1William Wordsworth, ‘Ode (“There Was a Time”)’ [1807], in The Major Works, ed. Stephen Gill (Oxford: Oxford University Press, 2000), 299 (line 64).
2Maxine Sheets-Johnstone, The Primacy of Movement, 2nd edn (Amsterdam and Philadelphia, PA: John Benjamins, 2011), 376.
3The art of walking is beginning to receive its due. See, for example, Frédéric Gros, A Philosophy of Walking, trans. John Hove (2009; London: Verso, 2014); Tim Ingold, ‘Culture on the Ground: The World Perceived through the Feet’, in Being Alive: Essays on Movement, Knowledge and Description (London: Routledge, 2011), 33–50.
4Maurice Merleau-Ponty, Phenomenology of Perception, trans. Colin Smith (1945; London: Routledge, 2002); Sheets-Johnstone, The Primacy of Movement; Alain Berthoz and Jean-Luc Petit, The Physiology and Phenomenology of Action, trans. Christopher Macann (2006; Oxford: Oxford University Press, 2008); Matthew Ratcliffe, ‘What Is Touch?’ Australasian Journal of Philosophy 90, no. 3 (2012): 413–32; Matthew Ratcliffe, ‘Touch and the Sense of Reality’, in The Hand, an Organ of the Mind: What the Manual Tells the Mental, ed. Zdravko Radman (Cambridge, MA: MIT Press, 2013), 131–57.
5Sheets-Johnstone, The Primacy of Movement, ch. 6.
6For studies linking the sciences to the modernist arts: Carolyn Burdett (ed.), ‘Psychology/Aesthetics in the Nineteenth Century’, 19: Interdisciplinary Studies in the Long Nineteenth Century, online journal, no. 12 (2011), http://www.19.bbk.ac.uk; Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture (Cambridge, MA: MIT Press, 1999); Mark S. Micale (ed.), The Mind of Modernism: Medicine, Psychology, and the Cultural Arts in Europe and America, 1880–1940 (Stanford, CA: Stanford University Press, 2004); Dorothy Ross, Modernist Impulses in the Human Sciences 1870–1930 (Baltimore, MD: Johns Hopkins University Press, 1994). The most direct and original recognition of the importance of movement is Hillel Schwartz, ‘Torque: The New Kinaesthetic of the Twentieth Century’, in Incorporations, ed. Jonathan Crary and Sanford Kwinter (New York: Zone Books, 1992), 71–126.
7Robert Michael Brain, The Pulse of Modernism: Physiological Aesthetics in Fin-de-Siècle Europe (Seattle, WA: University of Washington Press, 2015), xxii.
8Ibid., xxi.
9Guillemette Bolens, The Style of Gestures: Embodiment and Cognition in Literary Narrative, trans. Guillemette Bolens (2006; Baltimore, MD: Johns Hopkins University Press, 2012); Dee Reynolds, Rhythmic Subjects: Uses of Energy in the Dances of Mary Wigman, Martha Graham and Merce Cunningham (Alton, Hampshire: Dance Books, 2007); Robin Veder, The Living Line: Modern Art and the Economy of Energy (Hanover, NH: Dartmouth College Press, 2015), 16 and 35.
10Veder, Living Line, 12–13.
11Robert Michael Brain, ‘The Pulse of Modernism: Experimental Physiology and Aesthetic Avant-gardes circa 1900’, Studies in History and Philosophy of Science 39 (2008): 393–417; Brain, Pulse of Modernism; Veder, Living Line.
12Marta Braun, Picturing Time: The Work of Etienne-Jules Marey (1830–1904) (Chicago, IL: University of Chicago Press, 1992).
13Frank Kermode, ‘The Dancer’, in Romantic Image (London: Routledge and Kegan Paul, 1957), 49–91; Frank Kermode, ‘Poet and Dancer before Diaghilev’, in Puzzles and Epiphanies: Essays and Reviews 1958–1961 (1958–61; London: Routledge & Kegan Paul, 1962), 1–28.
14Mark Paterson, for example, in The Sense of Touch: Haptics, Affects and Technologies (Oxford: Berg, 2007), said nothing about dance.
15On Isadora Duncan, Ann Daly, Done into Dance: Isadora Duncan in America (Middletown, CT: Wesleyan University Press, 1995); on Laban and ‘Labanism’, Lilian Karina and Marion Kant, Hitler’s Dancers: German Modern Dance and the Third Reich, trans. Jonathan Steinberg (1996; New York: Berghahn Books, 2003); on the Ballets russes, Lynn Garafola, Diaghilev’s Ballets russes (New York: Oxford University Press, 1989).
16We do not, however, wish to assert the causal, or primary, role of any one sense in anything so nebulous as modernism, in contrast, for instance, to Robert Michael Brain, Pulse of Modernism, 201: ‘The “modernist” turn around 1910 – the turn toward abstraction – derived from the new fascination with kinesthesia as the basis of both artistic creation and spectatorship’ (emphasis added). However much there was a pervasive valorization of kinaesthesia in the arts, modernism hardly ‘derived’ from any one thing. Its scope was much wider (Brain did not discuss dance), and the fascination with kinaesthesia was far from new.
17For the Russian culture of free dance, Irina Sirotkina, Svobodnoe dvizhenie i plasticheckii tanets v Rossii (Free Movement and Plastic Dance in Russia) (Moscow: Novoe literaturnoe obozrenie, 2011); and for the choreographic celebration of the body, with extensive and excellent illustrations, Nicoletta Misler, Vnachale bylo telo: ritmoplasticheskie eksperimenty nachala XX veka. Khoreologicheskaia laboratoriia GAKhN (In the Beginning was the Body: Rhythmic-plastic Experiments at the Beginning of the Twentieth Century: The Choreological Laboratory of GAKhN) (Moscow: Iskusstvo-XXI vek, 2011).
18For the dilemmas of ‘turning to nature’ in performance, see Alexandra Carter and Rachel Fensham (eds), Dancing Naturally: Nature, Neo-Classicism and Modernity in Early Twentieth-Century Dance (Basingstoke, Hampshire: Palgrave Macmillan, 2011).
19In relation to Russian Formalists, this has been shown by Ilona Svetlikova, Istoki russkogo formalizma. Traditsiia psikhologizma i formal’naia shkola (The Origins of Russian Formalism: The Tradition of Psychologism and the Formalist School) (Moscow: Novoe literaturnoe obozrenie, 2005); and by David Romand and Sergueï Tchougounnikov, ‘“Le formalisme russe”: Une séduction cognitiviste,’ Cahiers du monde russe 51, no. 4 (2010): 521–46.
20The relations of the natural science of energy and work to social transformation at the end of the nineteenth century were influentially discussed in Anson Rabinbach, The Human Motor: Energy, Fatigue, and the Origins of Modernity (1990; Berkeley: University of California Press, 1992). Energy was thoughtfully related to dance in Reynolds, Rhythmic Subjects.
21For Russian modernism, see the work and exhibition curatorship of John E. Bowlt and Nicoletta Misler, who also edit Experiment: A Journal of Russian Culture. See especially: vol. 2 (1996), ‘MOTO-BIO – The Russian Art of Movement: Dance, Gesture, and Gymnastics’; vol. 10 (2004), ‘Performing Arts and the Avant-garde’; vol. 17 (2011), ‘Sergei Diaghilev and the Ballets Russes’; vol. 20 (2014), ‘Kinetic Los Angeles: Russian Emigrés in the City of Self-Transformation’. On movement and the body, see Misler, Vnachale bylo telo.
22Richard Schechner, Performance Studies: An Introduction (London: Routledge, 2013), 2.
23Ibid.
24Richard Schechner, ‘What Are Performance Studies, Anyway?’ in The Ends of Performance, ed. Peggy Phelan and Jill Lane (New York: New York University Press, 1998), 357–62, on 361.
25Dwight Conquergood, ‘Rethinking Ethnography: Towards a Critical Cultural Politics’ [1991] in The Rise of Performance Studies: Rethinking Richard Schechner’s Broad Spectrum, ed. James M. Harding and Cindy Rosenthal (Aldershot, Hampshire: Palgrave Macmillan, 2011), 351–65, on 358. See also V. Turner, The Anthropology of Performance (New York: PAJ Publications, 1986).
26Nathan Stucky, ‘Deep Embodiment: The Epistemology of Natural Performance’, in Teaching Performance Studies, ed. Nathan Stucky and Cynthia Wimmer (Carbondale, IL: Southern Illinois University Press, 2002), 131–44, on 138–9.
27Peggy Phelan, ‘Introduction: The Ends of Performance,’ in The Ends of Performance, ed. Peggy Phelan and Jill Lane (New York: New York University Press, 1998), 1–22, on 4.
28C. M. Soussloff and M. Franko, ‘Visual and Performance Studies: A New History of Interdisciplinarity’, Social Text 20, no. 4 (2002): 29–46, on 33–4.
29Jane Desmond, ‘Embodying Difference: Issues in Dance and Cultural Studies’, in Meaning in Motion: New Cultural Studies of Dance, ed. Jane Desmond (Durham, NC: Duke University Press, 1997), 29.
30Conquergood, ‘Rethinking Ethnography’, 355.
31Suze Adams, ‘The Dwelling Body,’ in Body and Performance, ed. Sandra Reeve (Axminster, Devon: Triarchy Press, 2013), 67–83, on 71.
32Philipp B. Zarilli, ‘Action, Structure, Task, and Emotion: Theories of Acting, Emotion, and Performer Training from a Performance Studies Perspective’, in Teaching Performance Studies, ed. Nathan Stucky and Cynthia Wimmer (Carbondale, IL: Southern Illinois University Press, 2002), 145–59.
33Susan Leigh Foster, ‘Movements’ Contagion: The Kinesthetic Impact of Performance’, in The Cambridge Companion to Performance Studies, ed. Tracy C. Davis (Cambridge: Cambridge University Press, 2009), 46–59, on 49.
34Naomi Bragin, ‘Black Power of Hip Hop Dance: On Kinesthetic Politics’, https://www.academia.edu/
35Jacques Derrida, ‘Ou commence et comment finit un corps enseignant?’ in Politiques de la philosophie, ed. François Châtelet et al. (Paris: Grasset, 1979), 57–89, on 87–8), quoted in Soussloff and Franko, ‘Visual and Performance Studies’, 29.
36James Loxley, Performativity (London: Routledge, 2007), 153–4.
37Bragin, ‘Black Power of Hip Hop Dance’.
38Schechner, Performance Studies, 2.
39Conquergood, ‘Rethinking Ethnography’, 355.
40Dwight Conquergood, ‘Performance Studies: Interventions and Radical Research,’ Drama Review 46 (2002): 145–56, on 146.
41Tracy C. Davis, ‘Introduction: The Pirouette, Detour, Revolution, Deflection, Deviation, Tack and Yaw of the Performative Turn,’ in The Cambridge Companion to Performance Studies, ed. Tracy C. Davis (Cambridge: Cambridge University Press, 2009), 1–10, on 2.
42Bolens, Style of Gestures, 1–2.
43Dee Reynolds and Matthew Reason (eds), Kinaesthetic Empathy in Creative and Cultural Practices (Bristol: Intellect Books, 2012).
44Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics, trans. Saskya Iris Jan (2004; London: Routledge, 2008).
45Sirotkina, Svobodnoe dvizhenie i plasticheskii tanets, 85–7.
46Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of Art, trans. Zakir Paul (2011; London: Verso, 2013), 193.
47Some relevant sources include: Viktor Shklovsky, On Eisenstein, trans. Benjamin Sher (1991, online at http://www.websher.net/
48For an overview, Birgit Beumers, A History of Russian Cinema (Oxford: Berg, 2009).
49Viktor Shklovsky, Theory of Prose, trans. Benjamin Sher (1925; Elmwood Park, IL: Dalkey Archive Press, 1990), 15.
50Nina Gurianova, The Aesthetics of Anarchy: Art and Ideology in the Early Russian Avant-garde (Berkeley: University of California Press, 2012), 3.
51Sara Pankenier Weld, Voiceless Vanguard: The Infantilist Aesthetic of the Russian Avant-garde (Chicago, IL: Northwestern University Press, 2014), 8–9 and 209.
52Isabel Wünsche, The Organic School of the Russian Avant-garde: Nature’s Creative Principles (New York: Routledge, 2015), xv and 144.
53Julia Vaingurt, Wonderlands of the Avant-garde: Technology and the Arts in Russia of the 1920s (Chicago, IL: Northwestern University Press, 2013), 6 and 4.
54Frank Kermode noted the place of modernist dance in healing the world in ‘Poet and Dancer’.
55B. M. Galeev, ‘Sinesteziia i muzykal’noe prostranstvo’ (Synaesthesia and Musical Space), in Muzyka–kul’tura–chelovek (Music – Culture – Man), vol. 2 (Sverdlovsk: Ural’skii gos. universitet, 1991), 36–43 (http://synesthesia.prometheus.kai.ru/
56John Martin, extract from The Modern Dance [1933], in What Is Dance? Readings in Theory and Criticism, ed. Roger Copeland and Marshall Cohen (Oxford: Oxford University Press, 1983), 23–8, on 25.
1N. Gumilev, ‘Shestoe chuvstvo’ (The Sixth Sense) [1920], in Stikhi. Pis’ma o russkoi poezii (Poems. Letters about Russian Poetry) (Moscow: Khudozhestvennaia literatura, 1989), 266.
2Aristotle, De Anima (On the Soul), trans. Hugh Lawson-Tancred (London: Penguin Books, 1986), 160 (413b) and 220 (435a). This is one starting point for an outstanding intellectual history of touch, Daniel Heller-Roazen, The Inner Touch: Archaeology of a Sensation (New York: Zone Books, 2007). Aristotle used no concept strictly comparable to either mind or psychology, but referred rather to psuchē; for present purposes we may leave the ramifications of this to one side.
3Aristotle, De Anima, 172 (418a).
4Steven Hsiao, Takasaki Yoshioka and Kenneth O. Johnson, ‘Somesthesis, Neural Basis of’, in Encyclopedia of Cognitive Science, ed. Lynn Nadel (London: Nature Publishing Group, 2003), vol. 4, 92–6.
5I. Sokolov, Bedeker po ekspressionizmu (Baedeker of Expressionism) [1919], in Russkii ekspressionism. Teoriia. Praktika. Kritika, ed. V. N. Terekhina (Moscow: IMLI RAN, 2005), 61–4, on 62.
6Matthew Ratcliffe, ‘What Is Touch?’ Australasian Journal of Philosophy 90, no.3 (2012): 413–32, on 427; also, Aristotle, De Anima, 184 (422b).
7Jacques Derrida, On Touching – Jean-Luc Nancy, trans. Christine Irizarry (2000; Stanford, CA: Stanford University Press, 2005), 107, quoting Nancy.
8Lucretius, On the Nature of Things, trans. Martin Ferguson Smith, revised edn (Indianapolis, IN: Hackett, 2001).
9Aristotle, De Anima, 220 (435a–b).
10Maxine Sheets-Johnstone, The Primacy of Movement, 2nd edn (Amsterdam and Philadelphia, PA: John Benjamins, 2011), 51.
11Alain Berthoz and Jean-Luc Petit, The Physiology and Phenomenology of Action, trans. Christopher Macann (2006; Oxford: Oxford University Press, 2008), 121.
12Edmund Husserl, Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy. Second Book. Studies in the Phenomenology of Constitution (Collected Works, vol. 2), trans. Richard Rojcewicz and André Schuwer (Dordrecht: Kluwer, 1989), 24. (Written 1912–28.)
13Husserl ms, 1931, quoted in Berthoz and Petit, Physiology and Phenomenology of Action, 156.
14Husserl, Ideas Pertaining to a Pure Phenomenology … Second Book, 61.
15Edmund Husserl, Thing and Space. Lectures of 1907 (Collected Works, vol. 8), trans. Richard Rojcewicz (Dordrecht: Kluwer, 1997), 136. (The lectures were first published in full in 1973.)
16Martin Heidegger, Being and Time, trans. John Macquarrie and Edward Robinson (1927; Oxford: Basil Blackwell, 1962), 114. By ‘ready-to-hand’, Heidegger denoted things as they stand in our concern – how they stand as our ‘equipment’ in the world; see ibid., 95–102.
17Maurice Merleau-Ponty, Phenomenology of Perception, trans. Colin Smith (1945; London: Routledge, 2002), 106.
18Heidegger, Being and Time, 99.
19Matthew Ratcliffe, ‘Touch and the Sense of Reality’, in The Hand, an Organ of the Mind: What the Manual Tells the Mental, ed. Zdravko Radman (Cambridge, MA: MIT Press, 2013), 131–57, on 151.
20The phrase was the title of a lecture by Husserl in 1935: ‘The Vienna Lecture. Appendix I: Philosophy and the Crisis of European Humanity’, in The Crisis of European Sciences and Transcendental Phenomenology: An Introduction to Phenomenological Philosophy, trans. David Carr (1954; Evanston, IL: Northwestern University Press, 1970), 269–99.
21For an overview of the historical culture of touch, Constance Classen, The Deepest Sense: A Cultural History of Touch (Urbana, IL: University of Illinois Press, 2012). As Classen’s book well illustrates, it proves impossible to put boundaries to touch as a category for historical study: the history of touch constantly threatens to become the history of the experiential world generally.
22Ratcliffe, ‘What Is Touch?’; Ratcliffe, ‘Touch and the Sense of Reality’.
23Francisco J. Varela, Evan Tompson and Eleanor Roth, The Embodied Mind: Cognitive Science and Human Experience (Cambridge, MA: MIT Press, 1993), 64; also 113.
24For vertigo and early work related to the vestibular sense, called, ‘the search for a sixth sense’ (as if there was an intention to find a sixth sense, which was not the case), Nicholas J. Wade, ‘The Search for a Sixth Sense: The Cases for Vestibular, Muscle, and Temperature Senses’, Journal of the History of Neurosciences 12 (2003): 175–202; Nicholas J. Wade, ‘The Science and Art of the Sixth Sense’, in Art and the Senses, ed. Francesca Bacci and David Melcher (Oxford: Oxford University Press, 2011), 19–58. Wade drew on Edwin G Boring, Sensation and Perception in the History of Experimental Psychology (New York: D. Appleton-Century, 1942).
25John Bell and Charles Bell, The Anatomy and Physiology of the Human Body, 5th edn, 3 vols (London: Longman, Hurst, Rees, Orme, and Brown, 1823), vol. 3, 9–10. The same account (in both cases written by Charles Bell), appeared earlier: John Bell and Charles Bell, The Anatomy and Physiology of the Human Body, 4th edn, 3 vols (London: Longman, Hurst, Rees, Orme, and Brown, and T. Cadell, 1816), vol. 3, 1–10, 216–17.
26Bell and Bell, Anatomy, 5th edn, vol. 3, 212–13.
27There is an intellectual history of psycho-physiology and the differentiation of touch, in the last decades of the eighteenth century, into tactile and muscular senses. For a preliminary review of the sources, Roger Smith, ‘“The Sixth Sense”: Towards a History of Muscular Sensation’, Gesnerus: Swiss Journal of the History of Medicine and Sciences 68, no. 2 (2011): 218–71. This contributes to a book in progress, Roger Smith, Force and Resistance: Studies on the History of Kinaesthesia (working title).
28C. S. Sherrington, ‘The Muscular Sense’, in Text-Book of Physiology, ed. E. A. Schäfer (Edinburgh and London: Young J. Pentland, 1900), vol. 2, 1002–25, on 1006. See Charles Bell, ‘On the Nervous Circle which Connects the Voluntary Muscles with the Brain’, Philosophical Transactions [116], part 2 (1826): 163–73.
29Biran’s work, incomplete or unpublished as it often was, is complicated to assess; but see François Azouvi, Maine de Biran. La Science de l’homme (Paris: J. Vrin, 1995); Jerold Seigel, The Idea of the Self: Thought and Experience in Western Europe since the Seventeenth Century (Cambridge: Cambridge University Press, 2005), 251–68.
30J. J. Gibson, The Senses Understood as Perceptual Systems (Boston, MA: Houghton Mifflin, 1966). For an introduction to, and assessment of, Gibson’s work, see Edward S. Reed, James J. Gibson and the Psychology of Perception (New Haven, CT: Yale University Press, 1988).
31Charles Bell, The Hand and Its Mechanism and Vital Endowments as Evincing Design (London: William Pickering, 1833).
32See Sander L. Gilman, ‘“Stand up Straight”: Notes Toward a History of Posture’, Journal of Medical Humanities 35, no. 1 (2014): 57–83.
33William James, The Principles of Psychology, 2 vols (1890; New York: Dover, 1950), vol. 2, 197.
34H. Charlton Bastian, The Brain as an Organ of Mind (London: Kegan Paul, 1880), note on 543.
35Oxford English Dictionary, 1st edn (completed 1928).
36C. S. Sherrington, The Integrative Action of the Nervous System, 2nd edn, reprint (1906; New Haven, CT: Yale University Press, 1961), 132; C. S. Sherrington, ‘On the Proprio-ceptive System, Especially in Its Reflex Aspect’, Brain 29 (1907): 467–82.
37I. M. Sechenov, ‘Reflexes of the Brain’ [first variant 1863], trans. A. A. Subkov et al., in Selected Works, facsimile reprint (1935; Amsterdam: E. J. Bonset, 1968), 263–336, on 286.
38Ibid., 264.
39Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (1980; London: Continuum, 2004), 543–7, where the word ‘haptic’ was attributed to Alois Riegl. See also discussion in Mark Paterson, The Sense of Touch: Haptics, Affects and Technologies (Oxford: Berg, 2007), 79–102; David H. Warren, ‘The Development of Haptic Perception’, in Tactual Perception: A Sourcebook, ed. William Schiff and Foulke Emerson (Cambridge: Cambridge University Press, 1982), 82–129.
40Alois Riegl, Late Roman Art Industry, trans. Rolf Winkes (1901; Rome: Giorgio Bretschneider Editore, 1985), 24–8; as the translator’s Foreword made clear, though the translator used ‘tactile’, Riegl used the German word ‘haptische’.
41For overviews of empathy in relation to modernism, Harry Francis Mallgrave and Eleftherios Ikonomou, Empathy, Form, and Space: Problems in German Aesthetics, 1873–1893 (Santa Monica, CA: Getty Center for the History of Art and the Humanities, 1994); Robin Veder, The Living Line: Modern Art and the Economy of Energy (Hanover, NH: Dartmouth College Press, 2015), ch. 2.
42See Mallgrave and Ikonomou, Empathy, Form, and Space, 99–123.
43Carolyn Burdett, ‘“The Subjective Inside Us Can Turn into the Objective Outside”: Vernon Lee’s Psychological Aesthetics’, 19: Interdisciplinary Studies in the Long Nineteenth Century, online journal, no. 12 (2011), 19 (http://www.19.bbkac.uk/
44Bernhard Berenson, The Florentine Painters of the Renaissance with an Index of Their Works (New York: G. Putnam’s Sons, 1896), 4–5.
1Wassily Kandinsky, ‘On the Spiritual in Art and Painting in Particular’ [1911], in Kandinsky: Complete Writings on Art, ed. Kenneth C. Lindsay and Petger Vergo (New York: Da Capo Press, 1994), 114–219, on 131.
2F. T. Marinetti, Critical Writings, ed. Günter Berghaus (New York: Farrar, Strauss and Giroux, 2006), 374.
3N. A. Bernshtein, ‘Biodinamicheskaia normal’ udara’ (The Biodynamic Standard of a Stroke), Issledovaniia TsIT 1, no. 2 (1924): 54–119, on 101.
4N. A. Bernstein, The Co-ordination and Regulation of Movements, papers trans. from Russian and German (1966; Oxford: Pergamon Press, 1967); see also, A. R. Luria, The Working Brain: An Introduction to Neuropsychology, trans. Basil Haigh (Harmondsworth, Middlesex: Penguin Books, 1973), 245–55; Mihai Nadin (ed.), Anticipation: Learning From the Past. The Russian/Soviet Contributions to the Science of Anticipation (New York: Springer, 2014).
5Yvonne Rainer, ‘A Quasi Survey of Some “Minimalist” Tendencies in the Quantitatively Minimal Dance Activity midst the Plethora, or an Analysis of Trio A’ [1968], in What Is Dance? Readings in Theory and Criticism, ed. Roger Copeland and Marshall Cohen (Oxford: Oxford University Press, 1983), 325–32.
6Cited in Dee Reynolds, Rhythmic Subjects: Uses of Energy in the Dance of Mary Wigman, Martha Graham and Merce Cunningham (Alton, Hampshire: Dance Books, 2007), 65,
7John Martin, ‘The Modern Dance’ [1933], in What Is Dance? Readings in Theory and Criticism, ed. Roger Copeland and Marshall Cohen (Oxford: Oxford University Press, 1983), 23–8.
8L. D. Blok, Vozniknovenie i razvitie tekhniki klassicheskogo tantsa (Beginning and Development of the Classical Dance Technique) (Leningrad: Iskusstvo, 1987), 255.
9A. Bely, Nachalo veka (The Beginning of the Century) (1933; Moscow: Khudozhestvennaia literatura, 1990), 137.
10For Theosophy and Anthroposophy, see Maria Carlson, ‘No Religion Higher than the Truth’: A History of the Theosophical Movement in Russia, 1875–1922 (Princeton, NJ: Princeton University Press, 1993).
11A. Blok, Intelligentsiia i revoliutsiia (The Intelligentsia and Revolution) [1918], in Sobranie sochinenii (Selected Works), 8 vols (Moscow and Leningrad: Khudozhestvennaia literatura, 1962), vol. 6, 20.
12See Irina Sirotkina, ‘Conversion to Dionysianism: Tadeusz Zieliński and Heptachor’, in Models of Personal Conversion in Russian Cultural History of the 19th and 20th Centuries. Interdisciplinary Studies on Central and Eastern Europe, ed. Jens Herlth and Christian Zehndner (Frankfurt: Peter Lang, 2015), 105–22.
13See Ian Levchenko, Drugaia nauka: Russkie formalisty v poiskakh biografii (Another Science: Russian Formalists in Search of a Biography) (Moscow: Vysshaia shkola ekonomiki, 2012), 210; V. Shklovsky, Eizenshtein (Eisenstein) (Moscow: Iskusstvo, 1973), 58.
14E. W. Clowes, The Revolution of Moral Consciousness: Nietzsche in Russian Literature, 1890–1914 (DeKalb, IL: Northern Illinois University Press, 1988).
15Friedrich Nietzsche, Thus Spoke Zarathustra: A Book for Everyone and No One, trans. R. J. Hollingdale (London: Penguin Books, 1969), 305 (‘Of the Higher Man’, sect. 19). (Written 1883–5.)
16Ia. E. Golosovker, ‘Imaginativnyi absoliut’ (The Imaginative Absolute), in Logika mifa (The Logic of Myth) (Moscow: Nauka, 1987), 114–65, on 158.
17Ibid.
18Jeanne de Salzmann, The Reality of Being: The Fourth Way of Gurdjieff, ed. Stephen A. Grant (Boston: Shambhala, 2011), 68 and 72.
19See Charlotte Douglas, ‘Energetic Abstraction: Ostwald, Bogdanov, and Russian Post-revolutionary Art’, in From Energy to Information: Representation in Science and Technology, Art, and Literature, ed. Bruce Clarke and Linda Dalrymple Henderson (Stanford, CA: Stanford University Press, 2002), 76–94.
20Wassily Kandinsky, ‘Reminiscences/Three Pictures’ [1913], in Complete Writings on Art, 355–91, on 371–2; cited in Dee Reynolds, Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space (Cambridge: Cambridge University Press, 1995), 126–7.
21Wassily Kandinsky, ‘Whither the “New” Art?’ [1911], in Complete Writings on Art, 96–104, on 101; cited in Reynolds, Symbolist Aesthetics, 123.
22Kandinsky, ‘Reminiscences/Three Pictures’, 368; cited in Reynolds, Symbolist Aesthetics, 125–6.
23M. Matiushin, ‘Novyi prostranstvennyi realizm’ (New Spatial Realism) [1916–1920], in Tvorcheskii put’ khudozhnika (The Creative Way of the Artist), ed. A. V. Povelikhina (Kolomna: Muzei organicheskoi kul’tury, 2011), 220–37.
24M. A. Chekhov, To the Actor: On the Technique of Acting (New York: Harper & Row, 1953), 4.
25V. V. Mayakovsky, ‘Zhivopis’ segodniashnego dnia’ (Today’s Painting) [1914], in Polnoe sobranie sochinenii (Complete Works), 12 vols (Moscow: Khudozhestvennaia literatura, 1939), vol. 1, 325–34, on 334.
26Isadora Duncan, My Life, revised edn (1927; New York: Liveright, 2013), 61. For the development of uses of energy in modern dance, Reynolds, Rhythmic Subjects.
27Kandinsky, ‘On the Spiritual in Art’, 205–6.
28V. V. Kandinsky, ‘Prilozheniia k rabote “O dukhovnom v iskusstve”’ (Supplement to the Work, ‘On the Spiritual in Art’) [1914], in Izbrannye trudy po teorii iskusstva (Selected Works on Art Theory), vol. 1, 1901–1914 (Moscow: Gileia, 2008), 171–219, on 211.
29Wassily Kandinsky, ‘Point and Line to Plane’ [1926], in Complete Writings, 524–699, on 619.
30Iakov Chernikhov, ‘Eksprimatika, 1915–1920’, in his, Moi tvorcheskii put’ (Moscow: S. E. Gordeev, 2011), 44–54, on 44 and 47.
31Synaesthesia is again at the centre of the interest in linking science and the arts: see symposium at Tate Modern, London, February 2014 (http://www.tate.org.uk/
32A. Blok, ‘Bylo to v temnykh Karpatakh …’ (‘This Was in the Dark Carpathians …’) [1913], in Polnoe sobranie sochinenii i pisem v 20 tomakh (Complete Work and Letters in 20 Volumes), vol. 3 (Moscow: Nauka, 1997), 195.
33Studies linking sensory psycho-physiology and visual art include: Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture (Cambridge, MA: MIT Press, 1999); Robert Michael Brain, The Pulse of Modernism: Physiological Aesthetics in Fin-de-siècle Europe (Seattle, WA: Washington University Press, 2015).
34I. Sokolov, Bedeker po ekspressionizmu (Baedeker of Expressionism) [1919], in Russkii ekspressionizm. Teoriia. Praktika. Kritika, ed. V. N. Terekhina (Moscow: IMLI RAN, 2005), 61–4, on 62.
35B. M. Galeev, ‘Sinesteziia v mire metafor’ (Synaesthesia in the World of Metaphors), in Obrabotka teksta i kognitivnye tekhnologii (Text Processing and Cognitive Technologies). International Conference, Moscow and Varna, 2004, quoted in: http://synesthesia.prometheus.kai.ru/
36B. M. Galeev, ‘Sinesteziia v estetike i v poetike simvolizma’ (Synaesthesia in the Aesthetics and Poetics of Symbolism, 2004), quoted in: http://synesthesia.prometheus.kai.ru/
37Wassily Kandinsky, ‘Report to the Pan-Russian Conference, 1920’, in Complete Writings, 473–4, on 474.
38T. V. Goriacheva, ‘Teatral’naia kontseptsiia UNOVISa na fone sovremennoi stsenografii’ (UNOVIS’s Conception of Theatre against the Background of the Contemporary Art of Stage Setting), in Russkii avangard 1910–1920 godov i teatr (The Russian Avant-garde in the Years 1910–1920 and the Theatre), ed. G. F. Kovalenko (Saint-Petersburg: Dmitry Bulanin, 2000), 116–28.
39V. V. Kandinsky, ‘Oprosnyi list’ (Questionnaire), in Izbrannye trudy po teorii iskusstva (Selected Works on Art Theory), vol. 1, 1901–1914 (Moscow: Gileia, 2008), 74–80, on 79–80.
40Matiushin, ‘Novyi prostranstvennyi realizm’, 237.
41A. N. Leont’ev, ‘Problema vozniknoveniia oschuscheniia’ (The Problem of the Emergence of Sensation), in Problemy razvitiia psikhiki (Problems of Mental Development) (Moscow: Akademiia pedagogicheskikh nauk, 1959), 9–158.
42A. A. Kats (ed.), Vospominaniia schastlivogo cheloveka. Stefanida Dmitrievna Rudneva i studiia muzykal’nogo dvizheniia ‘Geptakhor’ (The Memoirs of a Happy Person: Stefanida Dmitrievna Rudneva and the Studio of Musical Movement ‘Heptachor’) (Moscow: Glavarkhiv Moskvy, 2007), 297.
43Ibid., 295–6.
44M. Matiushin, Tvorcheskii put’ khudozhnika (The Creative Way of the Artist), ed. A. V. Povelikhina (Kolomna: Muzei organicheskoi kul’tury, 2011), 143.
45Quoted in Kats (ed.), Vospominaniia schastlivogo cheloveka, 297.
46Ibid., 280–1.
47Rainer Maria Rilke, Sonnets to Orpheus, trans. J. B. Leishman (1923; London: Hogarth Press, 1936), 65.
48Golosovker, Imaginativnyi absoliut, 157.
1D. S. Merezhkovsky, ‘Griaduschii kham’ (The Coming Villain) [1906], in Intelligentsiia–Vlast’–Narod (The Intelligentsia–The Authorities–The People), ed. L. I. Novikova and I. N. Sizemskaia (Moscow: Nauka, 1992), 81–118, on 114.
2Friedrich Nietzsche, Thus Spoke Zarathustra: A Book for Everyone and No One, trans. R. J. Hollingdale (London: Penguin Books, 1969), 304 (‘The Higher Man’, sect. 17). (Written 1883–5.)
3Quoted in P. Rudnev, Teatral’nye vzgliady Vasiliia Rozanova (Vasily Rozanov’s Views on Theatre) (Moscow: Agraf, 2003), 67.
4See I. E. Sirotkina, Svobodnoe dvizhenie i plasticheskii tanets v Rossii (Free Movement and Plastic Dance in Russia) (Moscow: Novoe literaturnoe obozrenie, 2011), ch. 2.
5S. M. Gorodetsky, Zhizn’ neukrotimaia: stat’i, ocherki, vospominaniia (Indomitable Life: Articles, Sketches, Memoirs) (Moscow: Sovremennik, 1984), 22.
6Rudolf Arnheim, ‘Concerning the Dance’ [1946], in Towards a Psychology of Art: Collected Essays (London: Faber and Faber, 1966), 261–5, on 261.
7Quoted in D. O. Torshilov, ‘Zritel’noe v yazyke: metody analiza vizual’nogo riada proizvedenii literatury v rabotakh A. Belogo 1916–1934 gg.’ (The Visual in Language: Methods of Analyzing Visual Imagery in A. Bely’s Literary Works, from 1916 to 1934), in Trudy Russkoi antropologicheskoi shkoly (Works of the Russian Anthropological School), vol. 3 (Moscow: RGGU, 2005), 303–46, on 322.
8M. A. Chekhov, ‘Zhizn’ i vstrechi’ (Life and Encounters), in Literaturnoe nasledie (Literary Heritage), ed. N. A. Krymova, 2nd edn (Moscow: Iskusstvo, 1995), vol. 1, 122–257, on 169.
9S. M. Volkonsky, Moi vospominaniia (My Memoirs) (Moscow: Iskusstvo, 1992), vol. 1, 66.
10Quoted in Yu. E. Galanina, Liubov’ Dmitrievna Blok. Sud’ba i stsena (Liubov’ Dmitrievna Blok: Life and Stage) (Moscow: Progress-Pleiada, 2009), 34–5.
11S. M. Volkonsky, ‘Chelovek kak material iskusstva. Musyka–Telo–Plyaska’ (Man as Material for Art. Music–Body–Plyaska), Ezhegodnik Imperatorskikh Teatrov 4 (1911): 125–45, on 135–6.
12Volkonsky, Moi vospominaniia, vol. 1, 169.
13M. Voloshin, ‘Aisedora Dunkan’, in Aisedora. Gastroli v Rossii, ed. T. S. Kasatkina (Moscow: Akter. Rezhisser. Teatr, 1992), 30–48, on 37.
14For Rimbaud, Dee Reynolds, Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space (Cambridge: Cambridge University Press, 1995), 52–4; for Cézanne, Richard Shiff, ‘Cézanne’s Physicality: The Politics of Touch’, in The Language of Art History, ed. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1991), 129–80; also Maxine Sheets-Johnstone, The Primacy of Movement, 2nd edn (Amsterdam and Philadelphia, PA: John Benjamins, 2011), 428–30.
15Reynolds, Symbolist Aesthetics, 226–7 and 267, n. 62.
16Friedrich Nietzsche, The Gay Science, trans. Walter Kaufmann (2nd edn, 1886; New York: Vintage Books, 1974), Preface to 2nd edn, 38.
17O. Mandelstam, ‘Gosudarstvo i ritm’ (The State and Rhythm), in ‘I ty, Moskva, sestra moia, legka …’ Stikhi, proza, vospominaniia, materialy k biografii (‘And You, Moscow, My Sister, Are Light …’ Poems, Prose, Memoirs, Materials for a Biography) (Moscow: Moskovskii rabochii, 1990), 229–32, on 231.
18Quoted in F. F. Zelinsky, Skazochnaia drevnost’ Ellady. Mify Drevnei Gretsii (The Fabulous Antiquity of Hellas. Myths of the Ancient Greeks), ed. G. Ch. Guseinov (Moscow: Moskovskii rabochii, 1993), 3.
19N. P. Antsiferov, Iz dum o bylom: Vospominaniia (From Thoughts on the Past: Memoirs), ed. A. I. Dobkin (Moscow: Feniks, Kul’turnaia initsiativa, 1992), 157.
20Fyodor Dostoevsky, ‘The Pushkin Speech’ [1880], in The Dreams of a Queer Fellow and The Pushkin Speech (London: Unwin Books, 1960), 43–59, on 55.
21F. F. Zelinsky. Drevnegrecheskaia religiia (Ancient Greek Religion) (1918; Kiev: Sinto, 1993), 51.
22K. Mochul’skii, ‘Pis’ma k V. M. Zhirmuskomu’ (Letters to V. M. Zhirmunsky), Novoe literaturnoe obozrenie no. 35, 1999, at http://infoart.udm.ru/
23A. Ia. Levinson, ‘Tretii vecher Duncan’ (The Third Evening of Duncan), Rech’ (23–4 January 1913): 7.
24Quoted in A. A. Kats (ed.), Vospominaniia schastlivogo cheloveka. Stefanida Dmitrievna Rudneva i studiia muzykal’nogo dvizheniia ‘Geptakhor’ (The Memoirs of a Happy Person: Stefanida Dmitrievna Rudneva and the Studio of Musical Movement ‘Heptachor’) (Moscow: Glavarkhiv Moskvy, 2007), 717.
25Ibid.
26Ibid., 129 and 139.
27Ibid., 497.
28Ibid., 126.
29Antsiferov, Iz dum o bylom, 159.
30O. M. Freidenberg, quoted in N. V. Braginskaia, ‘Slavianskoe vozrozhdenie antichnosti’ (The Slavic Rebirth of Antiquity), in Russkaia teoriia, 1920–1930 gody (Russian Theory in the 1920s and 1930s), ed. S. Zenkin (Moscow: RGGU, 2004), 49–80, on 65.
31Quoted in Antsiferov, Iz dum o bylom, 160.
32Iu. E. Ozarovskii, Muzyka zhivogo slova. Osnovy russkogo khudozhestvennogo chteniia (The Music of the Living Word. Foundations of Russian Artistic Reading) (Saint-Petersburg: T-vo O. N. Popovoi, 1914), 282.
33Ibid., 123.
34V. Vsevolodskii-Gerngross, ‘Foto-stsenicheskaia korobka i amfiteatr’ (Photo-stage Box and the Amphitheatre), in Teatral’no-dekoratsionnoe iskusstvo v SSSR (The Art of Stage Design in the USSR) (Leningrad: Komitet vystavki teatral’no-dekoratsionnogo iskusstva, 1927), 141–50, on 142.
35Quoted in R. K. Vassena, ‘K rekonstryktsii istoriii deiatel’nosti Instituta zhivogo slova (1918–1924)’ (Towards a Reconstruction of the History of the Activity of the Institute of the Living Word), Novoe literaturnoe obozrenie no. 86 (2007): 79–95, on 93.
36Quoted ibid., 93.
37I. Odoevtseva, Na beregakh Nevy (On the Shores of the Neva) (Moscow; Vladimir: VKT, 2009), 22.
38RGALI fond 941, opis’ 4, delo 2, sheet 1 (Curriculum vitae S. D. Rudnevoi).
39GARF fond 2307, opis’ 4, delo 54, sheet 70.
40Quoted in Kats (ed.), Vospominaniia schastlivogo cheloveka, 564.
41Ibid., 563.
42Ibid., 263.
43Ozarovskii, Muzyka zhivogo slova, 116.
44Quoted in S. M. Volkonsky, Vyrazitel’nyi chelovek. Stsenicheskoe vospitanie zhesta (po Del’sartu) (The Expressive Person: Stage Training of Gesture According to Delsarte) (Saint-Petersburg: Apollon, 1913), 60–1.
45A. Bely, ‘Teoriia khudozhestvennogo slova. Tvorchestvo rechi (nabrosok lektsii)’ (Theory of the Living Word. Creativity of Speech (a Lecture Plan)), in Zhivoe slovo: Logos, golos, dvizheniie, zhest (The Living Word: Logos, Voice, Movement, Gesture), ed V. V. Feshchenko et al. (Moscow: Novoe literaturnoe obozrenie, 2015), 138–48.
46A. Bely, ‘Plan lektsii “Zhezl Aarona”’ (Plan of the lecture ‘Aaron’s Crosier’), in Miry Andreia Belogo (Andrei Bely’s Worlds), ed. Aleksandra Vranesh (Belgrade: Filologicheskii fakul’tet v Belgrade, 2011), 66–82, on 79.
47Friedrich Nietzsche, The Birth of Tragedy, trans. Walter Kaufmann (1872; New York: Vintage Books, 1967), 55 (sect. 6).
48Bely, ‘“Plan lektsii”’, 79.
49Inna Skliarevskaia, ‘Formirovanie temy: Rannee tvorchestvo Balanchina’ (Shaping of the Theme: Balanchine’s Early Work), Teatr 3 (2004): 82–7.
1A. Bely, ‘Bezrukaia tantsovschitsa’ (A Dancer with No Arms), ed. E. V. Glukhova and D. O. Torshilov, Literary Calendar: The Books of Days 5, no. 2 (2009): 5–25, on 19.
2N. Sirotkin, ‘Nemetskoiazychnyi avangard’ (German-language Avant-garde), in Semiotika i avangard: antologiia (Semiotics and the Avant-garde: An Anthology), ed. Yu. S. Stepanov (Moscow: Akademicheskii proekt; Kul’tura, 2006), 820–5, on 820.
3Shaun Gallagher, How the Body Shapes the Mind (Oxford: Clarendon Press, 2005), 117; cited in Guillemette Bolens, The Style of Gestures: Embodiment and Cognition in Literary Narrative, trans. [Guillemette Bolens] (2006; Baltimore, MD: Johns Hopkins University Press, 2012), 22.
4Quoted in N. Valentinov (N. Vol’skii), Dva goda s simvolistami (Two Years with the Symbolists) (Moscow: XXI vek-Soglasie, 2000), 85.
5A. Bely, ‘Zhezl Aarona. O slove v poezii’ (Crosier of Aaron. On the Word in Poetry), in Semiotika i avangard: Antologiia (Semiotics and the Avant-garde: An Anthology), ed. Yu. S. Stepanov (Moscow: Akademicheskii proekt; Kul’tura, 2006), 376–416, on 415.
6M. Osorgin, ‘Andrei Bely’, in Smert’ Andreia Belogo (The Death of Andrei Bely), ed. M. L. Spivak and E. V. Nasedkina (Moscow: Novoe literaturnoe obozrenie, 2013), 486–94, on 489.
7F. Stepun, ‘Pamiati Andreia Belogo’ (A Memory of Andrei Bely), in Vospominaniia o Serebrianom veke (Memoirs of the Silver Age), ed. V. Kreid (Moscow: Respublika, 1993), 191–202, on 198.
8Quoted in Osorgin, ‘Andrei Bely’, 489.
9M. A. Chekhov, ‘Zhizn’ i vstrechi’ (Life and Encounters), in Literaturnoe nasledie (Literary Heritage), ed. N. A. Krymova (Moscow: Iskusstvo, 1995), vol. 1, 122–257, on 173.
10Quoted in M. L. Spivak and E. V. Nasedkina (eds), Smert’ Andreia Belogo (The Death of Andrei Bely) (Moscow: Novoe literaturnoe obozrenie, 2013), 93.
11A. Bely, Na rubezhe dvukh stoletii (At the Turn of Two Centuries) (1931; Moscow: Khudozhestvennaia literatura, 1989), 201.
12A. Bely, ‘Pochemu ia stal simvolistom i pochemu ia ne perestal im byt’ vo vsekh fazakh moego ideinogo razvitiia’ (Why I Became a Symbolist and Why I Did not Stop Being One at all Stages of My Conceptual Development) [1904], in Simvolizm kak miroponimanie (Symbolism as a Worldview), ed. L. A. Sugai (Moscow: Respublika, 1994), 418–93, on 418.
13Bely, Na rubezhe dvukh stoletii, 201.
14A. Bely, Nachalo veka (The Beginning of the Century) (1933; Moscow: Khudozhestvennaia literatura, 1990), 551.
15Bely, Na rubezhe dvukh stoletii, 193.
16Chekhov, ‘Zhizn’ i vstrechi’, 171.
17Bely, Na rubezhe dvukh stoletii, 221.
18A. Bely, letter to R. V. Ivanov-Razumnik, 19 April 1914, in Andrei Bely i Ivanov-Razumnik. Perepiska (Correspondence) (Saint-Petersburg: Atheneum; Feniks, 1998), 43–5.
19A. Bely, Vospominaniia o Shteinere (Memoirs about Steiner) (Paris: Editions la Presse Libre, 1982), quoted at http://bdn-steiner.ru/
20M. V. Voloshina (Sabashnikova), Zelenaia zmeia (Green Snake) (Moscow: Enigma, 1993), 226; M. Siegloch, How the New Art of Eurythmy Began: Lory Maier Smits, the First Eurythmist (Forest Row, East Sussex: Temple Lodge, 1998). For a summary of Steiner’s views on eurythmy, Rudolf Steiner, A Lecture on Eurythmy. Given at Penmaenmawr on 26th August 1923 (1926; London: Rudolf Steiner Press, 1967). Also, Marjorie Raffe, Cecil Howard and Marguerite Lundgren, Eurythmy and the Impulse of Dance with Sketches for Eurythmy Figures by Rudolf Steiner ([London]: Rudolf Steiner Press, 1974).
21Bely, ‘Bezrukaia tantsovschitsa’, 19.
22Umberto Eco, Art and Beauty in the Middle Ages, trans. Hugh Bredin (1959; New Haven, CT: Yale University Press, 2002), 39.
23Steiner, Lecture on Eurythmy, 16.
24See Rudolf Steiner, Music in the Light of Anthroposophy [based on lectures, from 1906 to 1924] (London: Anthroposophical Publishing, 1925), 33–4.
25A. Bely, Glossolaliia. Poema o zvuke (Glossolalia. A Poem on Sound) (1922; Moscow: Evidentis, 2002), 10.
26Bely, ‘Bezrukaia tantsovschitsa’, 19–20.
27A. Bely, letter to E. Yu. Fechner, in M. Spivak, Andrei Belyi – mistik i sovetskii pisatel’ (Andrei Bely – Mystic and Soviet Writer) (Moscow: RGGU, 2006), 260.
28Osorgin, ‘Andrei Bely’, 491–2.
29M. Knebel’, ‘O Mikhaile Chekhove i ego tvorcheskom nasledii’ (On Mikhail Chekhov and His Creative Legacy), in M. A. Chekhov, Vospominaniia. Pis’ma (Recollections. Letters), ed. Z. Udal’tsova (Moscow: Lokid-Press, 2001), 9–33, on 18–19.
30M. A. Chekhov, To the Actor: On the Technique of Acting. (New York: Harper & Row, 1953), 63.
31A. Bely, ‘Formy iskusstva’ [1902], in Simvolizm kak miroponimanie (Symbolism as a Worldview), ed. L. A. Sugai (Moscow: Respublika, 1994), 122–39, on 136.
32Umberto Eco, In Search for the Perfect Language, trans. James Fentress (1993; Oxford: Blackwell, 1995), 18–19.
33L. V. Ivanova, Vospominaniia. Kniga ob otse (Memoirs. A Book about Father), ed. J. Malmstad (Paris: Atheneum, 1990), 35.
34Bely, Glossolaliia, 11–12.
35E. A. Samodelova et al., ‘Kommentarii’, in S. A. Esenin, Polnoe sobranie sochinenii (Complete Works), 7 vols (Moscow: IMLI RAN, 1997), vol. 5, 325–557, on 476.
36S. A. Esenin, ‘Kliuchi Marii’ (The Keys of Maria) [1920], in Polnoe sobranie sochinenii (Complete Works), 7 vols (Moscow: IMLI RAN, 1997), vol. 5, 186–213.
37M. Voloshin, ‘Aisedora Dunkan’, in Aisedora. Gastroli v Rossii (Isadora. Russian Tour), ed. T. S. Kasatkina (Moscow: Akter. Rezhisser. Teatr, 1992), 30–9, on 30.
38I. Shneider. ‘Vstrechi s Eseninym. Vospominaniia’ (Encounters with Esenin. Memoirs), in Aisedora Dunkan, ed. S. P. Snezhko (Kiev: Mistetstvo, 1989), 217–318, on 256.
39See, for example, A. B. Mariengof, ‘Vospominaniia o Esenine’ (Memoirs of Esenin), in S. A. Esenin v vospominaniiakh sovremennikov (S. A. Esenin in the Memoirs of His Contemporaries), ed. A. Kozlovskii (Moscow: Khudozhestvennaia literatura, 1986), vol. 1, 310–23, on 322.
40V. Shalamov, ‘Esenin’, in Sobranie sochinenii (Collected Works), 6 vols (Moscow: Knigovek, 2005), vol. 5, 185–93, on 192.
41Quoted in Aisedora Dunkan i Sergei Esenin. Ikh zhizn’, tvorchestvo, sud’ba (Isadora Duncan and Sergei Esenin. Their Lives, Work, Fate), ed. I. Krasnov (Moscow: Terra, 2005), 280–1.
42A. Sidorov, Sovremennyi tanets (Modern Dance) (Moscow: Pervina, 1923), 16.
43V. Meyerhold, ‘Variétés, Cabaret, Uberbrettl’ [1908–09], in Meierhol’dovskii sbornik (The Meyerhold Collection), ed. O. M. Fel’dman (Moscow: OGI, 2000), vol. 2, 251–3.
44M. Gerasimov, S. Esenin, S. Klychkov and N. Pavlovich, Zovushchie zori: Stsenarii v 4 chastiakh (Calling Dawns: Script in 4 Parts), Literaturnaia Riazan’ 2 (1957): 289–300, quoted at http://esenin.niv.ru/
45E. Styrskaia, ‘Poet i tantsovschitsa’ (Poet and Dancer), Znamia 12 (1999): 119–28, on 123.
46A. Mariengof, Bessmertnaia trilogiia (Immortal Trilogy) (Moscow: Vagrius, 1998), 47.
47Quoted in I. Chernetskaia, ‘Chestvovanie V. Ia. Briusova’ (Celebrating V. Ia. Briusov), in Aisedora. Gastroli v Rossii (Isadora. Russian Tour), ed. T. S. Kasatkina (Moscow: Akter. Rezhisser. Teatr, 1992), 341–55, on 347.
48Quoted in Peter Kurth, Isadora: A Sensational Life (2001), in Russian translation: P. Kurt, Aisedora Dunkan, trans. S. Losev (Moscow: Eksmo, 2007), 272.
49A. Rumnev, Vospominaniia [Memoirs], ms, The Bakhrushin State Theatre Museum, fond 518, delo 44, sheet 39.
50Mariengof, Bessmertnaia trilogiia, 47.
51Ibid.
52R. Laban, La Danse moderne éducative, trans. J. and J. Challet (Villers-Cotterêts: Ressouvenances, 2013), 25.
53Lol Kinel, quoted in Elena Yushkova, ‘Dance and Word in the Art of Isadora Duncan’, in Free Verse and Free Dance: Embodied Sense in Motion (Moscow: Moscow State University, 2011), 54–7, on 56.
54Quoted in Philippe Lacoue-Labarthe, Musica Ficta (Figures of Wagner), trans. Felicia McCarren (1991; Stanford, CA: Stanford University Press, 1994), 1.
55M. L. Gasparov, ‘Belyi-stikhoved i Belyi-stikhotvorets’ (Bely Poetry Scholar and Bely Poet), in Andrei Belyi. Problemy tvorchestva (Andrei Bely. Problems of His Creative Work) (Moscow: Sovetskii pisatel’, 1988), 444–60, on 447 and 453.
56Quoted in ibid., 453.
57M. Shik, ‘Vecher Goleizovskogo’ (Goleizovskii Evening), Teatral’noe obozrenie 10 (1921): 8–9.
58I. I. Sollertinskii, quoted in V. M. Krasovskaia (ed.), Sovetskii baletnyi teatr (Soviet Ballet Theatre) (Moscow: Iskusstvo, 1976), 84.
59A. Kviatkovskii, ‘Ritmologiia russkogo stikha’ (Rhythmology of Russian Poetry), in Ritmologiia (Rhythmology) (Saint-Petersburg: Dmitry Bulanin, 2008), 9–338, on 300.
60Bely, Glossolaliia, 113.
61Voloshina, Zelenaia zmeia, 389.
62A. Bely, ‘Arbat’ (The Arbat), Rossiia: Monthly Public and Literary Journal 2 (1924): 27–66, on 59.
63S. Esenin and A. Mariengof, cited in Letopis’ zhizni i tvorchestva S. A. Esenina (The Chronicle of S. A. Esenin’s Life and Work), (Moscow: IMLI RAN, 2005), vol. 3, 400–1.
64O. Lekmanhov and M. Sverdlov, Sergei Esenin. Biografia (Sergei Esenin. A Biography) (Moscow: Astrel’, Corpus, 2011), 174.
65Esenin, ‘Kliuchi Marii’, 213.
66Isadora Duncan, ‘The Dance of the Future’ [1903], in The Art of the Dance, ed. Sheldon Cheney (New York: Theatre Arts Books, 1969), 54–63, on 54 and 57.
67F. T. E. Marinetti, ‘Manifesto of the Futurist Dance’ [1917], in Marinetti: Selected Writings, ed. R. W. Flint, trans. R. W. Flint and Arthur A. Coppotelli (London: Secker & Warburg, 1972), 137–41, on 137; quoted in Felicia McCarren, Dancing Machines: Choreographies in the Age of Mechanical Reproduction (Stanford, CA: Stanford University Press, 2003), 100.
68V. Parnakh, ‘Opyty novogo tantsa’ (Experiences of New Dance) [1922], in Zhirafovidnyi istukan (Idol-Giraffe), ed. E. R. Arenzon (Moscow: Piataia strana, Gileia, 2000), 157–8.
69Quoted in E. Bobrinskaia (ed.), Futurizm. Radikal’naia revoliutsiya. Italiia-Rossiia (Futurism. Radical Revolution. Italy-Russia) (Moscow: Gos. Muzei imeni Pushkina, 2008), 32.
70S. I. Subbotin, ‘Kommentarii’, in S. A. Esenin, Polnoe Sobranie sochinenii (Collected Works), 7 vols (Moscow: IMLI RAN, 1997), vol. 2, 387.
71Shneider, ‘Vstrechi s Eseninym’, 260.
72See E. A. Samodelova, Antropologicheskaia poetika S. A. Esenina: avtorskii zhiznetekst na perekrestke kul’turnykh traditsii (S. A. Esenin’s Anthropological Poetics: The Author’s Life-text on the Crossroad of Cultural Traditions) (Moscow: Iazyki slavianskikh kul’tur, 2006), 585.
73See A. Kruchenykh, ‘O Velimire Khlebnikove’ (On Velimir Khlebnikov) [1932–1934; 1964], in Mir Velimira Khlebnikova: Stat’i. Issledovaniia (1911–1998) (The World of Velimir Khlebnikov: Papers. Studies (1911–1998)), ed. V. V. Ivanov and Z. S. Papernyi (Moscow: Iazyki slavianskikh kul’tur, 2000), 128–46, on 137.
74That Mallarmé’s poems thus require the reader’s constructive imagination is discussed in Dee Reynolds, Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space (Cambridge: Cambridge University Press, 1995), ch. 3.
75N. I. Khardzhiev, ‘Zametki o Khlebnikove’ (Notes about Khlebnikov) [1975], in Stat’i ob avangarde, v 2 tomakh (Articles on the Avant-garde, in 2 Vols.) (Moscow: RA, 1997), vol. 2, 273–92, on 278–9.
76O. M. Freidenberg, Poetika siuzheta i zhanra: period antichnoi literatury (Poetics of Plot and Genre: The period of Ancient Greek Literature) (1936; Moscow: Labirint, 1997), 120–2 (emphasis added).
77A. Kruchenykh, Apokalipsis v russkoi literature (The Apocalypse in Russian Literature) (Moscow: Tipografiia TsIT, 1923), 45.
78V. Kamensky, Zvuchal’ vesneianki. Stikhi (Moscow: Kitovras, 1918), 186–7. (The title is an example of zaum’ and untranslatable.)
79V. V. Feschenko, ‘Grafolaliia Zdanevicha-Il’yazda kak khudozhestvennyi eksperiment’ (Grapholalia by Zdanevich-Ilyazd as an Artistic Experiment), in Dada po-russki (Dada in Russian) (Belgrade: Filologicheskii fakul’tet Belgradskogo Universiteta, 2013), 204–12.
80V. Kamensky. Devushki bosikom. Stikhi (Girls Barefoot. Poems) (Tiflis: [no publisher given], 1916), 1.
81The words of the artist, David Burliuk, according to Kamensky’s widow; see K 120 letiiu V. V. Kamenskogo (Towards 120 Years of V. V. Kamensky) (Perm: 2004), quoted at http://refdb.ru/
82S. Vinogradov, ‘Akkordy zhizni’ (The Accords of Life), Ural’skaia zhizn’ [Ekaterinburg] (14 April 1917), 79.
83N. Anderson, ‘Avangard kak telo i predstavlenie: sluchai Goltzschmidt’ (The Avant-Garde as Body and Representation: The case of Goltzschmidt), in Futurist zhizni Vladimir Goltzshmidt. Poslaniia Vladi-mira zhizni s puti k istine (The Futurist Life of Vladimir Goltzshmidt. The Message by Vladi-mir of Life from the Path towards Truth), ed. N. Anderson (Moscow: Salamandra P.V.V., 2010), 6.
84Quoted in N. Zakharov-Menskii, ‘Kak poety vyshli na ulitsu. Part I (1917–1918 r.)’ (How Poets Came Out on the Street. Part I (the Years 1917 to 1918), http://lucas-v-leyden.livejournal.com/
85Ibid.
86V. Khodasevich, ‘Vystavka v salone Mikhailovoi’ (Exhibition in the Mikhailova Salon), in Russkii futurizm. Stikhi. Stat’i. Vospominaniia (Russian Futurism. Poems. Articles. Memoirs), ed. V. N. Terekhina and A. P. Zemenkov (Saint-Petersburg: Poligraf, 2009), 625–55.
87Kamensky, Zvuchal’ vesneianki, 9–10.
88A. Kusikov, K. Bal’mont and A. Sluchanovskii, Zhemchuzhnyi kovrik (A Pearl Rug) (Moscow: [no publisher given], 1921), 40–1.
89S. D. Spasskii, Maiakovsky i ego sputniki. Vospominaniia (Mayakovsky and His Circle. Memoirs) (Leningrad: Sovetskii pisatel’, 1940), 126–7.
90Quoted in E. Lazareva (ed.), Manifesty i programmy ital’ianskogo futurizma, 1915–1933 (Manifestos and Programmes of Italian Futurism) (Moscow: Gileia, 2013), 297.
91Vladimir Markov, Russian Futurism: A History (London: MacGibbon and Kee, 1968), 385.
92Elena Guro, Nebesnye verbliuzhata (Heavenly Baby-camels) (Saint-Petersburg: Zhuravl’, 1914), 54–5.
1S. M. Volkonsky, ‘Dokladnaia zapiska v Uchenyi komitet po fizicheskomu vospitaniiu’ (Report to the Physical Culture Committee), Listki Kursov ritmicheskoi gimnastiki 6 (1914): 7–11, on 9.
2S. M. Eisenstein, Memuary (Memoirs), ed. N. I. Kleiman (Moscow: Trud, Muzei kino, 1997), vol. 1, 164.
3Jeanne de Salzmann, The Reality of Being: The Fourth Way of Gurdjieff, ed. Stephen A. Grant (Boston, MA: Shambhala, 2011), 79.
4P. D. Ouspensky, Tertium Organum. The Third Canon of Thought. A Key to the Enigmas of the World, revised trans. E. Kadloubovsky and the Author (1920; London: Routledge and Kegan Paul, 1981), 277.
5See R. Whyman, The Stanislavsky System of Acting: Legacy and Influence in Modern Performance (Cambridge: Cambridge University Press, 2008), 78–88; S. D. Cherkasskii, Stanislavsky i yoga (Stanislavsky and Yoga) (Saint-Petersburg: RATI, 2013).
6[Anon.], ‘O sisteme Dal’croza’ (On Dalcroze’s System), Listki Kursov ritmicheskoi gimnastiki 6 (1914): 19–25, on 20.
7A. Rovner, Gurdzhiev i Uspenskii (Gurdjieff and Ouspensky), 2nd edn (Moscow: Starlight–Nomos, 2006), 136–7.
8A. V. Krusanov, Russkii avangard, 1907–1932. Istoricheskii obzor (The Russian Avant-garde, 1907–1932. Historical Overview), vol. 2 (Moscow: Novoe literaturnoe obozrenie, 2003), 798.
9A. Ia. Tairov, O teatre (On Theatre) (Moscow: VTO, 1970), 163.
10A. G. Koonen, Stranitsy zhizni (Pages of Life) (Moscow: Iskusstvo, 1985), 299.
11N. Chushkin, ‘V. V. Dmitriev. Tvorcheskii put’, 1948’ (V. V. Dmitriev. The Creative Way, 1948), in Mnemozina: Dokumenty i fakty iz istorii otechestvennogo teatra XX veka (Mnemozine: Documents and Facts from the History of Russian Theatre), ed. V. V. Ivanov (Moscow: Akter. Rezhisser. Teatr, 2004), vol. 3, 601.
12Yu. A. Golovashenko, Rezhisserkoe iskusstvo Tairova (Tairov’s Work as a Director) (Moscow: Iskusstvo, 1970), 203.
13S. M. Volkonsky, Moi vospominaniia (My Memoirs) (Moscow: Iskusstvo, 1992), vol. 1, 179.
14Ibid., 186–7.
15I. E. Sirotkina, N. A. Solntsev, K. G. Iasnova, ‘“Vse, chto ia khochu vam skazat’, ia by luchshe vyrazila v tantse”: Pis’ma Aisedory Dunkan K. S. Stanislavskomu’ (‘All I’d Like to Tell You I would Better Put in a Dance’: Isadora Duncan’s Letters to K. Stanislavsky), in Mnemozina: Dokumenty i fakty iz istorii otechestvennogo teatra XX veka (Mnemozine: Documents and Facts from the History of Russian Twentieth-Century Theatre), ed. V. V. Ivanov (Moscow: Indrik, 2014), vol. 5, 330–62, on 347.
16P. Claudel quoted (from Sur le théâtre d’Hellerau) in C. Schenk, ‘Une éducation par le rythme: Émile Jaques-Dalcroze et la cité-jardin d’Hellerau (1911–1914)’, in Créer, ensemble: Points de vue sur les communautés artistiques (fin du XIXe–XXe siècles) (Montpellier: L’Entretemps, 2013), 197–208, on 206.
17A. de Salzmann, ‘Light, Lighting and Illumination’, Material for Thought 4 (Spring 1972): 22–4. http://www.farwesteditions.com/
18Koonen, Stranitsy zhizni, 228.
19S. V. Vladimirov et al. (eds), U istokov rezhissury: Ocherki iz istorii russkoi rezhissury XIX – nachala XX veka (At the Origins of Staging: Essays on the History of Russian Staging from the Nineteenth to the Early Twentieth Century) (Leningrad: Len. gos. institut teatra, muzyki i kinematografii, 1976), 257–8.
20V. Nicolescu, ‘Alexandre de Salzmann, un grand artiste oublié du 20e siècle.’ Paper presented at the Halle Saint Pierre, Paris, 24 October 2009. http://www.scribd.com/
21I. Terent’ev, ‘Vecher Zhanny Matinion i Giurdzhieva’ (An Evening of Jeanne Matinion [Salzmann] and Gurdjieff), 41°. Ezhenedel’naia gazeta 1 (14–20 July 1919), 4 (the ellipses after ‘Chopin’ and after ‘relaxation’ in the original).
22M. Ljunggren, Russkii Mefistofel’: Zhizn’ i tvorchestvo Emiliia Metnera (Russian Mephisto: The Life and Work of Emil Medtner) (Saint-Petersburg: Akademicheskii proekt, 2001), 69.
23Zh. Panova, ‘Predislovie’ (Foreword), in E. Zhak-Dal’kroz, Ritm (Rhythm) (Moscow: Klassika-XXI vek, 2006), 3–19, on 16.
24Salzmann, Reality of Being, 127.
25Ibid., 63.
26Ibid., 122.
27S. Mamontov, ‘Demonstratsiia Jaques-Dalcroze’ (Demonstration by Jaques-Dalcroze) [1912], quoted in E. Ia. Surits, ‘Emile Jaques-Dalcroze v Rossii’ (Emile Jaques-Dalcroze in Russia), in Teatr i russkaia kul’tura na rubezhe XIX-XX vekov (Theatre and Russian Culture Abroad at the Turn of the Nineteenth and Twentieth Centuries) (Moscow: Teatral’nyi muzei imeni Bakhrushina, 1998), 58.
28[Charles Stanley Nott], Teaching of Gurdjieff: The Journal of a Pupil. An Account of Some Years with G. I. Gurdjieff and A. R. Orage in New York and at Fontainbleau-Avon (London: Routledge & Kegan Paul, 1961), 61.
29Ibid., 62.
30Rovner, Gurdzhiev i Uspenskii, 160–1.
31Nott, Teaching of Gurdjieff, 85–6.
32Quoted in M. Voloshin, ‘Kul’tura tantsa’ (Dance Culture) [1911], in Zhizn’ – beskonechnoe poznan’e (Life – Endless Knowledge), ed. V. P. Kupchenko (Moscow: Pedagogika-Press, 1995), 289–93, on 292.
33Quoted in P. I. Rumiantsev, Stanislavsky i opera (Stanislavsky and Opera) (Moscow: Iskusstvo, 1969), 407.
34Salzmann, Reality of Being, 73.
35K. S. Stanislavsky, An Actor Prepares, trans. Elisabeth Reynolds Hapgood (New York: Theatre Art Books, 1936), 243 and 275.
36Ian Driver, A Century of Dance: A Hundred Years of Musical Movement, from Waltz to Hip Hop (London: Bounty Books, 2009).
37G. Simmel, ‘The Metropolis and Mental Life’ [1903], in On Individuality and Social Forms: Selected Writings, ed. D. N. Levine (Chicago, IL: University of Chicago Press, 1971), 324–39.
38Salzmann, Reality of Being, 272 and 123.
39I. M. Sechenov, ‘Reflexes of the Brain’ [first variant 1863], trans. A. A. Subkov et al., in Selected Works, facsimile reprint (1935; Amsterdam: E. J. Bonset, 1968), 263–336, on 304.
40E. Levinas, Basic Philosophical Writings, ed. A. T. Peperzak, S. Critchley and R. Bernasconi (Bloomington, IN: Indiana University Press, 1996), 80–1.
41Maurice Merleau-Ponty, Phenomenology of Perception, trans. Colin Smith (1945; London: Routledge, 2002), 246.
42M. M. Bakhtin, ‘Avtor i geroi v esteticheskoi deiatel’nosti’ (Author and Hero in Aesthetic Activity), in Estetika slovesnogo tvorchestva (Aesthetics of Literary Creation) (Moscow: Iskusstvo, 1986), 9–191, on 127.
43Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics, trans. Saskya Iris Jan (2004; London: Routledge, 2008), 93–101.
44A critic in 1925, after seeing the actor Gustav Gruendgers, quoted in ibid., 95.
45E. Barba and N. Savareze, A Dictionary of Theatre Anthropology: The Secret Art of the Performer, trans. R. Fowler (London: Routledge, 1991), 74–7.
46Salzmann, Reality of Being, 291.
47Howard Gardner, Frames of Mind: The Theory of Multiple Intelligences (London: Heinemann, 1984), 205–36.
48V. S. Gurfinkel, interview with Irina Sirotkina, 21 May 2012.
1Vladimir Mayakovsky, How Are Verses Made? trans. George Hyde (1926; Bristol: Bristol Press, 1990), 68.
2A. Bely, Nachalo veka (The Beginning of the Century) (1933; Moscow: Khudozhestvennaia literatura, 1990), 550.
3M. Matiushin, Tvorcheskii put’ khudozhnika (The Creative Way of the Artist), ed. A. V. Povelikhina (Kolomna: Muzei organicheskoi kul’tury, 2011), 86.
4S. Shamardina, ‘Futuristicheskaia yunost’ (Futuristic Youth), in V. V. Katanian (ed.), ‘Imia etoi teme – liubov’! Sovremennitsy o Mayakovskom (‘The Name of this Theme – Love!’ Female Contemporaries on Mayakovsky) (Moscow: Druzhba narodov, 1993), 9–32, on 12; R. M. Kirsanova, Kostium v russkoi kult’ure XVIII – pervoi poloviny XX veka (Costume in Russian Culture of the Eighteenth to the First Half of the Twentieth Century) (Moscow: Bol’shaia Rossiiskaia Entsiklopediia, 1995), 269.
5E. A. Bobrinskaia, ‘Futuristicheskii “grim”’ (Futurist ‘Make-up’), Vestnik istorii, literatury, iskusstva (Moscow: RAN, 2005), 88–99, on 93.
6M. M. Bonch-Tomashevskii, Kniga o tango. Iskusstvo i seksual’nost’ (A Book on Tango. Art and Sexuality) (Moscow: M. V. Portugalov, 1914), 15 and 31.
7Quoted in A. V. Krusanov, Russkii avangard, 1907–1932. Istoricheskii obzor (The Russian Avant-Garde, 1907–32. Historical Overview) (Moscow: Novoe literaturnoe obozrenie, 2003), vol. 1, book 2, 467.
8Memoirs of Mayakovsky’s women-friends are collected in Katanian (ed.), ‘Imia etoi teme – liubov’!, 254, 260 and 278.
9Quoted in A. Kviatkovsky, ‘Osnovnye tipy stikha Mayakovskogo’ (Main Types of Mayakovsky’s Verses), in Ritmologiia (Rhythmology) (Saint-Petersburg: Dmitry Bulanin, 2008), 495–537, on 514.
10Iu. N. Tynianov, ‘O Mayakovskom. Pamiati poeta’ (On Mayakovsky. The Memory of the Poet), in Poetika. Istoriia literatury. Kino (Poetics. History of Literature. Cinema) (Moscow: Nauka, 1977), 196.
11Mayakovsky, How Are Verses Made? 68–9.
12Kviatkovsky, ‘Osnovnye tipy stikha Mayakovskogo’, 512–13.
13Vladimir Mayakovsky, ‘It’ – ‘What It’s About’– ‘For Her and Me’ [1923], in Poems, trans. Dorian Rottenberg (Moscow: Progress, 1972), 146; Russian variant quoted in Kviatkovsky, ‘Osnovnye tipy stikha Mayakovskogo’, 520.
14Vladimir Mayakovsky, ‘Vladimir Mayakovsky’ [1913], in Polnoe sobranie sochinenii v 13 tomakh (Complete Works in 13 Volumes), vol. 1 (Moscow: Khudozhestvennaia literatura, 1955), 152–72, on 157–8.
15Ian Driver, A Century of Dance: A Hundred Years of Musical Movement, from Waltz to Hip Hop (London: Bounty Books, 2009), 33.
16Nina Berberova, The Italics Are Mine, trans. Philippe Radley (1969; London: Chatto & Windus, 1991), 138–9.
17M. Gordon, ‘Valentin Parnakh, Apostle of Eccentric Dance’, Experiment: A Journal of Russian Culture 2 (1996): 423–9, on 427.
18E. Uvarova, Estradnyi teatr. Miniatiury, obozreniia, muzik-holly, 1917–1945 (Estrada Theatre. Miniatures, Reviews, Music-Hall, 1917–1945) (Moscow: Iskusstvo, 1983), 58.
19O. Brik, ‘Agit-holl’, Ermitazh 4 (1922): 4.
20V. Parnakh, ‘Chernye zhily’ (Black Veins) [1919], in Tri knigi (Three Books), ed. V. Perel’muter (Moscow: Sam & Sam, 2012), 137.
21See S. Gilman, ‘The Fox-trot and the New Economic Policy: A Case-study in “Thingification” and Cultural Imports’, Experiment: A Journal of Russian Culture 2 (1996): 443–75, on 465.
22Quoted in Uvarova, Estradnyi teatr, 67.
23O. Brik, ‘Sud’ba tantsa’ (Destiny of Dance), Zrelischa 23 (1923): 10–11, on 10.
24Lilia Brik – El’za Triole. Neizdannaia perepiska (1921–1970) (Lilya Brik – Elsa Triolet. Unpublished Correspondence), ed. V. V. Katanian (Moscow: Ellis Lak, 2000), 22.
25Li [A. A. Cherepnin], ‘Foregger’, Zrelischa no. 82 (1924): 11.
26Li [A. A. Cherepnin], ‘Ot fokstrota k “Iablochku”’ (From Foxtrot to ‘The Little Apple’), Zrelischa no. 25 (1924): 5–6, on 6.
27M. Gorky, ‘O muzyke tolstykh’ (On the Music of the Fat People) [1928], in his Sobraniie sochinenii (Collected Works), 30 vols (Moscow: Khudozhestvennaia literatura, 1953), vol. 24, 351.
28The Bakhrushin State Theatre Museum, fond 517, opis’ 1, sheet 45.
29A. Rashkovskii, ‘Sud’ba dramaturga i literatora. K 100-letiiu so dnia rozhdeniia I. S. Shura’ (The Destiny of a Playwright and Writer. For the Centenary of the Birthday of I. S. Shur), Topos. http://www.topos.ru/
30I. E. Sirotkina, ‘Biomekhanika mezhdu naukoi i iskusstvom’ (Biomechanics between Science and Art), Voprosy istorii estestvoznaniia i tekhniki no. 1 (2011): 46–70.
31V. E. Meyerhold, ‘[Studiia na Borodinskoi]’ (The Studio on Borodinskaia Street) [1914], in Meyerhold: K istorii tvorcheskogo metoda (Meyerhold: Towards a History of Creative Method), ed. N. V. Pesochinskii (Saint-Petersburg: Kul’tinformpress, 1998), 9–15, on 11.
32V. E. Meyerhold, ‘Lektsii Meierkhol’da o rezhissure’ (Meyerhold’s Lectures on Directing) [1921], in Meyerhold: K istorii tvorcheskogo metoda (Meyerhold: Towards a History of Creative Method), ed. N. V. Pesochinskii (Saint-Petersburg: Kul’tinformpress, 1998), 20–2, on 20.
33I. E. Sirotkina, Svobodnoe dvizhenie i plasticheskii tanets v Rossii (Free Movement and Plastic Dance in Russia) (Moscow: Novoe literaturnoe obozrenie, 2011), ch. 6.
34V. E. Meyerhold, ‘Doklad o sistemakh i priemakh akterskoi igry’ (Talk on Systems and Devices of Acting) [1925], in Meyerhold: K istorii tvorcheskogo metoda (Meyerhold: Towards a History of Creative Methods), ed. N. V. Pesochinskii (Saint-Petersburg: Kul’tinformpress, 1998), 44–5.
35Olga Chkalova, quoted in Iu. Zerchaninov, ‘Zhiznennyi put’ slavnogo russkogo sportsmena doktora Petrova’ (The Life Path of the Renowned Russian Sportsman, Dr Petrov), Iunost’ 11 (1978): 104–8, on 108.
36Leonid Sergeevich Vivien. Akter, rezhisser, pedagog (Leonid Sergeevich Vivien. Actor, Director, Teacher), ed. V. V. Ivanova (Moscow: Iskusstvo, 1988), 170.
37‘Teatr RSFSR I-i. Laboratoriia’ (The Theatre RSFSR-I. Laboratory), Vestnik teatra nos. 80–1 (1921): 22.
38V. E. Meyerhold, V. Bebutov, K. Derzhavin, ‘Teatral’nye listki-1’ (Theatre Notes-1), Vestnik teatra nos. 87–8 (1921): 2–3.
39D. Zolotnitskii, Meyerhold. Roman c sovetskoi vlast’iu (Meyerhold: A Love Affair with the Soviets) (Moscow: Agraf, 1999), 79.
40Ob”iasnitel’naia zapiska k Polozheniiu o Tefizkul’te (Explanatory Note to the Statute of Tefizkul’t), Russian State Archive of Literature and Art, fond 998 (V. E. Meyerhold), opis’ 1, delo 2921, sheet 4.
41V. E. Meyerhold, ‘V Glavnoe upravlenie Vsevobucha’ (In the Main Administration of Vsevobuch), Russian State Archive of Literature and Art, fond 998 (V. E. Meyerhold), opis’ 1, delo 2922, list 26.
42[Minutes of Tefizkul’t meetings of 28 July, 10 September and 4 October 1921], Russian State Archive of Literature and Art, fond 998 (V. E. Meyerhold), opis’ 1, delo 2921, list 21–3.
43V. E. Meyerhold, ‘Aktior budushchego’ (Actor of the Future), Ermitazh 6 (1922): 10–11.
44A. Gastev, ‘Narodnaia vypravka’ (Posture of the People), Pravda (12 July 1922).
45Quoted in V. Scherbakov, ‘Podrazhanie Champolionu’ (Imitation of Champolion), in Ot slov k telu. K 60-letiiu Iuriia Tsiv’iana (From Words to Body. For the 60th Birthday of Yuri Tsiv’ian), ed. A. Lavrov, A. Ospovat and R. Timenchik (Moscow: Novoe literaturnoe obozrenie, 2010), 393–428, on 427.
46R. Arnheim, Art and Visual Perception: A Psychology of the Creative Eye, new version (Berkeley, CA: University of California Press, 1974), 407.
47E. Barba and N. Savareze, A Dictionary of Theatre Anthropology: The Secret Art of the Performer, trans. R. Fowler (London: Routledge, 1991), 258–9; see also conclusion of our ch. 5.
48‘Biomekhanika’ (Biomechanics), in Teatral’naia entsiklopediia (Theatre Encyclopaedia), ed. S. S. Mokul’skii (Moscow: Sovetskaia entsiklopediia, 1961), vol. 1, 583.
49Barba and Savareze, Dictionary of Theatre Anthropology, 250.
50M. Polanyi, Personal Knowledge: Towards a Post-Critical Philosophy (London: Routledge & Kegan Paul, 1958).
1Friedrich Nietzsche, Thus Spoke Zarathustra: A Book for Everyone and No One, trans. R. J. Hollingdale (London: Penguin Books, 1969), 40 (‘Zarathustra’s Prologue’, sect. 2). (Written 1883–5.)
2Ibid., 228 (‘Of Old and New Law-Tables’, sect. 23).
3L. Ia. Ginzburg, ‘Vspominaia Institut istorii iskusstv’ (Remembering the Institute for the History of the Arts), in Rossiiskii institut istorii iskusstv v memuarakh (The Russian Institute for the History of the Arts in Memories), ed. I. V. Sepman (Saint-Petersburg: Rosiiskii institut istorii iskusstv, 2003), 58.
4Viktor Shklovsky, ‘Kak my pishem’ (The Way We Write) [1929], quoted in Vladimir Berezin, Viktor Shklovsky (Moscow: Molodaia gvardiia, 2014), 277.
5S. Zenkin, ‘Otkrytie “byta” russkimi formalistami’ (The Discovery of ‘byt’ by Russian Formalists), in Raboty po teorii (Works on Theory) (Moscow: Novoe literaturnoe obozrenie, 2012), 305. Zenkin was discussing the work of Gérard Genette.
6V. E. Meyerhold, ‘Doklad o sistemakh i priyomakh aktyorskoi igry’ (Talk on Systems and Devices of Acting) [1925], in K istorii tvorcheskogo metoda (Towards the History of Creative Methods), ed. N. V. Pesochinsky (Saint-Petersburg: Kul’tinformpress, 1998), 44–5.
7Quoted in I. Kalinin, ‘Istoriia kak iskusstvo chlenorazdel’nosti: istoricheskii opyt i metaliteraturnaia praktika russkikh formalistov’ (History as an Art of Articulation: Historical Experience and Metaliterary Practice of the Russian Formalists), Novoe Literaturnoe Obozrenie no. 71 (2005): 103–31, on 104.
8Yury Tsivian, Na podstupakh k karpalistike: Dvizhenie i zhest v literature, iskusstve i kino (At the Foot of Carpalistics: Movement and Gesture in Literature, Art and Cinema) (Moscow: Novoe literaturnoe obozrenie, 2010), 264–5.
9Kalinin, ‘Istoriia kak iskusstvo chlenorazdel’nosti’, 104.
10Viktor Shklovsky, Theory of Prose, trans. Benjamin Sher (1925; Elmwood Park, IL: Dalkey Archive Press, 1990), 15.
11Ibid., 16.
12Quoted in Dee Reynolds, Rhythmic Subjects: Uses of Energy in the Dance of Mary Wigman, Martha Graham and Merce Cunningham (Alton, Hampshire: Dance Books, 2007), 65.
13M. Bakhtin, Rabelais and His World, trans. Helene Iswolsky (1965; Cambridge, MA: MIT Press, 1968).
14Shklovsky, Theory of Prose, 15.
15Maurice Merleau-Ponty, Phenomenology of Perception, trans. Colin Smith (1945; London: Routledge, 2002), 166 (emphases added).
16Ibid., 164–5.
17F. C. Bartlett, Remembering: A Study in Experimental and Social Psychology (1932; Cambridge: Cambridge University Press, 1995), 201.
18Merleau-Ponty, Phenomenology of Perception, 168.
19Ibid., 169.
20V. Shklovsky, Voskreshenie slova (Resurrection of the Word) (Saint-Petersburg: Tipografiia Z. Sokolinskogo, 1914), 1. Cf. Roger Copeland, ‘Merce Cunningham and the Politics of Perception’, in What Is Dance? Readings in Theory and Criticism, ed. Roger Copeland and Marshall Cohen (Oxford: Oxford University Press, 1983), 307–24, on 314.
21Quoted in Reynolds, Rhythmic Subjects, 202.
22Gilbert Ryle, ‘Knowing How and Knowing That. The Presidential Address’, Proceedings of the Aristotelian Society 46 (1945–6): 1–16, on 16.
23M. de Certeau, The Practice of Everyday Life, trans. Steven F. Rendall (1980; Berkeley, CA: University of California Press, 1984), xiv–xv.
24See the influential critique in Guy Debord, The Society of the Spectacle, trans. Donald Nicholson-Smith (1967; New York: Zone Books, 1995).
25David Michael Levine (ed.), Modernity and the Hegemony of Vision (Berkeley, CA: University of California Press, 1993), interpreted modernity as the working out of presumptions of visual dominance since the Ancient Greeks.
26Constance Classen, The Deepest Sense: A Cultural History of Touch (Urbana, IL: University of Illinois Press, 2012), 148. Also, Constance Classen, Worlds of Sense: Exploring the Senses in History and across Cultures (London: Routledge, 1993), 6–7, on ‘Western visualism’.
27This use of ‘deepest’ should, however, be distinguished from reference (e.g., in Milton, cited by Classen, Deepest Sense, 54) to spiritual knowledge, drawing a contrast with the superficial knowledge of all the senses.
28Dee Reynolds, Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space (Cambridge: Cambridge University Press, 1995), 123.
29Norbert Elias, The Civilizing Process: The History of Manners, trans. E. Jephcott (1939; Oxford: Basil Blackwell, 1978).
30Gilbert Ryle, The Concept of Mind (1949; Harmondsworth, Middlesex: Penguin Books, 1963), 27 and 32.
31Maxine Sheets-Johnstone, The Primacy of Movement, 2nd edn (Amsterdam and Philadelphia, PA: John Benjamins, 2011), 429.
32Guillemette Bolens, The Style of Gestures: Embodiment and Cognition in Literary Narrative, trans. Guillemette Bolens (2006; Baltimore, MD: Johns Hopkins University Press, 2012), frontispiece.
33S. Zenkin, ‘Sotsial’nyi fakt i vesch’. (K probleme smysla v gumanitarnykh naukakh)’ (The Social Fact and the Thing. On the Problem of Meaning in the Human Sciences), in Raboty o teorii (Works on Theory) (Moscow: Novoe literaturnoe obozrenie, 2012), 24.
34Philip Robbins and Marat Aydede (eds), Cambridge Handbook of Situated Cognition (Cambridge: Cambridge University Press, 2008); Shaun Gallagher, How the Body Shapes the Mind (Oxford: Clarendon Press, 2005).
35Ginzburg, ‘Vspominaia Institut istorii iskusstv’, 55.
36This is an underlying implication of William James’s discussion of space perception, in The Principles of Psychology, 2 vols (1890; New York: Dover, 1950), vol. 2, 134–203.
37There is an unusually succinct statement of how the debate has acquired its present form in Nicolas Langlitz, ‘On a Not so Chance Encounter of Neurophilosophy and Science Studies in a Sleep Laboratory’, History of the Human Sciences 28, no. 4 (2015): 3–24; significantly, Langlitz wrote as an anthropologist of science and philosophy, observing but not advocating one side of the argument (while, of course, ‘performing’, and in this way advocating, anthropological observation).
38This is not the place to go further into the issues and to engage with the fine discussion in Carrie Noland, Agency and Embodiment: Performing Gestures/Producing Culture (Cambridge, MA: Harvard University Press, 2009). Though fully aware of the achievements of discourse studies, Noland finally inclined towards a more realist assessment of the body in movement.
39Sheets-Johnstone, The Primacy of Movement, 51.
40Maxine Sheets-Johnstone, The Phenomenology of Dance, 2nd edn (London: Dance Books, 1979), 137.
41Viktor Shklovsky, ‘Tetiva: O neskhodstve skhodnogo’ (Bowstring: On Dissimilarity of the Similar), in Izbrannoe v 2 tomakh (Selected Works in 2 Vols) (Moscow: Khudozhestvennaia literatura, 1983), vol. 2, 4–307, on 195.