and unmasking, 7, 14, 42–43, 61, 72, 192, 217
Master and Margarita (Bulgakov), 133, 135, 160–62, 220–21
material breakdowns, 191–96
materialism: Marxist, 47; paranormal science and, 46–47, 49–50; Soviet, 48–50, 54; suspicion of, 46; telepathy and, 73–74; thought transfer and, 48
Matza, Thomas, 101
Mayakovsky, Vladimir, 160, 184, 207
Mayakovsky Theater, 207
Mead, Margaret, 6
media: access to, 16–17; censorship in, 99–100; channels in, 29; investigative journalism in, 100; paranormal performers in, 100–101; press tactics in, 201; radio broadcasts, 95–99; Soviet Union, 17; static in, 101–2
Medvedev, Daniel, 194
“Memory of Physical Action” drill, 182
Mendeleyev, Dmitry, 11
Messing, Wolf: authority and, 220; biography of, 24; chains of encounter and, 134; distraction and, 142–43; on evading attention, 130–32; performances of, 73fig., 77, 100; telepathy and, 12, 53, 56, 73; train conductor story of, 130–33, 136–37, 150–51; trust and, 138
meta-functions, 27
metalinguistic function, 26
meta-signs, 204
Metro (Kaletski), 136
Meyerhold, Vsevolod: bodily movement and, 59, 173, 188; circles of attention and, 146; collective creativity, 156; estrangement (ostranenie), 183–88; execution of, 45; psychophysical energy and, 59–60; sensory drills and, 58; theatrical realism and, 207
micro-expressions, xx, 3, 31, 58
Military Psychotronics (Popov), 4
Miłosz, Czesław, 41–44
mimesis, 206
Mind of My Mind (Butler), 80
modernism: materialism and, 191; skepticism and, 78; surrealism and, 198–99
Morehouse, David, 104–5
Moscow Art Theater (MKhAT), 19, 202, 232
Moscow Children’s Theater, 19, 33
Moscow Romani Theater, 205
Musico-Dramatic School of the Moscow Philharmonic Society, 19
Music of Gounud, The (Leadbeater and Besant), xiifig., xiii
mysticism: Russian interest in, 11, 78; science and, 193; tradition of, 106
national characteristics, 39
Naumov, Edward, 24
Nautilus, USS, 4
neurovision, 113
Nietzsche, Friedrich, 48
Night Watch, 195
Nillson, Lennart, 50
9 Years with Psychics/Extrasensates, 56, 75, 139
Nixon, Richard, 208
nonrealist theater, 207
Noon (Strugatsky and Strugatsky), 51
Nord-Ost, 201–2
Nothing is True and Everything is Possible (Pomerantsev), 200
occult economies, 38
Okhlopkov, Nikolai, 207
Okraina, 134–36
Olender, Viktor, 56, 75–76, 78, 139, 141–42, 148, 211
Open Media Research Institute, 98
Operation Y, and More Adventures with Shurik, 53
Orlando, 24
oscillation, 40, 49, 181, 200, 218, 261n2
ostranenie. See estrangement (ostranenie)
Ostrovsky, Alexander, 188
Panasjuk, Alexander, 21
panoptic power, 132
paranoia: Cold War, xvii, 5, 8; conditions for, 7; Russian, 6
paranormal performances, 100–101
paranormal science: credentials and, 113–15; crises and, 38–39; Department of Defense reports on, 10–11, 46–48, 104; experimental research in, 50–51, 112–13; materialism and, 46–47, 54; Russian interest in, 10–12, 16; as technologies for intuition, 4; theater and, 24. See also psychics
participation frameworks, 143
patterns, 157–59
Pavlov, Ivan, 59
Pease, Allan, xx
Peirce, Charles S., xiv, 28, 57, 163
Pelevin, Victor, xxii, xxiv, 164
Peters, John, 16
phatic buffers, 109–13
phatic communication, 143
phatic energy, 134
phatic experts: authority and, 34; cross-disciplinary, 32–33; defining, 31; development of, 81, 156; gaze and, 63; human sign behavior and, 31; intuition and, 44; judgment and, 32; magicians as, 73; meaning and, 153; non-experts and, 32, 34; sensory labor and, 69; shifting, 35; types of, 32
phatic function: acting and, 69; contact and, 27–29; defining, 25–26; infrastructures and, 90; neglect of, 27; politics of, 27; referential function and, 31
phatic glamour, 116–121
phatic infrastructure, 90, 136
phatic spectacle, 139
phatic tricks, 140–42
play, 155–56
poetic function, 26
Point and Line to Plane (Kandinsky), xiii, xiv
Pomerantsev, Peter, 200
Popov, Nikolaj Ivanovich, 4
Potapov, N., 160–62
Powers of the Russian Psychics, 76
prana, 63
Presnyakov, Oleg, 202
Presnyakov, Vladimir, 202
prisons: film-making and, 222–231; frames and, 227–28; as proscenium, 231–32; Russia as, 231–32; Soviet, 92, 94; tropes of, 232–33
Propp, Vladimir, 181
proprioception, 55
pseudoscience, 77
PSI Spies (Marrs), 104
psychic channels, 25
Psychic Discoveries Behind the Iron Curtain (Ostrander and Schroeder), 12, 24, 76
psychics: attention and, 143; celebrity, 80, 107–8, 117–121, 123, 216; cold reading and, 74–75; credentials of, 116; eyes in, 123–24, 124fig., 125; healing and, 115–16; highly evolved beings as, 79–80; impersonation in, 121; interviews with, 214–17; perspectives of, 220–21; relationships and, 106–7; skeptics and, 73, 76; television and, 217–19; tests for, 139–140; unsolved crimes and, 115–16. See also paranormal science
Psychic Warrior (Morehouse), 104
psychobiocomputer, 113
Psychology of Attention (Ribot), 62
psychophysical energy, 59–63, 72
Pushkin, V., 75
racial equality, 86
racism: American, 89–91, 94–95, 152; antiracist policies for, 84; automation and, 87; Cold War ideology and, 87; double consciousness of, 91; infrastructures and, 87–91, 93; institutional, 85; movement of, 87; prison and, 92
radical art, 200
radio broadcasts, 95–99
Radio Free Europe/Radio Liberty, 95–98
Radio Moscow, 96
Rafael, Vincent, 15
Ranciere, Jacques, 206
Randi, James, 14, 76–77, 142, 215
Rasputin, 11
Raya, Gypsy heroine, 124fig., 125
referential function, 26–28, 31
Ribot, Théodule-Armand, 62
robotic: acting, 179, 185; depictions of Soviets as, 40, 45, 48, 94, 101, 193; psychics, 66
Roma, 85, 89, 98, 125, 193, 205
Roshchin, A., 77
rupture, 188
Russia: bureaucracy in, 131–33; discrimination in, 89; infrastructures and, 191–92; media in, 200–201; national identity in, 82, 84; paranoia and, 6; paranormal science and, 10–12, 23, 38–39; as a prison, 231–32; rupture in, 188; theater and, 23; theatrical frames in, 204–5. See also Soviet Union
Russian Academy for the Theatrical Arts (GITIS): contact drills in, 33, 54, 54fig., 55; cosmopolitanism and, 151; history of, 19; organization of, 151–52; phatic experts in, 34–35; phatic function and, 69; regional and national identity and, 151–52; sensory drills in, 55–56; telepathy drills in, 1, 3–4, 7; training at, 19–20, 57–61, 64, 68, 109–10, 126–27, 143, 149, 151–53, 212–13, 213fig., 214
Russians: depictions of, 193; knowledge of America by, xvii, xix; minds of, 5–7; mysticism and, 11; perceptions of, 39–41; theatricality of, 23, 42
Sacks, Oliver, 55
Samuels, David, 79
Saussure, Ferdinand de, 156, 158–59, 164
savage slot, 45–46
Schepkina (Maly Theater), 19
Schieffelin, Bambi B., 17
Schukina (Vakhtangov), 19
science fiction: chains of encounter in, 134; contact in, 15; extrasensory powers in, 80; international interstellar crews of, 86, 105; scientific process in, 51–53; telepathy in, 51–53, 106
scientific experimentation, 22
Scriabin, Aleksandr, 59
Sechenov, Ivan, 62
semiotic action, 55
sensation: acting and, 64, 68–70; biomechanical training and, 59; energy and, 60; excess of, 67; materialism and, 49–50; oscillation of, 200; perception and, 57; psychophysical studies of, 63; shifts in, 57–58, 62; temporhythms (temporitm) of, 62
sensory drills, 55–56
sensory field: disengaging, 67; social division of, 64–67
Shakespeare, William, 29, 41, 166, 206
Shestakovsky Music School, 19
shine, 123–25
Shklovsky, Viktor, 150, 183–85
Shkola Obraz, 35–37
Shkola Zloslovia, 217
Shukshin, Vasily, 144
Siegel, Lee, 8–10
signs: attention and, 57; body and, 58–59, 61; circles of attention and, 145; cold reading and, 74; collective creativity and, 162; as frames, 204; interpretants and, 28; intuition and, 44; meta-signs, 204; participation frameworks in, 143; patterns in, 159; phatic experts and, 31–32, 63
Silva, José, 36
Silva Method, 36
Silverstein, Michael, 166
Sinjaevsky, Andrei, 45
situational boundaries, 203
Slave Market with Disappearing Bust of Voltaire (Dali), 198fig.
Smirnova, Avdotija, 217–220
Smoktunovsky, Innokenty, 21
social division, 75
Society for Psychical Research, xiii, 5
Socrates, 179
Soloukhin, Vladimir Alekseevich, 52
Solovjev, Vladimir, 158
Solzhenitsyn, Aleksandr, 94
Sophocles, 29
Soviet Attitudes Toward Authority (Mead), 6
Soviet mind, 6–7
Soviet Union: acting in, 4, 7; bureaucracy in, 131–33; censorship in, 86, 94–95, 98–99; communication in, 41; contact in, 15; discrimination in, 89; education in, 15; effects of war on, 191; elites in, 89–90, 92; as a land of robots, 45, 48; mysticism and, 11, 106; paranormal science and, 4, 16, 39–40, 46–47, 72, 76–78, 112–13; prisons in, 92, 94; rocket design in, 193; static in, 102; telepathy and, 12; theatrical frames in, 204–5. See also Russia
speech functions, 26–27
Spiritual in Art, The (Kandinsky), xiii
stage fright, 62
Stalin, Joseph, 130, 134, 169, 207
Stalker (Tarkovsky), xxi, xxii, 231
Stanislavsky, Constantine, 21; affective memory and, 71; on attention, 183; circles of attention and, 144–45, 148, 150; creativity and, 162; dramatic conflict and, 179, 182; dual system of, 72; on energy, 71; English translations of, 70–71; intuition and, 63; materialism and, 72; Method acting of, 9; nonrealist methods and, 207; phatic expertise of, 31; prana and, 62–63; psychophysical energy and, 72; senses and, 184; students of, 3, 70, 146, 156; surveillance and, 232; techniques of, 22, 70; on tension, 24–25; on watching in acting, 60; yoga and, 24, 36, 184
stardom, 126–27
Star Trek, 79–80
static, 101–2
Steedman, Carolyn, 131
Stephens, Sharon, 239
Stoker, Bram, 5
Strasberg, Lee, 70
structuralism, 156
subconscious, 22
surrealism, 197–99
symbolism, 159
symmetrical schismogenesis, 16
Tarkovsky, A., xxi, xxii, 86fig., 144, 231
Technique in Art (Shklovsky), 183
technologies for intuition: Cold War, 8; contact drills for, 56; crises and, 38; defining, 2–3; divisions of labor and, 153; expectations of, 34; learning, 37; militarized, 4
technologies of individuation, 136
telecommunications, 103
telepathy: capacity to feel and, 39–41; censorship and, 99–100; communication gaps and, 30; crises and, 37–39; defined, xiii, 5; drills for, 1, 3–4, 7; experimental research in, 76–77, 139; failure of, 75; highly evolved beings and, 79–81; imagining, 17–18; as a lost sense, 79; materialism and, 73–74; modern, 22; phatic spectacle in, 139; political systems and, 41–44; pragmatic philosophy and, xiv; in science fiction, 51–53; skepticism of, 76–78; theatrical skills and, 37–44, 139
telepathy research: experiments in, xvi, xvii; superpower, 4; USS Nautilus and, 4
temporhythms (temporitm), 60–62
Terrorizm (Presnyakov and Presnyakov), 202
Texas Chainsaw Massacre, The, 195
texts: acting and, 172–76; communication and, 160; connections and, 165–67, 172–73; interdiscursive, 166, 172; intertextual, 162, 166, 172, 174; meaning across, 164; social criticism in, 161; theories of, 163
theater: actor-spectators in, 186, 207–8; agency and, 207; antirealism in, 207; biomechanical training and, 185; communication gaps and, 30; directors in, 172; divisions of labor and, 172–73; dramatic conflict in, 179–183, 185–86; estrangement (ostranenie), 183–86, 188; nonrealist, 207; paranormal science and, 24; pedagogy of, 176; realist, 184; telepathy and, 37–44; training in, 35–37; tropes of, 232; violence in, 201–2. See also acting; Russian Academy for the Theatrical Arts (GITIS)
theatrical frames, 203–5, 208–11, 230
theremin, 56–57
Theremin, Leon, 56
Thomas, Helen, 208–9
Thought and Speech (Vygotsky), 71
Thought Forms (Besant and Leadbeater), xiii
Thought Transfer (Kazhinskij), 100
Tolstaja, Tatjana, 166, 168, 217–19
Tolstoy, Leo, 206–7
Tovstonogov, Georgii, 24
Trouillot, Michel-Rolph, 45
Tugarinov, V., 48–49
Turner, Victor, 131
Two Captains, The (Kaverin), 201
United States: discrimination in, 89–91, 94–95; elites in, 90–92, 94; inequality in, 90–94; infrastructures and, 192; knowledge of Russia by, xvii; prisons in, 94; racism in, 94–95; skeptical television, 13–14
universal connections, 158–59
unmasking. See masking and unmasking
U. S. Defense Intelligence Agency, 7
Vasiljev, Leonid, 24, 47, 50–51
Vatelescu, Cristina, 187
Veltrushky, Jirí, 58
Vertov, Dziga, 125
Viktorovich, Mikhail, 112
Vinogradov, Mikhail, 25, 68, 84–85
Vodkin, Petrov, 181
Voloshinov, V. N., xiv, 18, 49, 137, 163
Vysotsky, Vladimir, 56
We (Zamiatin), 42
Wells, H. G., 42
What Is in His Subconscious? (Panasjuk), 21
Wittgenstein, Ludwig, 163
World’s Fairs, 199, 199fig., 200, 200fig.
Zamiatin, Yevgeny, 42
Zarrilli, Phillip B., 62
Zoschenko, Mikhail, 206–7
Zrazhevskaja, Vera, 56
Zuckerman, Charles H. P., 29