Abstract
Creativity always requires some level of collective engagement, be it over a shared terrain or around a single point that can be approached from many perspectives. The anglophone world’s denial of collectivity in creativity remains an artifact of anxieties over agency and will that predated the Cold War, during which theories of grammars and structures were classified as antihumanist. Russian theatrical pedagogy, by contrast, has long fused the aims both to create fresh art and to create contact across time and space with values of intertextual enchantment and collective creativity. So did the early Soviet theorists of semiotics and communication—people who took their cues from artists, artists who theorized the makings of multiple perspectives, but who came to influence American social and semiotic theory much later.
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