"We, too, will show you life that's real-very! / But life transformed by the theater into a spectacle most extraordinary!" writes Vladimir Mayakovsky in the prologue of his famous Mystery Bouffe. This transformation of life "into a spectacle," both on stage and in reality, is one of the most distinct features of the phenomenon of theatricality. It is to some extent the metamorphosis of the real, the habitual, the ordinary into the theatrical. The parallel between theatricality and the ideas of the Russian Formalist school of literary criticism has often been pointed out, particularly in relation to the Formalist concept of literariness.1 Nevertheless, the affinity between theatricality and the phenomenon of making the familiar strange, central to Russian Formalism, has rarely been addressed. In 1917, Russian Formalist scholar Victor Shklovsky coined the term ostranenie to describe the artistic strategy of presenting the well-known as if seen for the first time. The term is translated into German as Verfremdung, which became the cornerstone of Bertolt Brecht's anti-Aristotelian dramaturgy of estrangement. The traditional means of estrangement in theater are epic devices central to Brecht's strategy of breaking theatrical illusions. Theatricality, however, can be present in the context of illusion without a self-referential aspect, but whenever theater's conventions and processes become its own topic, theatricality turns into a conceptual approach, often expressing its potential to make the familiar strange. This was the case with Meyerhold's, Tairov's and Evreinov's concepts of the theatricalization and re-theatricalization of theater in the Russian avant-garde. Moreover, these directors practiced the strategy of distancing the familiar using devices of theatricality in ways much closer to the notion of ostranenie as elaborated by Russian Formalists than to Brecht's Verfremdung. Thus theatricality functions as a distancing device when it foregrounds what is immanent to theater, calling attention to the fictionality and incompleteness of the representation. Brecht's concept of Verfremdung, Shklovsky's ostranenie, as well as practical and theoretical works of the Russian theatrical avant-garde suggest that there are several