"Twentieth -century performance theory and practice has clear perceptions about the nature and the function of the 'sense of the whole'; therefore, it is not surprising that the Russians have a word to describe this concept. The zamissel is, as Zelda Fichandler explains, 'the pervading sense...It's the thought that binds together all elements or the idea. The zamissel accounts for the whole--explains every action, every breath, every pulse, every second of the life of the play. It's like looking at a tree. The sap is in every leaf and it's also in the roots. I can spend months looking for the exact zamissel or idea or super-objective that will set a play in motion, unlock its hidden conflict.'
from Shadows of Realism: Dramaturgy and the Theories and Practices of Modernism, by Nancy Kindelan
Oh, and on a related note, did you know that phrases (or non-phrases) such as 'um', 'er', 'uh', or 'like' are called disfluencies?