Vigotski - Sobre o Problema Da Psicologia Do Trabalho Criativo Do Ator - 1932 - Revisão Por Iulia Vladimirovna Bobrova Passos

L.S.
VigotskiSobreoproblemadapsicologiadotrabalhocriativodoator(1932)
o:AchillesDelariJunior(2009)

Tradu

Traduo do ingls e organizao: Achilles Delari Junior
Reviso tcnica: Iulia Vladimirovna Bobrova Passos
LEV SEMIONOVITCH VIGOTSKI

Sobre o problema da psicologia
do trabalho criativo do ator
n the problem of the psychology
of the actors creative work
L.S.VigotskiSobreoproblemadapsicologiadotrabalhocriativodoator(1932)
Traduo:AchillesDelariJunior(2009)

SOBREOPROBLEMADAPSICOLOGIA
DOTRABALHOCRIATIVODOATOR
LevSemionovitchVigotski

VIGOTSKI,L.S.Sobreoproblemadapsicologiadotrabalhocriativo
doator.Traduzidode:VYGOTSKY,L.S.Ontheproblemofthe
psychologyoftheactorscreativework.In:______.Thecollected
worksofL.S.Vygotsky.Vol.6.Scientificlegacy.EditedbyRobert
W.Rieber.NewYork,Boston,Dordrecht,London,Moscow:Kluwer
Academic/PlenumPublishers,1999.p.237244.
Palavraschave:psicologia,teatro,trabalhocriativo,ator,
experincia,perejivanie,Vigotski,Stanislavski,Diderot.
Versodigitaldisponvelem:
http://www.scribd.com/doc/16453402/VigotskiSobreo
problemadapsicologiadotrabalhocriativodoator1932

Fotonacapa:YaleSchoolofDrama,fonte:http://drama.yale.edu
Traduoeorganizao:AchillesDelariJunior
Revisotcnica:IuliaVladimirovnaBobrovaPassos
UmuaramaPRprimeiraverso:14dejunhode2009
ltimarevisoconcludaem:08dejulhode2009
Passarporrevisesposteriores
Produovoluntriaeindependente
Paracrticasesugestes:delari@uol.com.br

CONTEDOS
AORGANIZAODESTEMATERIAL ....................................................................03
TRADUODOINGLS........................................................................................04
1PRLOGODEDOROTHYROBBINSAOTEXTODEVIGOTSKI ..............................04
2SOBREOPROBLEMADAPSICOLOGIADOTRABALHOCRIATIVODOATOR.......06
3NOTASEDIORUSSA ...................................................................................22
4REFERNCIAS.....................................................................................................24
ANEXOS................................................................................................................25
1CITAESDEDIDEROTEMTRADUOBRASILEIRA .........................................25
2REFERNCIASDEVIGOTSKISOBREEXPERINCIA[PEREJIVANIE] ...................26
3REVISOSOBRESTANISLAVSKI[CITAPEREJIVANIENESTEAUTOR] ...............27
L.S.
Traduo:

VigotskiSobreoproblemadapsicologiadotrabalhocriativodoator(1932)
AchillesDelariJunior(2009)
Estaumatraduoinstrumentaldoinglsaoportugus,parafinsdidticosenocomerci
ais,dotextodeLevSemionovitchVigotski(18961934):Sobreoproblemadapsicologiado
trabalhocriativodoator.Escritoem1932epublicadopelaprimeiravezemMoscounoano
de1936,nolivrodeI.M.IakobsonPsikhologuiastsenitcheskikhtchuvstvaktiora(Psicolo
giadossentimentoscnicosdoator).Voltoupublicarseem1984,noTomo6dasObrasEs
colhidasdeVigotski,pelaeditoraPedagoguika.Volumeaindanolanadonaversoespa
nholadestasobras,masnaamericanasim.OttuloeminglsOntheproblemofthepsy
chologyoftheactorscreativeworkeaediodequedisponhode1999.Paraalgumaspassagenscotejei
comaversorussa: (K voprosu o psikhologuii
tvortchestva aktiora) disponvel na internet. interessante notar que creative work,
trabalho criativo, traduzem o que no nominativo seria tvortchestvo (trabalho criador,
atividadecriadora,obra).Palavraquetambmaparecenottulodelivrobemconhecidode
Bakhtin, traduzida apenas como criao refirome Esttica da criao verbal (Este
tika slovesnogo tvortchestva). Contudo, no cotejo, priorizei as diferentes palavras russas
traduzidas indiscriminadamente como experience, sobretudo opit e perejivanie. Isso
porqueestatemsidodestacadaemcomentriosatuaissobreaobradeVigotski,naacepo
experincia emocional, mas nas nossas tradues no sempre se sabe quando ela est
presente,umavezqueoadjetivoemocionalnoadioobrigatria.Comomencionoem
nota na pgina 8, opit tambm pode ser experincia, e perejivanie ainda pode ser:
vivncia,provao,aflio,etc.Cabeaindanotarque,dadoocarterinstrumentalda
traduo,opteiporfornecertambmafonteemingls.Assimomaterialestemduasco
lunas:esquerdavaiadigitalizaotalcomofornecidanaversoemlnguainglesadopor
tal marxists.org, a partir das Obras Escolhidas. Foram corrigidas falhas dessa digitalizao,
havendopassadoalgo,peoquemesejaindicado,paraasprximasverses.Omesmovale
para toda a traduo crticas e sugestes de alterao sero bemvindas. Foram acres
centadasasnotasdaediorussaeabrevebibliografiadisponvel(ambasnoaparecemna
digitalizaodomarxists.org),coletadasdiretamentedovolume6dasobrasemingls,refe
rida na pgina anterior. Alm disso, antes do texto de Vigotski, adicionei parte do prlogo
deDorothyRobbinsaomesmotomo6,apenasocorrespondenteaotraduzido.Parafacilitar
citaes,apaginaodaversoamericanapreservadaentrechaves.Assim,porexemplo,
{237:}indicaqueocontedoqueseseguefoiretiradodapgina237eassimsucessiva
mente. Todas as notas com asteriscos so minhas e vm nos rodaps. As notas da edio
russa,preservadasnaamericanasonumeradasevironofinaldotexto,talcomonafonte.
SobreascitaesliteraisdeVigotskiaDiderot,acrescentouseemanexoumatraduobra
sileiradesteautor,paraostrechoscorrespondentes.Htambmdoisoutrospequenosane
xos,umcomrefernciasdeVigotskiquetratamdotemaperejivanieeoutrocomumare
visodeumlivrosobreStanislavskiquecitaestemesmotema.
AchillesDelariJunior
Agradeo educadora, estudiosa de Vigotski, doutoranda em Educao pela Unicamp,

Lavnia Magiolino pelo seu incentivo concluso deste material e suas sugestes para
melhorlo. E psicloga e especialista em Psicologia Social pela Universidade Estatal da
Federao Russa, na cidade de Ivanovo, Iulia Vladimirovna Bobrova Passos pela reviso
tcnicadatraduoedostermosrussosnasnotas.
Aresponsabilidadeporeventuaisincorreessomenteminha.
AORGANIZAODESTEMATERIAL

Umuarama,08dejulhode2009.
L.S.VigotskiSobreoproblemadapsicologiadotrabalhocriativodoator(1932) Traduo:AchillesDelariJunior(2009)

{x:}
4.Ontheproblemofthepsychology
oftheactorscreativework
*
DorothyRobbins
The last section is a fitting close to the Collected Works of L. S.

Vygotsky.Thereisadiscussionofdifferenttheories,forexample,those
of Stanislavsky
12
(whose {xi:} acting method was used in Hollywood
during the 1940s1950s); T. Ribot (who within the psychology of
emotions replaced dualism with a monistic hypothesis of parallelism
andinteraction(p.228));andDiderot(whodidnotbelievethatthereal
passions of the actor were necessary for good acting). Two opposing
positions regarding acting are presented: Stanislavsky's internal
justification or finding the truth of the feelings on stage, and Diderot's
(in which the actor brings the audience to emotional heights, being
devoidofpersonalemotion).VygotskyquotesL.Ya.Gurevichinstating
that "... the solution of the problem... lies not in the middle between
twoextremes,butonadifferentplanethatmakesItpossibletoseethe
subjectfromanewpointofview"(p.243).Thispositionrepresentsthe
coreofoverallVygotskianthoughtonvariouslevels.Itisarguedthatin
order to understand Vygotsky's psychology, one must be versed in
Vygotskianaesthetics.
By closing this volume with a return to the theater, including

aesthetics, there is final closure to Vygotsky's thoughts and life, which
recaptures the spirit of his first book The Psychology of Art (1925). It
seems appropriate to end in a way Vygotsky loved best: Dobkin (in:
Levitin, 1982, p. 31) remembers that he [Vygotsky] even grew more
fondofTyutchevspoetryinthoseyears.AndwithTyutchevtoohewas
able to find his own lines, which were not purely lyrical but had a
philosophicalmessage.Hewouldoftenrecite:
{x:}
4.Sobreoproblemadapsicologia
dotrabalhocriativodoator
DorothyRobbins
AltimaseoumfechamentoapropriadoparaasObrasEscolhidasde
L.S.Vigotski.Humadiscussodediferentesteorias,porexemplo,ade
Stanislavski
12
(cujos {xi:} mtodos de atuao foram usados em
Hollywood durante os anos 19401950); T. Ribot (que dentro da
psicologia das emoes substituiu o dualismo com uma hiptese
monista de paralelismo e interao (p. 228)); e Diderot (que no
acreditava que as paixes reais do ator fossem necessrias para uma
boa atuao). Duas posies opostas a respeito da atuao so
apresentadas: a justificao interna de Stanislavski ou a descoberta da
verdadedossentimentosemcena,eadeDiderot(naqualoatorconduz
a audincia a picos emocionais, sendo desprovido de emoo pessoal).
Vigotski cita L. Ia. Gurevitch afirmando que a soluo do problema
reside no no termo mdio entre dois extremos, mas em um plano
diferentequefazpossvelveroobjetodeestudodeumnovopontode
vista (p. 243). Esta posio representa o ncleo do pensamento
vigotskianocomoumtodoemvriosnveis.debatidosenointuitode
compreender a psicologia de Vigotski, devese ser versado na esttica
vigotskiana.
Para concluir este volume com um retorno ao teatro, incluindo a

esttica,humafinalizaoparaospensamentosevidadeVigotski,que
resgata o esprito de seu primeiro livro A psicologia da arte (1925).
Parece apropriado terminar do modo que Vigotski mais amava: Dobkin
(in: Levitin, 1982, p. 31) relembra que ele [Vigotski] tornouse ainda
maisapaixonado pelapoesiadeTiutchevnaquelesanos.EcomTiutchev
ele estava apto a encontrar suas prprias linhas, as quais no eram
puramente lricas, mas tinham uma mensagem filosfica. Ele
freqentementerecitava:

4de27
*
A referncia exata desse fragmento : ROBBINS, D. Prologue. In: VYGOTSKY, L. S. The collected works of L. S. Vygotsky. Vol. 6. Scientific legacy. Edited by Robert W. Rieber. New York, Boston,
Dordrecht,London,Moscow:KluwerAcademic/PlenumPublishers,1999.p.xxi.

Westillbelieveinmiracles
ForallthelessonsandtheTruths
Thatlifehastaughtus;
Weknowtheresbeautythatwontpall
Andstrengththatcannotbeexhausted;
Thatflowersofalovelinessunearthly
Toearthlywitheringwillnotsuccumb.
Anddewdrops,fallenontheminthemorning,
Willnotbedriedupbythemiddaysun.
Itisafaiththatwontdeceiveyou
Ifyoulivebyitalonefromfirsttolast;
Noteverythingthatfloweredoncemustwilt,
Noteverythingthatwasmustpass.
*****
Note
12
K S. Stanislavsky lived from 1863 to 1938. His [Stanislavskys] concept of acting,
which he called the theory of emotional experience, was essentially opposed to the
twodominatingsystemsoftheatricalperformanceofthetime:thecrafttheoryandthe
performance theory. Neither system needed active human communication and
thereforedidnotstudyit.Theadherentsofthecrafttheoryreducedeveryroletomere
reproduction of certain clichs established in theatrical practice by generations of
actors and completely ruled out the very Idea of meaningful communication between
actorsonstage.Nordidtheperformancetheory(D.Diderot,V.Meyerhold,andothers)
makeaconnectionbetweenpartnercommunicationandactingstandards(Berkhin,
1988,p.7).
References
Berkhin,J.(1988).TheproblemofcommunicationinK.S.Stanislavskysworks.
In:SovietPsychology.XXVI/3.
Levitin,K.(1982).Oneisnotbornapersonality:profilesofSovieteducation
psychologists.V.V.Davydov(ed.)Moscow,Russia:ProgressPublishers.
Nsaindaacreditamosemmilagres
ParatodasaslieseVerdades
Queavidanosensinou;
Nssabemosquehbelezaquenoesmaece.
Evigorquenopodeserexaurido;
Quefloresdeumencantoincomum
Aumsarcasmocomumnosucumbiro.
Egotasdeorvalho,cadassobreelaspelamanh,
Noserosecadaspelosoldomeiodia.
umafquenolhevailudibriar
Sevocviveparaela,porsis,doincioaofim;
Nadadaquiloquefloresceuumavezdevefenecer.
Nadadaquiloquefoidevepassar.
*****
Nota*
12
K.S.Stanislavskiviveude1863a1938.Seu[deStanislavski]conceitodeatuao,o
qualelechamoudeteoriadaexperinciaemocional
**
,eraessencialmenteopostoaos
doissistemasdominantesdeperformanceteatraldeseutempo:ateoriadoofcio
***
e
a teoria da performance. Nenhum dos sistemas necessitava a comunicao humana
ativa e, portanto, no a estudava. Os que aderiram teoria do ofcio reduziram todo
papel mera reproduo de certos clichs, estabelecidos na prtica teatral por
geraes de atores, e descartaram completamente a genuna idia da comunicao
significativa entre atores no palco. Nem a teoria da performance (D. Diderot, V.
Meyerholdeoutros)fezumaconexoentreacomunicaoentreospareseospadres
deatuao...(Berkhin,1988,p.7).
Referncias
Berkhin,J.(1988).TheproblemofcommunicationinK.S.Stanislavskysworks.
In:SovietPsychology.XXVI/3.
Levitin, K. (1982). One is not born a personality: profiles of Soviet education
psychologists.V.V.Davydov(ed.)Moscow,Russia:ProgressPublishers.

*
AnotaaquitranscritaeasrefernciaslogoabaixosorelativasapenaspartedotextodeDorothyRobbinstraduzidaaqui.Porissoregistramosapenasanota12eapenasasrefernciasparaos
doislivroscitadospelaautoranessaltimasessodeseuprlogoaovolume6dasObrasescolhidasdeVigotski,emsuapublicaonorteamericana.
**
possvel que Berkhin esteja se referindo a uma teoria da perejivanie, traduzindo perejivanie por emotional experience sabese que a categoria perejivanie importante para
Stanislavskivernossanotanapgina9etambmoanexo3,dapgina27emdiante.

5de27
***
Crafttheory.PeloMichaellis:craft
n
1arte,habilidade,destreza,percia.2ofcio,profisso.3oficial,profissional,artfice.4astcia,manha,artifcio..Opteiporofcio.MasCrafttheory
podesertermotcnicocomdesignaoprpriaemdramaturgiaetraduomaisadequadaemnovasversesserrevisto.Sobrecraftparatraduzirorussover1notanap.7etb.1nap.8.

{237:}
ONTHEPROBLEMOFTHEPSYCHOLOGY
OFTHEACTORSCREATIVEWORK
1
(1932)
LevVygotsky
The problem of the psychology of the actor and theatrical creative

workisatoneandthesametimeoldandcompletelynew.
Ontheonehand,itseemsthereneverwasoneevensomewhatgreat
theatrical pedagogue or critic, not one man of the theater in general,
who might pose this question one way or another, and who, in
practical activity, performance, teaching, or evaluations, would not
proceed from one or another understanding of the psychology of the
actor. Many who were active in the theater produced extremely
complex systems of the actors performance in which they found a
concrete expression not only of purely artistic aspirations of their
authors, not only the canons of style, but also systems of practical
psychology of the actors creative work. Such, for example, is the
famous system of K. S. Stanislavsky, full of theoretical staging, which,
unfortunately,wedonothavetothisday.
Ifwetrytotracethesourcesoftheatricalpsychology,theywilltakeus
far back, and we will see the great and very difficult problems of this
area,whichoverthecourseofacenturyandinvariousforms,agitated
the minds of the best representatives of the theater. This problem,
which D. Diderot
2
pose in the remarkable Paradox of the Actor,
already anticipates the sharpest arguments between various
contemporary theatrical systems, but he, in his turn, was anticipated
by a number of thinkers of the theater who long before Diderot put
the question in a somewhat different form, but on the same plane as
Diderotsetsit.
{237:}
SOBREOPROBLEMADAPSICOLOGIA
DOTRABALHOCRIATIVODOATOR
1
(1932)
LevVigotski
O problema da psicologia do ator e do trabalho teatral criativo ao

mesmotempovelhoecompletamentenovo.
Por um lado, parece que nunca houve, mesmo em certa medida, um

grandecrticooupedagogoteatral,nenhumhomemdeteatroemgeral,
quepudesseposicionarestaquestodeumaformaoudeoutra,eque,
na atividade prtica, performance, ensino ou avaliaes, no tenha
partido de uma ou outra compreenso da psicologia do ator. Muitos
dos que foram ativos no teatro produziram sistemas extremamente
complexos de performance do ator nos quais encontraram uma
expresso concreta no apenas de aspiraes puramente artsticas de
seus autores, no apenas cnones de estilo, mas tambm sistemas de
psicologia prtica do trabalho criativo do ator. Tal , por exemplo, o
famoso sistema de K. S. Stanislavski, repleto de produo terica, a
qual,desafortunadamentensnotemosnosdiasatuais.
Se ns tentarmos examinar as fontes da psicologia teatral, elas nos

levaromuitolongenopassado,ensveremososgrandeserealmente
difceis problemas dessa rea, os quais, ao longo de um sculo e em
vrias formas, agitaram as mentes dos melhores representantes do
teatro.Esteproblema,queD.Diderot
2
coloca noclebreParadoxodo
Ator, j antecipou os argumentos mais bem formados entre vrios
sistemas teatrais contemporneos, mas ele, por sua vez, foi precedido
por um grande nmero de pensadores do teatro que, bem antes de
Diderot, colocaram a questo de uma forma um tanto diferente, mas
nomesmoplanoemqueDiderotposicionoua.

6de27

Thereissomethingbasicinthisformulationofthequestion,andwhen
one begins to study attentively its historical development, one is
inevitablyconvincedthat,obviously,itisrootedintheveryessenceof
the creative work of the actor as it opens up to direct understanding,
which is still wholly guided by a naive amazement before a new
psychologicalphenomenon.
Thus, in theatrical systems, if the problem of the psychology of the

actorwithallitschangesretainedascentraltheparadoxoftheactors
emotion, then in the new time, investigations of a different type
opened paths applicable to the same problem. New investigations
begin to involve the actors profession in the common circle of
investigations of the psychology of the profession, bringing to the
forefront the psychotechnical approach to the actors craft, The
problem usually at the center of attention is how certain general
qualitiesandtraitsofhumangiftednessshouldbedevelopedtoensure
the person who has them success in the area of theatrical creative
work. Tests are created to study fantasy, the motor system, verbal
memory, and excitability of the actors, and on that basis, a
professiogramoftheactorsworkisconstructedaccordingtoexactly
thesameprincipleasanalogouspsychogramsforanyotherprofessions
are constructed; then, according to the register of established
qualities, people are selected for this profession who best correspond
tothisregister.
{238:}
Only very recently did we note an attempt to overcome the

inadequacies of this and another approach to this problem and
formulateitdifferently.Inthisrespect,worksofanewtypehavecome
into view; in this respect also, we have called the problem of the
psychology of the actor a problem that is completely new and almost
notstudiedatall.
Halgobsiconestaformulaodaquestoe,quandoalgumcomea
a estudar atentamente seu desenvolvimento histrico, inevita
velmente convencido de que, obviamente, isso est enraizado na
verdadeiraessnciadotrabalhocriativodoator,comoelaseabrepara
a compreenso direta, a qual ainda totalmente guiada por uma
admiraoingnuaemfacedeumnovofenmenopsicolgico.
Portanto, em sistemas teatrais, se o problema da psicologia do ator,

com todas as suas mudanas, manteve como central o paradoxo da
emoo do ator, ento, no tempo atual, investigaes de um tipo
diferente abriram caminhos aplicveis ao mesmo problema. Novas
investigaes comeam a envolver a profisso do ator no crculo
comum de investigaes da psicologia das profisses, trazendo linha
de frente a abordagem psicotcnica ao ofcio
*
do ator. O problema
usualmente no centro das atenes como certas qualidades gerais e
traos de talentos humanos seriam desenvolvidos para certificar a
pessoa de que tenha seu sucesso na rea do trabalho teatral criativo.
Testes foram criados para estudar a fantasia, o sistema motor, a
memria verbal e a excitabilidade dos atores e, nesta base, um
profissiograma do trabalho
**
do ator construdo de acordo com
exatamente o mesmo princpio pelo qual so construdos os anlogos
psicogramas,paraquaisqueroutrasprofisses;ento,deacordocomo
registro de qualidades estabelecidas, as pessoas so selecionadas para
aquelaprofissoquemelhorcorrespondeaoregistro.
{238:}
Apenasmuitorecentemente nsnotamosuma tentativadesuperaras

inadequaesdestaedaquelaabordagemdesteproblemaeformullo
diferentemente.Aesterespeito,temseemvistatrabalhosdeumnovo
tipo;aesserespeito,ainda,nsdenominamosoproblemadapsicologia
do ator como um problema que completamente novo e quase no
estudadodequalquermodo.

*
Em ingls craft (ver terceira nota na pgina 5), mas em russo (ofcio, arte), como em trabalhos de Vigotski traduzidos ao portugus temos tambm a palavra arte para designar
(iskusstvo)porexemplo,nottulodolivroPsicologiadaarte(Psikhologuiaiskusstva)ficaremoscomofcio,mesmoquefossearteserianaacepo8desteverbetenoHouaiss:
oconjuntodosprincpiosetcnicascaractersticosdeumofcioouprofisso.

7de27
**
Eminglswork,emrusso(trud):trabalho,labor,labuta.Conferir1notanap.8,naqualseindicaquetraduzemtrudportambmporcraft.Aquimanteremostrabalho.

It is easiest to define the new approach to the old problem by
comparing it to two former trends. They had a common inadequacy
over and above the unique, radical methodological flaws that
characterize each of them separately and which to a certain degree is
oppositeintheoneandtheothersystemofinvestigation.
Thecommoninadequacyofformertrendsisthecompleteempiricism,
theattempttoproceedfromwhatisonthesurface,toestablishfacts
that are directly grasped and to elevate them to the rank of a
scientifically discovered pattern. Although the empiricism with which
people of the theater work is frequently an area of phenomena
profoundly unique and extremely significant in the general sphere of
culturallife,althoughfactssuchasthespecificworksofgreatmasters
aredealtwithhere,thescientificsignificanceofthesematerialsisnot
beyond the limits of the collection of factual data and general
deliberation over the formulation of the problem. Also marked by the
same radical empiricism are the psychotechnical investigations of the
actorscraftwhichcannotrisetoanyextentabovethedirectlyfactual
data and include them in the general, previously determined
methodologicalandtheoreticalunderstandingofthesubject.
Moreover, as has been indicated, each of these trends has a specific

inadequacy.
Stage systems, from the actor, from theatrical pedagogy, from
observationsofrehearsals,andduringperformance,whichareusually
enormousgeneralizationsoftheproducersoractorsexperience,set
maisfcildefiniranovaabordagemaovelhoproblemacomparandoo
aduastendnciasanteriores.Elastmumainadequaocomumacima
e abaixo das falhas metodolgicas excepcionais, radicais, que
caracterizam cada uma delas separadamente e que num certo grau
opostaemumeoutrosistemadeinvestigao.
A inadequao comum das tendncias principais o completo

empiricismo,atentativadeprocederapartirdoque estnasuperfcie,
para estabelecer fatos que so diretamente obtidos e elevlos ao
estatuto de um padro cientificamente descoberto. Embora o
empiricismo com o qual as pessoas de teatro trabalham seja
freqentemente uma rea de fenmenos profundamente nica e
extremamente significativa na esfera geral da vida cultural, embora
fatos tais como obras especficas de grandes mestres sejam tratados
aqui,asignificnciacientficadestesmateriaisnoestalmdoslimites
da coleo de dados fatuais e da deliberao geral sobre a formulao
doproblema.Tambmmarcadaspelomesmoempiricismoradicalesto
asinvestigaespsicotcnicasdotrabalho
*
doator,asquaisnopodem
alcanar qualquer patamar acima dos dados diretamente fatuais e
inclulos na compreenso terica e metodolgica geral do objeto de
estudopreviamentedeterminada.
Alm disso, como foi indicado, cada uma dessas tendncias tem uma
inadequaoespecfica.
Sistemas cnicos
**
, do ator, da pedagogia teatral, de observaes de
ensaios e durante a performance, os quais so usualmente enormes
generalizaesdoprodutoroudaexperinciadoator
***
,estabelecem

*
Emingls,novamentecraft,masnomaispara(remeslo),esimpara(trud),queindicamaistrabalho,labor,labuta.Ficaremoscomtrabalho,emboraaindahajaemrusso
(rabota)paratrabalho,masmaisligadoaocupao,emprego,funo,atribuio.
**
Eminglsstagesystems,emrusso(stsenitcheskiesistemi).Sistemascnicos.(stsena):cena,palco.

8de27
***
Aquiexperinciadoatorouactorsexperienceestpor(aktiorskogoopita).Apalavrarussaparaexperincia,nestecaso,opitenoperejivanie.Opitpodeser
tanto(1)experimento,ensaio,prova;quanto(2)experinciadevida,prticanumadadaatividade,etc.ComoVigotskiestfalandodegeneralizaesdaexperinciadoator,parecetratarsedessa
segunda acepo. Pelo Rambler Slovar: II . ( ) experience; knowledge of life; experience of war; battle
experience; know* by experience; . adopt smb.'s methods; bitter experience. Verbete disponvel em:
http://www.rambler.ru/dict/ruen/00/6c/bd.shtml.

specific, unique, features of experience, inherent only in the actor, as
being of paramount importance, forgetting that these features must
beunderstoodagainstabackgroundofgeneralpsychologicalpatterns,
that the actors psychology comprises only a part of the total
psychology in both the abstractscientific and the concretelife
significance of this word. However, when these systems reach to
general psychology for support, the attempts prove to be a more or
lessaccidentalconnectioninthemannerofthatwhichexistsbetween
theStanislavskysystemandthepsychologicalsystemofT.Ribot.
Psychotechnical investigations, on the other hand, lose sight of all

specificity, all the uniqueness of the actors psychology, seeing in the
creative work of the actor only a special combination of the same
mental qualities that are found in a different combination in any
profession. Forgetting that the activity of the actor is itself a unique,
creative work of psychophysiological conditions, and not analyzing
thesespecificconditionsinallthevarietyoftheirpsychologicalnature,
theinvestigatorspsychotechniciansdissolvetheproblemoftheactors
creativeworkingeneral,andatthesametime,banaltestpsychology,
paying no attention to the actor and all the uniqueness of his
psychology.
Thenewapproachtothepsychologyofthecreativeworkoftheactor
is characterized, first of all, by the attempt to overcome the radical
empiricism of the two theories and to comprehend the psychology of
theactorinallthequalitativeuniquenessofitsnature,butinthelight
of more general psychological patterns. At the same time, the factual
aspectoftheproblemassumesacompletelydifferentcharacterfrom
abstract,itbecomesconcrete.
If formerly the testimony of one actor or another or one epoch or

another was always considered from the point of view of the eternal
andunchangingnatureofthetheater,nowinvestigatorsapproacha
caractersticas especficas da experincia
*
, nicas, inerentes apenas ao
ator, como sendo de importncia monumental, esquecendo que estas
caractersticas devem ser compreendidas contra um pano de fundo de
padres psicolgicos gerais, que a psicologia do ator compreende
apenas uma parte da psicologia total, em ambos os significados dessa
palavra: abstratocientfico e concretovivo. Contudo, quando estes
sistemastomamapsicologiageralcomosuporte,astentativasprovam
serumaconexomaisoumenosacidentalaomododaquiloqueexiste
entreosistemadeStanislavskieosistemapsicolgicodeT.Ribot.
Investigaes psicotcnicas, por outro lado, perdem de vista toda a

especificidade, toda a singularidade da psicologia do ator, vendo no
trabalho criativo do ator apenas uma combinao das mesmas
qualidades mentais que so encontradas numa dada combinao em
qualquer profisso. Esquecendo que a atividade do ator ela mesma
um trabalho criativo, singular, em suas condies psicofisiolgicas, e
noanalisandoestascondiesespecficasemtodaavariedadedesua
natureza psicolgica, os investigadores psicotcnicos dissolvem o
problema do trabalho criativo do ator em geral e, ao mesmo tempo,
[restringemse]psicologiabanaldostestes,noatentandoparaoator
etodaasingularidadedesuapsicologia.
A nova abordagem psicologia do trabalho criativo do ator

caracterizada, em primeiro lugar, pela busca de superar o empiricismo
radical das duas teorias e compreender a psicologia do ator em toda
singularidade qualitativa de sua natureza, mas luz de padres
psicolgicos mais gerais. Ao mesmo tempo, o aspecto fatual do
problema assume um carter diferente de abstrato, ele se torna
concreto.
Senopassadootestemunhodeumatorououtro,oudeumapocaou
outra, foi sempre considerado do ponto de vista da natureza eterna e
imutveldoteatro,agoraosinvestigadoresabordamumdadofato

9de27
*
O (osobennosti perejivaniia). Experincia no por opit, mas perejivanie, que pode ser: experincia emocional, experincia vital, emoo, provao, aflio,
vivncia,entreoutros.EmAcrisedosseteanos(193334/2006)eOproblemadoambiente(1935/1994),Vigotskiconferelheaacepodeunidadedaconscinciaouunidadepersonalidade
emeio(veranexo2,p.26).Aqualnopareceestaremjogoaqui.Stanislavskitambmtratadeperejivanie(veranexo3,p.27).NoBrasilApreparaodoatortraduzOtrabalhodoatorsobre
si.Parte1:otrabalhosobresinoprocessocriativodaperejivanie..EmAcriaodeumpapel,quetraduzOtrabalhodoatorsobreopapel,ocap.IIIOperododaexperinciaemocional.

given fact mainly as a historical fact which is finished and which must
be understood most of all in the full complexity {239:} of its historical
condition. The psychology of the actor is formulated as a problem of
concretepsychology,andmanyirreconcilablepointsofviewofformal
logic, abstract contradictions of varioussystems, identically reinforced
by factual data, are explained as a living and concrete historical
contradiction of different forms of the actors creative work, which
changesfromepochtoepochandfromtheatertotheater.
For example, Diderots paradox of the actor consisted of the fact that
the actor portraying strong heartfelt passions and agitation on the
stage and bringing the audience to a high emotional pitch, himself
remains devoid of even a shade of the passion that he portrays and
that shocks the viewer. The absolute formulation of the question by
Diderotisasfollows:musttheactorexperiencewhatheportrays,oris
hisactingahigherformofaping,animitationofanidealprototype?
The question of the internal states of the actor during a stage play is
thecentralnodeofthewholeproblem.Musttheactorexperiencethe
roleornot?Thisquestionwassubjectedtoseriousdiscussion,butthe
very formulation of the question suggested that it would allow only
oneanswer.Moreover,contrastingtheworkoftwoactresses,Clairon
3
and Dumesnil
4
, Diderot knew that they were representatives of two
different systems of the actors craft, equally possible, although
oppositeinacertainsense.
In the new formulation of the question that we are considering, the

paradox and the contradiction contained in it find a resolution in the
historicalapproachtothepsychologyoftheactor.
In the beautiful words ofDiderot, first of all, pronouncing the words,

Zaira, you are crying, or you will remain there, my daughter, the
actorhearshimselfforalongtimeandhehearshimselfatthemoment
when he touches you, and all his talent is not in feeling, as you might
think,butintransmittingmostsubtlytheexternalsignsoffeelingand
principalmente como um fato histrico que finito e que deve ser
compreendidoacimade tudonacompletacomplexidade{239:} desua
condiohistrica.Apsicologiadoatorformuladacomoumproblema
da psicologia concreta, e muitos irreconciliveis pontos de vista de
lgicaformal,contradiesabstratasdevriossistemas,identicamente
reforados por dados fatuais, so explicados como uma contradio
histrica viva e concreta das diferentes formas de trabalho criativo do
ator,oqualsemodificadepocaparapocaedeteatroparateatro.
Porexemplo,oparadoxodoatordeDiderotconsistiadofatodeoator
retratar fortes paixes genunas e agitao no palco, conduzindo a
audincia a uma comoo
*
emocional elevada, permanecendo ele
prpriodesprovidodesequerumasombradapaixoqueretrataeque
choca o expectador. A formulao absoluta da questo por Diderot
como segue: deve o ator experienciar
**
o que ele retrata, ou sua
atuao uma forma superior de macaquice, uma imitao de um
prottipo ideal? A questo dos estados internos do ator durante uma
pea no palco o n central de todo o problema. Deve o ator
experienciar
***
o papel ou no? Esta questo submetida a uma sria
discusso, mas a formulao extrema da questo sugeriu que ela
permitiriaapenasumaresposta.Sobretudo,contrastandootrabalhode
duas atrizes, Clairon
3
e Dumesnil
4
, Diderot sabia que elas eram
representantes de dois sistemas diferentes de ofcio do ator,
igualmentepossveis,apesardeopostosnumcertosentido.
Na nova formulao da questo que ns estamos considerando, o

paradoxo e a contradio contidos nela encontram uma resoluo na
abordagemhistricapsicologiadoator.
Nas belas palavras de Diderot, em primeiro lugar, pronunciando as

palavras Zaira, voc est chorando ou voc permanecer l, minha
filha, o ator ouve a si mesmo por um longo tempo e ele ouve a si
mesmo no momento em que ele toca voc, e todo o seu talento no
estemsentir,comovocpodepensar,masemtransmitirmais

*
Eminglspitch,emrussoe(potriiasenie):abalo,comoo.
**
Eminglsexperience,verbotoexperience.Emrusso,overbo(perejivat),polissmicocomoosubstantivoperejivanie(vernotadap.9).Perejivat:terumaperejivanie.

10de27
***
Idemnotaanterior.Experienciar:terumaexperincia,terumaexperinciaemocional,vivenciar,terumaprovao,passarporprovao,provar,serprovado,provarse,etc.

thus deceiving you. The cries of his grief are distinctly revealed in his
ears, his gestures of despair are imprinted in his memory and were
preliminarily learned in front of a mirror. He knows completely
precisely at which moment to take out his handkerchief and when his
tearswillflow.Expectthematacertainword,atacertainsyllable,not
sooner and not later. The trembling voice, the interrupted words, the
muffled or drawnout sounds, the shuddering body, buckling knees,
the swooning, the impetuous outbursts all of this is the purest
imitation,alessonlearnedbyheartinadvance,apassionategrimace,a
splendidaping(D.Diderot,1936,pp.576577).
AsDiderotsays,allthepassionsoftheactorandtheirexpressionenter
asacomponentpartintothesystemofdeclamation,aresubjecttono
law of unity, and are selected and harmoniously disposed in a certain
way.
In essence, two things that are very close to each other, but never
completely merged, are mixed in Diderots paradox. First, Diderot has
in mind the most superpersonal, ideal character of the passions that
the actor projects from the stage. These are idealized passions and
movementsofthesoul;theyarenotnatural,livefeelingsofoneactor
oranother,theyareartificial,theyarecreatedbythecreativeforceof
manandtothatextentmustbeconsideredasartificialcreations,likea
novel,asonata,orastatue.Becauseofthis,theydifferincontentfrom
corresponding feelings of the actor himself. Diderot says: A gladiator
ofancienttimesislikeagreatactor,andagreatactorislikeanancient
gladiator; they do not die as people die in bed. They must portray
beforeusadifferentdeathsoastopleaseus,andtheviewerfeelsthat
the bare, unadorned truth of movement would be shallow and
contrarytothepoetryofthewhole(ibid.,p.581).
Notjustfromthepointofviewofcontent,butalsofromtheaspectof
formal connections and couplings that determine their course, the
feelingsoftheactor{240:}differfromreal,livefeelings.Diderotsays:
sutilmente os signos externos de sentimento e assim iludindo voc. Os
choros de sua aflio so distintamente revelados aos seus ouvidos,
seus gestos de desespero so impressos em sua memria e foram
preliminarmenteaprendidosdiantedeumespelho.Elesabecompletae
precisamente a que momento sacar seu leno e quando suas lgrimas
vo rolar. Esperamos numa certa palavra, numa certa slaba, no mais
brevementeenodepois.Avoztrmula,aspalavrasinterrompidas,os
sons encobertos ou prolongados, o corpo trmulo, joelhos tortos, o
desmaio, as erupes impetuosas tudo isso a mais pura imitao,
uma lio aprendida de cor avanando, uma careta apaixonada, uma
esplndidamacaquice(Diderot,1936,p.576577).
*
Como diz Diderot, todas as paixes do ator e sua expresso entram

comoum componentenosistemade declamao,noestosujeitasa
nenhuma lei de unidade, e so selecionadas e harmoniosamente
dispostasdecertamaneira.
Emessncia,duascoisasqueestomuitoprximasumadaoutra,mas
nunca completamente fundidas, so misturadas no paradoxo de
Diderot. Primeiro, Diderot tem em mente o mais suprapessoal, ideal,
carterdaspaixesqueoatorprojetadesdeopalco.Estassopaixes
emovimentosdaalmaidealizados;nososentimentosvivos,naturais,
de um ator ou outro, so criaes artificiais, como uma novela, uma
sonata,ouumaesttua.Porcausadisso,elesdiferememcontedodos
sentimentos correspondentes do prprio ator. Diderot diz: Um
gladiadordetemposantigoscomoumgrandeator,eumgrandeator
como um gladiador antigo; eles no morrem como as pessoas
morrem na cama. Eles devem retratar diante de ns uma morte
diferente, tanto quanto gratificarnos, e o expectador sente que a
verdadedomovimentonua,semadornos,seriasuperficialecontrria
poesiadoconjunto(ibid,p.581).
Noapenasdopontodevistadocontedo,mastambmpeloaspecto
das conexes e combinaes formais que determinam seu curso, os
sentimentosdoator{240:}diferemdossentimentosvivos,reais.

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*
UmatraduobrasileiraparaaspassagensaquicitadasdestaobradeDiderot(Paradoxesurlecomedienconcludaem1773epublicadaem1830)foianexadanapgina25.

ButIwantverymuchtotellyou,asanexample,howanactorandhis
wife,hatingeachother,playedasceneoftenderandpassionatelovers
inthetheater.Neverhavetwoactorsseemedsostrongintheirroles,
never have they aroused such long applause from the orchestra and
the loges. We have interrupted this scene dozens of times with
applause and shouts of delight. This is in scene three, act four of
Molires Le Depit Amoureux (ibid., p. 586). Later, Diderot brings in
thedialogueofthetwoactors,whichhecallsadualscene,asceneof
the lovers and a scene of the husband and wife. The scene of the
declaration of love is interwoven here with the scene of a family
quarrel,andinthisinterweaving;Diderotseesthebestevidenceofhis
beingcorrect(ibid.,pp.586588).
Aswehavesaid,Diderotsviewisbasedonfacts,andthisisthesource
of his strength, his unsurpassable significance for a future scientific
theory of the actors creative work. But there are also facts of an
oppositecharacterwhichdonotintheleastrefuteDiderot.Thesefacts
consistinthefactthatthereisstillanothersystemofperformanceand
another nature of artistic experiences of the actor on the stage. If we
takeanexamplecloseathand,theevidenceisallthestagecraftofthe
Stanislavskyschool.
This contradiction, which cannot be resolved in abstract psychology

withthemetaphysicalformulationofthequestion,hasapossibilityof
beingresolvedifweapproachitfromthedialecticalpointofview.
We have said that the new trend poses the problem of actor
psychology as a problem of concrete psychology. Not eternal and
unchangeable laws of the nature of actors experiences on the stage,
buthistoricallawsofvariousformsandsystemsoftheatricalplaysare
in this case the controlling direction for the investigator. For this
reason, in the refutations of the paradox of Diderot that we find
among many psychologists, there is still the attempt to solve the
problemontheabsoluteplantregardlessofthehistorical,concrete
Diderot diz: Mas eu quero muito falar a voc, como um exemplo, de
quemodoumatoresuaesposa,odiandoumaooutro,representaram
a cena de amantes afetuosos e apaixonados no teatro. Nunca tivemos
doisatoresparecendotofortesemseuspapis,nuncaelesobtiveram
tolongoaplausodaorquestraedoscamarotes.Nstivemosestacena
interrompidadziasdevezescomaplausoegritosdedeleite.Istoest
na cena trs, ato quatro de Le Depit Amoureux de Molire (ibid., p.
586).Depois,Diderottraznodilogodosdoisatores,oqualelechama
decenadual,umacenadeamanteseumademaridoeesposa.Acena
de declarao de amor entrelaada aqui com a cena de um
desentendimentofamiliar,enesteentrelaamento,Diderot vamelhor
evidnciadeseuserexato(ibid.,586588).
Como ns dissemos, a viso de Diderot baseada em fatos, e esta a

fontedesuafora,suainsupervelsignificnciaparaumafuturateoria
cientficadotrabalhocriativodoator.Mashtambmfatosdecarter
oposto que no em menor monta refutam Diderot. Estes fatos
consistem em que h ainda outro sistema de performance e outra
natureza de experincias artsticas
*
do ator em cena. Se ns tomamos
umexemplobemmo,aevidnciatodaaprticacnica
**
daescola
deStanislavski.
Estacontradio,quenopodeserresolvidanapsicologiaabstratacom
a formulao metafsica da questo, tem a possibilidade de ser
resolvidasensaabordamosdopontodevistadialtico.
Ns dissemos que a nova tendncia posiciona o problema como um

problema de psicologia concreta. No leis eternas e imutveis da
natureza das experincias do ator
***
em cena, mas leis histricas de
vrias formas e sistemas de peas teatrais so, neste caso, a direo
dominante para o investigador. Por esta razo, nas refutaes do
paradoxodeDiderotquensencontramosentremuitospsiclogos,h
aindaatentativaderesolveroproblemadeumpontodevistaabsoluto
emdetrimentodasformashistricas,concretas,doteatrocuja

*
Experinciasartsticas,artisticexperiences,estpor(khudojestvennikhperejivanii).Perejivanii:genitivopluraldeperejivanie.
**
Eminglsstagecraft(skillinortheartofwriting,adapting,orstagingplays),dedifciltraduo.Masemrusso:(stsenitcheskaiapraktika),literalmenteprticacnica.

12de27
***
Experinciasdoator,actorsexperience,estpor(akiorskikhperejivanii).Perejivanii:genitivopluraldeperejivanie.

form of the theater whose psychology we are considering. Moreover,
the basic prerequisite of any historically directed investigation in this
area is the idea that the psychology of the actor expresses the social
ideology of his epoch and that it also changes in the process of the
historicaldevelopmentofmanjustasexternalformsofthetheaterand
its style and content change. The psychology of the actor of the
Stanislavsky theater differs much more from the psychology of the
actor of the Sophocles epoch than the contemporary building differs
fromtheancientamphitheater.
The psychology of the actor is a historical and class category, not a

biological category. The idea central to all new investigations that
determines the approach to the concrete psychology of the actor is
expressed in this one aspect alone. Consequently it is not biological
patterns primarily that determine the character of the actors stage
experiences. These experiences comprise a part of the complex
function of the artistic work that has a definite social, class function
historically established by the whole state of the mental development
of the epoch and class, and, consequently, the laws of coupling
passions and the laws of interpreting and interweaving feelings of a
role with feelings of the actor must be resolved primarily on the
historical plane and not on the plane of naturalistic (biological)
psychology. Only after this resolution can the question arise of how,
from the point of view of the biological patterns of the mind, one or
anotherhistoricalformoftheactorsworkispossible.
Thus, it is not the nature of human passions that determines directly

the experiences of the actor on the stage; it only contains the
possibility of the development of many most varied and changeable
formsofthestageimplementationoftheartisticforms.
psicologiansestamosconsiderando.Almdisso,oprrequisitobsico
dequalquerinvestigaohistoricamentedirigidanestareaaidiade
queapsicologiadoatorexpressaaideologiasocialdesuapocaeque
ela tambm muda no processo de desenvolvimento histrico do
homem assim como as formas externas de teatro e seu estilo
econtedomudam.ApsicologiadoatordoteatrodeStanislavskidifere
muito mais da psicologia do ator da poca de Sfocles do que as
construescontemporneasdiferemdosanfiteatrosantigos.
A psicologia do ator uma categoria histrica e de classe, no uma

categoria biolgica. A idia central para todas as novas investigaes
quedeterminamaabordagempsicologiaconcretadoatorexpressa
nestenicoaspecto.Conseqentemente nosoospadresbiolgicos
primariamentequedeterminamocarterdasexperinciascnicas
*
do
ator.Estasexperincias
**
abrangemumaparteda complexafunodo
trabalho artstico que tem uma funo social de classe definida,
historicamente estabelecida por todo o estado do desenvolvimento
mental da poca e da classe e, conseqentemente, as leis de
combinaodaspaixeseasleisdeinterpretaoeentrelaamentode
sentimentos de um papel com os sentimentos do ator devem ser
resolvidas primariamente no plano histrico e no no plano da
psicologianaturalstica(biolgica).Apenasdepoisdestaresoluopode
emergir a questo de como, do ponto de vista dos padres biolgicos,
umaououtraformahistricadarepresentao
***
doatorpossvel.
Portanto,naturezadaspaixeshumanasnodeterminadiretamenteas
experincias doatoremcena
****
;elaapenascontmapossibilidadede
desenvolvimento de formas muito mais variveis e mutveis de
implementaocnicadasformasartsticas.

*
Stageexperiences,estpor(stsenitcheskikhperejivanii).Talvezmelhorcomoexperincias[vivncias]cnicas.Perejivanii:genitivopluraldeperejivanie.
**
Exerincias,experiences,estopor(perejivaniia).Perejivaniia:nominativopluraldeperejivanie.
***
Eminglesactorswork,masemrusso(aktiorskoiigri).IgriumdeclinaodeIgr,amesmapalavraquesetraduzporjogoerepresentaodepapel.Relativaao
verboIgrat(jogar,tocar,representarumpapel,interpretarumpapel).Aoinvsdetraduzirportrabalhodoatorpoderamosficarcomjogodoatorourepresentaodoator,optamospela
segundapossibilidade,paratrabalhohaveriatrudourabota.

13de27
****
Onthestage,por(nastsene).Nastsenepodesertambmemcena.Stsene:prepositivosingulardestsena(cena,palco).

{241:}
Together with recognizing the historical nature of the problem that

interests us, we come to the conclusion that we have before us a
problembasedinadualrespectonthesociologicalprerequisiteinthe
studyofthetheater.
First, like any concrete mental phenomenon, the actors work

represents a part of the socialpsychological activity that must be
studied and defined primarily in the context of that whole to which it
belongs. The function of a stage performance in a given epoch for a
given class must be revealed as must the basic trends on which the
actorseffectontheviewerdepends,and,consequently,itisnecessary
to determine the social nature of the theatrical form in the context in
whichthegivenstageexperienceswillhaveaconcreteexplanation.
Second, admitting the historical character of this problem and at the

same time touching on the experiences of the actor, we will begin to
speak not so much of the individual psychological context as of the
socialpsychological context in which the experiences are included. In
thehappyGermanexpression,theexperiencesoftheactorarenotso
much a feeling, of I as a feeling of we. The actor creates on the
stage infinite sensations, feelings, or emotions that become the
emotions of the whole theatrical audience. Before they became the
subject of the actors embodiment, they were given a literary
formulation,theywereborneintheair,insocialconsciousness.
ThemelancholyofChekhovsThreeSisters,presentedonthestageby
{241:}
Junto com o reconhecimento da natureza histrica do problema que

nos interessa, ns chegamos concluso de que temos diante de ns
um problema baseado em uma apreciao sobre o prrequisito
sociolgiconoestudodoteatro.
Primeiro, como qualquer fenmeno mental concreto, a representao

do ator
*
corresponde a uma parte da atividade sciopsicolgica que
deve ser estudada e definida primariamente no contexto do todo ao
qual pertence. A funo de uma representao cnica
**
em uma dada
poca para uma dada classe deve ser revelada como devem ser as
tendncias bsicas das quais o efeito do ator sobre o expectador
depende e, conseqentemente, necessrio determinar a natureza
social da forma teatral no contexto no qual as dadas experincias
cnicas
***
teroumaexplicaoconcreta.
Segundo, admitindo o carter histrico deste problema e ao mesmo

tempoacercandonosdasexperinciasdoator
****
,nscomearemosa
falar no tanto do contexto psicolgico individual quanto do contexto
sciopsicolgico no qual elas esto includas. Na alegre expresso
alem, as experincias do ator
*****
so no tanto um sentimento de
eu quanto um sentimento de ns. O ator cria no palco infinitas
sensaes,sentimentose emoesquesetornamaemoodetodaa
audincia teatral. Antes que eles se tornassem objeto de incorporao
do ator, eles estavam dados em uma formulao literria, eles
nasceramnoar,naconscinciasocial.
AmelancoliadasTrsIrmsdeTchekhov,encenadapelosartistas
******

*
Actorswork,por(igraktiora).Denovoapalavratraduzidaporworkigra(jogo,representao,interpretao).
**
Stage performance por (stsenitcheskoi igri). Tambm possvel de traduzirse como representao cnica, interpretao cnica. Aqui ento igra j no foi mais
traduzidocomowork,mascomoperformance.
***
Idemprimeiranotadap.13.
****
Experinciasdoator,experiencesoftheactor,por(perejivaniiaktiora).Perejivanii:genitivopluraldeperejivanie.
*****
Experinciasdoator,experiencesoftheactor,por(perejivaniiaaktiora).Perejivaniia:nominativopluraldeperejivanie.

14de27
******
Eminglsactresses,nofeminino,masnorusso(artistami),umadeclinaopluralpara(artist):artista,genrico.Contudo,existetambmofemininorusso
(aktrisa),masnoocaso.Optamospelogenrico.

actresses of the Arts Theater,
5
becomes the emotion of the whole
audiencebecauseitwastoalargedegreeacrystallizedformulationof
theattitudeoflargesocialcirclesforwhomitsstageexpressionwasa
kind of means of realization and artistic interpretation of themselves.
In the light of the aspects indicated, the significance of actors
awarenessoftheirworkbecomesclear.
The first thing we come to is the establishment of the limited

significance of this material. From this point of view, the actors
awareness of his sensations, the data of selfobservation of his acting
and his general state do not lose their significance for studying the
psychologyoftheactor,butceasebeingtheonlyanduniversalsource
for making judgments on their nature. They show how the actor
recognizes his own emotions and what their relation to the structure
ofhispersonalityis,buttheydonotdiscloseforusthenatureofthese
emotions in all their actual fullness. Before us, we have only partial,
factual material that illuminates the problem from only one point of
viewfromthepointofviewoftheactorsselfawareness.Inorderto
extract from such material its whole scientific significance, we must
understandthepartitplayswithinthesystemofthewhole.We must
understand the psychology of one actor or another in all his concrete
historicalandsocialcircumstances;thenthenormalconnectionofthe
givenformofstageexperiencewiththesocialcontentthatisprojected
throughthisactorsexperiencestotheaudiencewillbecomeclearand
understandableforus.
We must not forget that the emotions of the actor, since they are a
fact of art, go beyond the limits of hispersonality and make up a part
oftheemotionaldialoguebetweentheactorandthepublic.The
doTeatrodeArte,
5*
tornaseaemoodetodaaaudinciaporqueela
era,emumaltograu,umaformulaocristalizada daatitudedelargos
crculossociaisparaosquaissuaexpressonopalcoeraumaespciede
meio de realizao e interpretao artstica deles mesmos. luz dos
aspectos indicados, a significncia da conscincia do ator com relao
aoseutrabalhotornaseclara.
A primeira coisa que nos vem o estabelecimento da significncia

limitada deste material. Deste ponto de vista, a conscincia do ator
quantossuassensaes,osdadosdaautoobservaodesuaatuao
e seu estado geral no perderam sua significncia para o estudo da
psicologia do ator, mas deixaram de ser a nica e universal fonte para
estabelecer julgamentos sobre a sua natureza. Eles mostram como o
ator reconhece as suas prprias emoes e qual a sua relao com a
estrutura de sua personalidade, mas no revelam para ns a natureza
dessas emoes em toda a sua efetiva completude. Face a ns, temos
apenas material fatual parcial que ilumina o problema de apenas um
ponto de vista do ponto de vista da autoconscincia do ator. Com o
intuito de extrair de tal material toda sua significncia cientfica, ns
devemoscompreenderapartequeele representadentrodosistemada
totalidade. Ns devemos compreender a psicologia de um ator ou de
outro em todas as suas circunstncias concretas histricas e sociais;
ento a conexo normal de cada forma de experincia cnica
**
com o
contedo social que projetado atravs desta experincia do ator
***

audinciasetornarclaraecompreensvelparans.
Nsnodevemosesquecerqueasemoesdoator,vistoqueelasso
um fato de arte, vo alm dos limites de sua personalidade e
compemumapartedodilogoentreoatoreopblico.Aexperincia

*
Teatro de Arte, Arts Theater, referese ao Teatro de Arte de Moscou em russo , (Moskovskii Khudojestvennii
AkademitcheskiiTeatr,MKHAT).CompanhiafundadaemMoscouem1897porK.N.StanislavskieVladimirNemirovitchDantchenko.Ver:http://pt.wikipedia.org/wiki/Teatro_de_Arte_de_Moscou.
**
Stage experience, por (stsenitcheskogo perejivaniia). Stsenitcheskogo perejivania: genitivo singular de stsenitcheskii perejivanie. Pode ser lido como
experinciacnicaouvivnciacnica,etc.

15de27
***
Em ingls: actors experiences, mas aqui por (aktiorskoe perejivanie). Notese que no russo perejivanie est no singular. Alm disso, aktiorskoe est como
adjetivo,talvezsemumcorrespondentediretoeminglsouportugus.

actors emotions experience what F. Paulhan
6
felicitously called a
fortunate transformation of feelings. They become understandable
only if they are included in the broader socialpsychological system of
which they are a part. In this sense, one must not separate the
characterstageexperienceoftheactor,takenfromtheformalaspect,
from the of the concrete content that includes the stage image, and
relation to and interest in that image from the socialpsychological
significanceandfromthefunctionthatitfulfillsinthegivencaseofthe
actors experience. Let us say that the experience of the actor trying
{242:}tolaughatacertainstructureofpsychologicalandlifetypesand
of the actor trying to give an apologia for the same images will,
naturally,bedifferent.
Here we are approaching close to an extremely important

psychological moment, the inexplicability of which was the cause, in
our opinion, of a series of misunderstandings of the problem that
interests us. For example, most of those writing about the system of
Stanislavsky identified this system in its psychological part with the
stylistictasksthatitinitiallyserved;inotherwords,theyidentifiedthe
system of Stanislavsky with his theatrical practical work. True, all
theatricalpracticalworkisaconcreteexpressionofagivensystem,but
does not exhaust the whole content of the system, which can have
many other concrete expressions; theatrical practical work does not
present the system in all its range. A step toward separating the
system from its concrete expression was taken by E. B. Vakhtangov,
7
whose stylistic aspirations were so very different from the initial

naturalism of the Arts Theater but who, nevertheless, was aware that
his own system was an application to new stylistic tasks of the basic
ideasofStanislavsky.
deemoesdoator
*
queF.Paulhan
6
apropriadamentechamoudeuma
afortunada transformao de sentimentos. Elas tornamse
compreensveis apenas se eles so includos no sistema scio
psicolgico mais amplo do qual so parte. Neste sentido, no se deve
separar o carter da experincia cnica
**
do ator, tomada em seu
aspecto formal, do contedo concreto que inclui a imagem cnica, a
relao com tal imagem e o interesse nela [do ponto de vista] da
significnciasciopsicolgicaedafunoquecumpre,emdadocaso,a
experincia do ator
***
. Digamos que as experincias do ator
****
tentando{242:}rirnumacertaestruturadetipospsicolgicosevitaise
do ator tentando fazer uma apologia para as mesmas imagens sero,
naturalmente,diferentes.
Aqui ns estamos chegando perto de um momento sociolgico extre

mamente importante, cuja inexplicabilidade foi a causa, em nossa
opinio,deumasriedeincompreensesdoproblemaquenosinteres
sa. Por exemplo, muitos daqueles que escreveram sobre o sistema de
Stanislavski identificaram este sistema, em seu componente psicol
gico,comastarefasestilsticasaqueeleinicialmenteservia;emoutras
palavras, identificaram o sistema de Stanislavski com seu trabalho
prtico teatral. verdade, toda prtica teatral
*****
uma expresso
concreta de um dado sistema, mas no esgota todo o contedo do
sistema,oqualpodetermuitasoutrasexpressesconcretas;otrabalho
prtico teatral no apresenta o sistema em toda sua variedade. Um
passo na direo de separar o sistema de sua expresso concreta foi
dadoporE.B.Vakhtangov,
7
cujasaspiraesestilsticaseramrealmente
muito diferentes do naturalismo inicial do Teatro de Arte, mas que,
apesar de tudo, estavam conscientes de que seu prprio sistema era
umaaplicao,snovastarefas,dasidiasbsicasdeStanislavski.

*
A experincia de emoes do ator, The actors emotions experience, por (Emotsii aktiora ispitivaiut). Dessa vez nem opit nem perejivanie esto sendo
traduzidasporexperincia.Temosumaconjugaodoverboispitivat(sentir,experimentar,passarpor).Demodoquepoderamostermaisliteralmente:Asemoesqueoatorexperimenta
ouAsemoespelasquaisoatorpassa.
**
Idemsegundanotadapgina15.
***
Ofdeactorsexperience,daexperinciadoator,por(aktiorskoeperejivanie).Entendesequesejaonominativosingular...aexperinciacumpreafuno.
****
Experienceoftheactor,singular,por(perejivaniiaaktiora).Perejivaniiatantoadonominativopluralquantodogenitivosingular.Masaquiparecenosevum
genitivoesimumnominativofunodesujeitoasexperincias...sero...diferentes.Porissooplural.

16de27
*****
Emingls:theatricalpracticalwork,masemrussoapenas(teatralnaiapraktika).OsubstantivoPraktikapodesertraduzidocomopracticeouprtica.

This can be demonstrated with the example of Vakhtangovs work on
the staging of Princess Turandot
8
. Wishing to project from the stage
not simply the content ofthe tale, but his own contemporary relation
to the tale, his irony, a smile addressed to the tragic content of the
tale,Vakhtangovcreatesanewcontentfortheplay.
B.E.Zakhava
9
tellsofaremarkablecasefromthehistoryofthestaging
of this play: At the first rehearsals, Vakhtangov used this device. He
proposed the actors play not the roles indicated in the text of the
play,butItalianactorsplayingtheseroles...Forexample,heproposed
that the actress playing the role of Adelma play not Adelma, but an
ItalianactressplayingAdelma.Heimprovised(inthetheme,supposing
shewerethewifeofthedirectorofthetroupeandthemistressatthe
opening,thatsheiswearingbrokenshoes,thattheyaretoobigforher
andwhenshewalks,theyflapattheheel,slapthefloor,etc.Another
actress playing Zelima is an idler who does not want to act, and she
does not at all hide this from the public (she wants to sleep) (1930,
pp.143144).

Thus,weseethatVakhtangovdirectlychangesthecontentoftheplay
he is given, but in the form of its presentation, he depended on the
same foundation that was put in place in the system of Stanislavsky:
Stanislavskytaughtthatfindingthetruthoffeelingsonthestageisan
internaljustificationofeachstageformofbehavior.
Zakhava says: Internal justification, the basic requirement of

Stanislavsky, remains as before one of the basic requirements of
Vakhtangov, only the content itself of these feelings is entirely
different with Vakhtangov than with Stanislavsky... If the feelings now
become different, if they require different theatrical means of
expression,stillthetruthofthesefeelingsisasitwasandwillalways
IstopodeserdemonstradocomoexemplodotrabalhodeVakhtangov
naencenaodePrincesaTurandot
8
.Desejandoprojetardesdeopalco
no simplesmente o contedo da estria, mas sua prpria relao
contempornea com a estria, sua ironia, um sorriso endereado ao
contedotrgicodaestria,Vakhtangovcriouumnovocontedopara
apea.
B.E.Zakhava
9
contasobreumdestacadocasodahistriadeencenao
desta pea: Nos primeiros ensaios, Vakhtangov usou este dispositivo.
Ele props que os atores representassem no os papis indicados no
texto da pea, mas atores italianos interpretando esses papis... Por
exemplo, ele props que a atriz representando o papel de Adelma
representasse no Adelma, mas uma atriz italiana representando
Adelma. Eleimprovisousobreotema,supondoque elafosseamulher
dodiretordatrupeeaamantedogal
*
,queelaestcalandosapatos
quebrados,queelessomuitograndesparaelaequandoelacaminha,
eles raspam no calcanhar, batem no piso, etc. Outra atriz
representando Zelima uma preguiosa que no quer atuar, e ela no
escondedemodoalgumistodopblico(1930,pp.193144).
Portanto,nsvemosqueVakhtangovmudadiretamenteocontextoda
peaquelhedado,mas, naformadesuaapresentao,eledepende
do mesmo fundamento que estava posto no sistema de Stanislavski.
Stanislavski ensinava que encontrar a verdade dos sentimentos em
cena uma justificativa interna de cada forma cnica de compor
tamento.
Zakhala disse: Justificao interna, o requisito bsico de Stanislavski,

permanece como antes um dos requisitos bsicos de Vakhtangov,
apenas o contedo como tal destes sentimentos inteiramente
diferente com Vakhtangov em relao a Stanislavski... Se os
sentimentos agora se tornam diferentes, se eles requerem meios de
expressoteatraldiferentes,aindaaverdadedestessentimentos

17de27
*
Eminglsestcomomistressattheopening(amantenaabertura(?)),masemrussotemos(liubovnitsapremera),literalmenteamantedopremier.Premierem
russopodesertantoprimeiroministro,chefedegabinetequantonoteatrogal.Pelocontexto,acontradioentreesposadodiretoreamantedogalparececonvirpropostadetrabalhode
Vakhtangovqueestsendodescrita.

be unchangeably the basis of the soil on which only the flowers of
genuinegreatartcangrow(ibid.,p.133).
We see how the internal technique of Stanislavsky and his mental

naturalism come to serve completely different stylistic tasks, opposite
inacertainsensetotheonethattheyservedattheverybeginningof
development. We see how certain content dictates a new theatrical
form, how a system proves to be much broader than the concrete
applicationitisgiven.
Forthisreason,thedeclarationsoftheactorsontheirwork,especially
summary declarations, are in themselves incapable of explaining their
character and their nature; they are made up from generalizations of
the actors own and most various experience and do not take into
account all of the content embodied in the actors emotion. It is
necessarytogobeyondthelimitsofthedirectexperience{243:}ofthe
actor to explain it. Unfortunately, this real and remarkable paradox of
all of psychology has not, thus far, been sufficiently assimilated by a
numberoftrends.Inordertoexplainandunderstandexperience,itis
necessarytogobeyonditslimits;itisnecessarytoforgetaboutitfora
minuteandmoveawayfromit.
Thesamethingistruealsowithrespecttothepsychologyoftheactor.
If the actors experience were a closed whole, a world existing within
itself, then it would be natural to look for laws that govern it,
exclusively in its sphere, in an analysis of its composition, a careful
description of its contours. But if the actors experience also differs
fromeverydaylifeexperiencebythefactthatitcomprisesapartofan
comoeleeraesempreserimutavelmenteosolo
*
noqualasfloresde
genunagrandeartepodemcrescer(ibid.,p.133).
Ns vemos como a tcnica interna de Stanislavski e seu naturalismo

vm a servir a tarefas estilsticas completamente diferentes, opostas
em certo sentido quelas a que ela servia bem no incio do seu
desenvolvimento. Ns vemos como certos contedos ditam uma nova
forma teatral, como um sistema prova ser mais amplo do que uma
aplicaoconcretaqueeleproporciona.
Por essa razo, as declaraes dos atores sobre sua representao

**
,
especialmente declaraes sumrias, so elas mesmas incapazes de
explicar seu carter e sua natureza; elas so constitudas de
generalizaes da experincia
***
prpria e mais variada do ator e no
levam em conta todo o contedo incorporado na emoo do ator.
necessrio ir alm dos limites da experincia direta {243:} do ator
****
para explicla. Desafortunadamente, este real e notvel paradoxo de
toda a psicologia no tem, at o momento, sido suficientemente
assimiladoporumgrandenmerodetendncias.Nointuitodeexplicar
ecompreenderaexperincia
*****
,necessrioiralmdosseuslimites;
necessrioesqueclaporumminutoemoverseparalongedela.
Amesmacoisaverdadeiratambmcomrespeitopsicologiadoator.
Se a experincia
******
do ator fosse um todo fechado, um mundo
existindo dentro dele mesmo, ento seria natural procurar leis que a
governam, exclusivamente em sua esfera, em uma anlise de sua
composio, uma cuidadosa descrio de seus contornos. Mas se a
experincia
*******
doatortambmdiferedaexperincia
********
davida

*
Emingls:basisofthesoil,talvezredundantesetraduzidoliteralmente.
**
Workpor(igre).Igreprepositivodeigra(jogo,brinquedo,folguedo,partida,interpretao,representaodepapis).
***
Experincia,experience,por(opita).Opitaumadeclinaodeopit.
****
Experincia direta do ator, direct experience of the actor, por (neposredstvennogo aktiorskogo perejivaniia). Perejivaniia: genitivo
singulardeperejivanie.Jneposredstvennii(nonominativo)umadjetivoindicaimediato,direto.
*****
Experincia,experience,por(perejivanie).Perejivanieaquioacusativosingulardeperejivanie(amesmaformaparaosdoiscasos).
******
Experincia,experience,por(perejivanie).Destavezestnonominativoperejivanie.
*******
Idemnotaanterior.

18de27
********
Experincia,experiencepor(perejivaniia).Perejivaniia:genitivosingulardeperejivanie.

entirelydifferentsystem,thenitsexplanationmustbefoundinlawsof
thestructureofthatsystem.
Inconclusion,wewouldliketonotebrieflytheconversionthattheold
paradox of the actor experiences in the new psychology. In the
contemporary state of our science, we are still far from resolving this
paradox, but we are already close to its correct formulation as a
genuine scientific problem. As we have seen, the essence of the
problem,whichseemedparadoxicaltoallwhowroteaboutit,consists
intherelationoftheartificiallyproducedemotionofaroletothereal,
live, natural emotion of the actor playing the role. We think that
solvingthisproblemispossibleifwetakeintoaccounttwopointsthat
areequallyimportantforitscorrectinterpretation.
ThefirstconsistsinthatStanislavskyexpressestheinvoluntaryquality
offeelinginacertainsituation.Stanislavskysaysthatfeelingcannotbe
commanded. We have no direct power over feeling of this nature as
wehaveovermovementorovertheassociativeprocess.Butiffeeling
cannot be evoked ... voluntarily and directly, then it may be enticed
by resorting to what is more subject to our power, to ideas
10
(L. Ya.
Gurevich, 1927, p. 58). Actually, all contemporary psychophysiological
investigationsofemotionsshowthatthepathtomasteryofemotions,
and,consequently,tirepathofvoluntaryarousalandartificialcreation
ofnewemotions,isnotbasedondirectinterferenceofourwillinthe
sphereofsensationsinthewaythatthisoccursintheareaofthinking
andmovement.
This path is much more tortuous and, as Stanislavsky correctly notes,

more like coaxing than direct arousal of the required feeling. Only
indirectly,creatingacomplexsystemofideas,concepts,andimagesof
which emotion is a part, can we arouse the required feelings and, in
this way, give a unique, psychological coloring to the entire given
systemasawholeandtoitsexternalexpression.Stanislavskysays:
cotidiana pelo fato de que ela consiste de uma parte de um sistema
inteiramente diferente, ento sua explicao deve ser encontrada nas
leisdaestruturadaquelesistema.
Emconcluso,nsgostaramosdenotarbrevementeaconversoqueo
velho paradoxo do ator experimenta na nova psicologia. No estado
contemporneo da nossa cincia, ns estamos ainda longe de resolver
este paradoxo, mas ns estamos j perto de sua formulao como um
genunoproblemacientfico.Comonsvimos,aessnciadoproblema,
a qual parece paradoxal quanto a tudo que foi escrito sobre ele,
consiste na relao da emoo artificialmente produzida de um papel
com a emoo natural, viva, real, do ator representando o papel. Ns
pensamos que resolver esse problema possvel se ns levamos em
conta dois pontos que so igualmente importantes para sua correta
interpretao.
O primeiro consiste em que Stanislavski expressa a qualidade

involuntria dos sentimentos em certa situao. Stanislavski diz que os
sentimentos no podem ser comandados. Ns no temos poder direto
sobresentimentosdessanaturezacomonstemossobreomovimento
ou o processo associativo. Mas se os sentimentos no podem ser
evocados... voluntria e diretamente, ento eles podem ser suscitados
pelorecursoaoqueestmaissujeitoaonossopoder,sidias
10
(L.Ia.
Gurevitch, 1927, p. 58). Efetivamente, todas as investigaes
psicofisiolgicas contemporneas sobre as emoes mostram que o
caminhoparaodomniodasemoese,conseqentemente,ocaminho
paraaevocaovoluntriaeacriao artificialdenovasemoes,no
baseado na interferncia direta de nossa vontade na esfera das
sensaestalcomoocorrenareadopensamentoedomovimento.
Este caminho muito mais tortuoso e, como Stanislavski

corretamente nota, [se d] mais como persuaso do que como
evocao direta do sentimento requerido. Apenas indiretamente,
criandoumcomplexosistemadeidias,conceitos,imagens,doqualas
emoes so uma parte, ns podemos evocar os sentimentos
requeridose,destemodo,darumcoloridopsicolgicosingularao

19de27

These feelings are not at all those that actors experience in life
(ibid.). They are more likely feelings and concepts that are purified of
everything extraneous, are generalized, devoid of their aimless
character.
According to the justifiable expression of L. Ya. Gurevich,

11
if they
passed through the process of artistic shaping, they differ according
toanumberoftraitsfromcorrespondinglivingemotions.Inthissense,
we agree with Gurevich
12
that the solution of the problem, as usually
happens in very stubborn and long controversies, lies not in the
middle between two extremes, but on a different plane that makes it
possibletoseethesubjectfromanewpointofview(ibid.,p.62).We
are compelled to this new point of view both by the accumulated
documents on the problem of stage creativity, the testimony of the
creatorsactors themselves, and by the investigations carried out in
recentdecadesbyscientificpsychology(ibid.,p.62).
Butthisisjustoneaspectoftheproblem.Theotherisincludedinthe
fact that the transfer of the paradox of the actor to the ground of
concrete psychology immediately eliminates a number of insoluble
problems that were formerly its component parts and replaces them
withnewproblemsthatareproductiveandresolv{244:}ableandplace
the investigator on new paths. From this point of view, there is not a
biologicalaesthetic and eternally given explanation, but each given
system of the actors performance is subject to a concrete
psychological and historical, changeable explanation, and instead of
the onceandforall, given paradox of the actor of all times and
peoples, we have before us from the historical aspect, a series of
historical paradoxes of actors of given environments in given epochs.
Theparadoxoftheactorisconvertedintoaninvestigationofhistorical
developmentofhumanemotionanditsconcreteexpressionat
dado sistema completo, como um todo, e sua expresso externa.
Stanislavskidisse:Estessentimentosnosodeformaalgumaaqueles
que os atores experienciam
*
na vida (ibid.). Eles so mais como
sentimentos e conceitos purificados de tudo de suprfluo, so
generalizados,destitudosdeseucarterdespropositado.
De acordo com a justificvel expresso de L. Ia. Gurevitch,

11
se eles
passaram atravs do processo de determinao artstica, eles diferem
de acordo com uma srie de caractersticas das emoes vivas
correspondentes.Nestesentido,nsconcordamoscomGurevitch
12
em
que a soluo do problema, como usualmente acontece em muitas
controvrsias obstinadas e longas, reside no no termo mdio entre
doisextremos,masemumplanodiferentequefazpossvelveroobjeto
de estudo de um novo ponto de vista (ibid., p. 62). Ns somos
compelidos a este novo ponto de vista tanto pelo acmulo de
documentos sobre o problema da criatividade cnica, o testemunho
dos prprios atores e pelas investigaes conduzidas nas dcadas
recentespelapsicologiacientfica(ibid.,p.62)
Mas este apenas um aspecto do problema. O outro est includo no

fato de que a transferncia do paradoxo do ator para o contexto da
psicologia concreta imediatamente elimina uma srie de problemas
insolveis que eram previamente suas partes componentes e os
substitui com novos problemas que so produtivos e solucio
{244:}nveisecolocamoinvestigadoremnovoscaminhos.Desteponto
devista,nohumaexplicaobiolgicoestticaeeternamentedada,
mas cada dado sistema de performance do ator submetido a uma
explicao mutvel, concretopsicolgica e histrica, e ao invs de um
paradoxo do ator de todos os tempos e povos, dado de uma vez por
todas, ns temos diante de ns, [da perspectiva] do aspecto histrico,
uma srie de paradoxos do ator histricos, de dados ambientes em
dadaspocas.Oparadoxodoatorconvertidoemumainvestigaodo
desenvolvimentohistricodaemoohumanaesuaexpresso

20de27
*
Thatactorsexperience,experiencecomoverbo.Emrusso(perejivaiutsia),conjugaodeperejivatsia",umreflexivo(emocionarse,afligirse,viver(se),sentir(se),provar
se,etc.).Notesequenapgina10destatraduoapareceoverboperejivat,masnocomaterminaosia",prpriadoreflexivo.Emportugusficadifciltraduzirnoreflexivoparaaconstruo
doperodo.Teramosqueoptarporumcaminhoderodeiocomosentimentospelosquaisosatoresexperimentam(sentm;provam)aelesmesmosnavidatalveznomuitoapropriado.

differentstagesofsociallife.
Psychologyteachesthatemotionsarenotanexceptiondifferentfrom
othermanifestationsofourmentallife.Likeallothermentalfunctions,
emotions do not remain in the connection in which they are given
initially by virtue of the biological organization of the mind. In the
process of social life, feelings develop and former connections
disintegrate;emotionsappearinnewrelationswithotherelementsof
mental life, new systems develop, new alloys of mental functions and
unities of a higher order appear within which special patterns,
interdependencies, special forms of connection and movement are
dominant.

To study the order and connection of affects is the principal task of

scientificpsychologybecauseitisnotinemotionstakeninanisolated
form, but in connections combining emotions with more complex
psychologicalsystemsthatthesolutionoftheparadoxoftheactorlies.
This solution, as might be expected even now, will bring the
investigatorstoapositionthathasafundamentalsignificanceforallof
thepsychologyoftheactor.Theexperienceoftheactor,hisemotions,
appear not as functions of his personal mental life, but as a
phenomenon that has an objective, social sense and significance that
servesasatransitionalstagefrompsychologytoideology.
*****
concretaemdiferentesestgiosdavidasocial.
A psicologia ensina que as emoes no so uma exceo, algo

diferentedeoutrasmanifestaesdenossavidamental.Comotodasas
outras funes mentais, as emoes no permanecem na conexo em
que elas esto dadas inicialmente em virtude da organizao biolgica
da mente humana. No processo da vida social, os sentimentos
desenvolvemse e as conexes iniciais desintegramse, emoes
aparecem em novas relaes com outros elementos da vida mental,
novos sistemas se desenvolvem, novas ligaes de funes mentais e
unidades de uma ordem superior aparecem dentro de tais padres
especiais, interdependncias, formas especiais de conexo e
movimentosodominantes.
Estudar a ordem e a conexo dos afetos a principal tarefa da

psicologiacientfica,porquenonasemoestomadasdeumaforma
isolada, mas em conexes com sistemas psicolgicos mais complexos,
queasoluodoparadoxodoatorreside.Estasoluo,comopodeser
esperada ainda agora, conduzir os investigadores a uma posio que
tem uma significncia fundamental para toda a psicologia do ator. As
experincias
*
do ator, suas emoes, aparecem no como funes de
sua vida mental pessoal, mas como um fenmeno que tem uma
significncia e um sentido social objetivos, que servem como um
estgiodetransiodapsicologiaideologia.
*****

21de27
*
Em ingls est The experience, no singular. Mas no russo encontramos (perejivaniia), que na funo de sujeito (nominativo) como o caso, s pode ser um plural de
perejivanie.

{276:}
NOTESTOTHERUSSIANEDITION
Ontheproblemofthepsychologyoftheactorscreativework
1. This paper was written in 1932. First published in the book: P. M.

Yakobson, Psikhologiya stsenicheskikh chuvstv aktera (Psychology of
theStageFeelingsoftheActor),Moscow,1936,pp.197211.
2.Diderot,Denis(17131784),Frenchphilosopher,educator,authorof
severalcomedies.ParadoxoftheActor(17701773,finaledition1778,
was first published in 1830) is a consideration of the nature of the
actor'scraft,writteninthedialogueform,whichDiderotfavored.This
wasinspiredbyanunknownauthor'sbrochureontheeminentEnglish
actor,Garrick,abrochurewhichDiderotdisputes.
3. Clairon, pseudonym of Claire Hippolyte Leyris de la Tudi (1723

1803), French dramatic actress who appeared in the tragedies of
VoltaireandRacine.DiderotbelievedthatClairondidnotidentifywith
thepersonagessheportrayed.
4. Dumesnil, pseudonym, real surname Marchand, Marie Francoise

(17111803),Frenchdramaticactresswhoappearedinthetragediesof
Racine, Corneille and Voltaire. Diderot compared her to Clairon and
believedthatDumesniledididentifywithherheroines.
5. Three Sisters, a play by A P. Chekhov, was first presented in the

Moscow Arts Theater (produced by K. S. Stanislavsky and V. I.
NemirovichDanchenko)in1901.
6. Paulhan, Frederick (18561931), see Vol. 2, p. 488. For more details

on Vygotsky's attitude toward his work, see Thinking and Speech, Vol.
2,pp.5361.
{276:}
NOTASEDIORUSSA
Sobreoproblemadapsicologiadotrabalhocriativodoator
1.Esteartigofoiescritoem1932.Publicadopelaprimeiraveznolivro:
P. M. Iakobson, Psikhologuiia stsenitcheskikh tchuvstv aktiora (Psico
logiadossentimentoscnicosdoator),Moscou,1936,pp.197211.
2. Diderot, Denis (17131784), filsofo e educador francs, autor de

vrias comdias. Paradoxo do Ator (17701773, edio final em 1778,
foi publicado pela primeira vez em 1830) uma considerao sobre a
natureza do ofcio do ator, escrita na forma de dilogo, que era a
favorita de Diderot. Isto foi inspirado por uma brochura de um autor
desconhecidosobreoeminenteatoringls,Garrick,umabrochuraque
Diderotcontesta.
3. Clairon, pseudnimo de Claire Hippolyte Leyris de la Tudi (1723

1803), atriz dramtica francesa que despontou nas tragdias de
Voltaire e Racine. Diderot acreditava que Clairon no se identificava
comaspersonagensqueelaretratava.
4. Dumesnil, pseudnimo de Marie Francoise Marchand (17111803),

atriz dramtica francesa que despontou nas tragdias de Racine,
Corneille e Voltaire. Diderot a comparou a Clairon e acreditava que
Dumesnileseidentificavacomsuasheronas.
5. As Trs Irms uma pea de A. P. Tchekhov, foi apresentada pela

primeira vez no Teatro de Arte de Moscou (produzida por K. S.
StanislavskieV.I.NemirovitchDantchenko)em1901.
6.Paulhan,Frederick(18561931),verVol.2,p.488.Paramaisdetalhes
sobre a atitude de Vigotski com relao ao seu trabalho, ver
PensamentoeLinguagem,Vol.2,pp.5361.

22de27

7. Vakhtangov, Evgenii Bagrationovich (18831922), Russian Soviet
director, pupil of Stanislavsky. In 1913, he founded the Students'
Studio of the Moscow Arts Theater, later renamed the Third Studio,
andin1921,atheater(asof1926,theEvg.VakhtangovTheater).
{277:}
8. Princess Turandot, a play by Carlo Gozzi (1762), a subject borrowed

from Nisami through Lesage, was rehearsed in the Vakhtangov studio
from1920,premieredin1922,andsincethattimehasbeenpartofthe
repertoireoftheEvg.VakhtangovTheaterasaseasonopener.
9. Zakhava, B. E. (18961976), Soviet actor, director, historian, and

theoretician of the theater and pedagogue. He was a pupil of
Vakhtangov.
10. The statements of Stanislavsky cited here and below are

manuscnptmaterialsfromhisarchive.Vygotskycitesfromthebookof
L.Ya.Gurevich(1927).
11. Gurevich, Lyubov' Yakovlevna (18661940), Russian Soviet writer,

translator,andhistorianofthetheater.
12. The book of L. Ya. Gurevich, Creativity of the Actor, was subtitled,
"ResolutionofanAgeOldArgument."Gurevichdefinedthesubstance
of the argument thus: is it or is it not necessary for an actor "to
pretend"onthestage(p.5).
*****
7. Vakhtangov, Evguenii Bagrationovitch (18831922), diretor russo
sovitico, aluno de Stanislavski. Em 1913, ele fundou o Estdio dos
Estudantes do Teatro de Arte de Moscou, depois renomeado Terceiro
Estdio, e em 1921, um teatro (at a data de 1926, o Teatro Evg.
Vakhtangov).
{277:}
8. Princesa Turandot, uma pea de Carlo Gozzi (1762), um tema

apropriado desde por Nisami at por Lesage, foi ensaiado no estdio
Vakhtangovapartirde1920,estreadoem1922,edesdeentofoiparte
dorepertriodoTeatroEvg.Vakhtangovcomoaberturadetemporada.
9. Zakhava
*
, B. E. (18961976), ator sovitico, diretor, historiador e
tericodoteatroalmdepedagogo.ElefoiumalunodeVakhtangov.
10. As declaraes de Stanislavski citadas aqui e abaixo so materiais

manuscritos de seu arquivo. Vigotski cita do livro de L. Ia. Gurevitch
(1927).
11. Gurevitch,
**
Liubov Iakovlevna (18661940), escritora russa
sovitica,tradutoraehistoriadoradoteatro.
12.OlivrodeL.Ia.Gurevitch,CriatividadedoAtor,tinhacomosubttulo
Resoluo de um velho argumento. Gurevitch definiu a substncia
desseargumento,portanto:ounonecessrioaumatorfingirem
cena(p.5).
*****

*
A maioria dos sobrenomes em russo terminados em a so femininos, nessa lngua o nome de famlia concorda em gnero com o primeiro nome. Mas esta uma exceo, tratase de Boris
EvguenevitchZakhava().Ver:http://dic.academic.ru/dic.nsf/ruwiki/639177

23de27
**
Aqui o inverso da nota anterior, o sobrenome no termina em a, mas um feminino em tch (como no nome da psicloga Ldia Bojovitch). Verificase ainda pelo prenome e patronmico
femininos:Liubov,nomedemulherquesignificaamor;eIakovlenapatronmicofemininofilhadeIakov(Iacob,Jac).Emingls,writer,translatorandhistoriannoidentificamognero,
sotrsneutros.

24de27
{279:}
REFERENCES
Diderot,D.(1936).Sochineniya(T.5)[Works(Vol.5)].Moscow.
Gurevich, L. Ya. (1927). Tvorchestvo Aktera [Creativity of the Actor].

MoscowLeningrad.
{280:}
Zakhava, B. E. (1930) Vakhtangov i Ego Studiya [Vakhtangov and His

Studio].Moscow.
{279:}
REFERNCIAS
*
Diderot,D.(1936).Sotchineniia(T.5)[Obras(Vol.5)].Moscou.
Gurevich, L. Ya. (1927). Tvortchestvo Aktiora [Criatividade

**
do Ator].
MoscouLeningrado.
{280:}
Zakhava, B. E. (1930) Vakhtangov i Ego Studiia [Vakhtangov e seu

estdio].Moscou.

*
A edio americana das Obras Escolhidas fornece as mesmas referncias para os textos de Vigotski presentes na edio russa. Contudo sabese que o prprio Vigotski no era sempre muito
rigorosocomsuasreferncias.AquirepetireiapenasaquelasrelativasaotextosobreaPsicologiadoatorquepuderamserexplicitadaspeloseditoresnabibliografiageraldotomo6,compiladano
finaldovolumedapgina279a281.Stanislavski,porexemplo,noconstanessabibliografia.
**
Notesequetvortchestvo(palavraquenottulodoartigodeVigotskifoitraduzidaporcreativework,trabalhocriativo)aquiesttraduzidaporcreativitity,criatividade.Cabelembrar
queoconhecidolivrodeVigotskicujottuloemespanholficouLaimaginacinyelarteenlainfnciatraduode(Voobrajenieitvortchestvo
vdetskomvozraste).Ento,almdeImaginaoeartenainfnciaouidadeinfantil,poderiaserainda:Imaginaoecriatividade,ImaginaoecriaoouImaginaoetrabalhocriativo,
conformeasopesdotradutor,paraummesmosignoutilizadoporVigotskiemrusso:tvortchestvo.

ANEXO1
CITAESDEDIDEROTEMEDIOBRASILEIRA
DIDEROT apud VYGOTSKY, L. S. On the problem of

the psychology of the actors creative work. In:
______. The collected works of L. S. Vygotsky. Vol.
6. Scientific legacy. New York, Boston, Dordrecht,
London, Moscow: Kluwer Academic/Plenum
Publishers,1999.p.237244.
Traduodorusso:MarieJ.Hall
DIDEROT, D. Paradoxo sobre o comediante. So
Paulo:EditoraEscala,2006.
Traduodofrancs:AntonioGeraldodaSilva
first of all, pronouncing the words, Zaira, you are

crying, or you will remain there, my daughter, the
actor hears himself for a long time and he hears
himself at the moment when he touches you, and all
his talent is not in feeling, as you might think, but in
transmitting most subtly the external signs of feeling
and thus deceiving you. The cries of his grief are
distinctly revealed in his ears, his gestures of despair
are imprinted in his memory and were preliminarily
learned in front of a mirror. He knows completely
precisely at which moment to take out his
handkerchiefandwhenhistearswillflow.Expectthem
atacertainword,atacertainsyllable,notsoonerand
not later. The trembling voice, the interrupted words,
the muffled or drawnout sounds, the shuddering
body, buckling knees, the swooning, the impetuous
outbursts all of this is the purest imitation, a lesson
learned by heart in advance, a passionate grimace, a
splendid aping (D. Diderot, 1936, pp. 576577 apud
Vigotski,1932/1999,p.239)
(...)queantesdedizer:Zara,tuchoras!OuTuainda
vais compreender, minha filha; o ator se escutou a si
mesmo durante muito tempo; que ele se escuta no
momento em que te perturba e que todo seu talento
consiste no em sentir, como poderias supor, mas em
expressar to escrupulosamente os sinais externos do
sentimento,quetuteenganasarespeito.Osgritosde
sua dor so notados em seu ouvido. Os gestos de seu
desespero so decorados e foram ensaiados diante do
espelho. Ele sabe o momento exato em que vai tirar
seulenoeemqueaslgrimasdevemrolar;esperaas
aessapalavra,aessaslaba,nemmaiscedonemmais
tarde. Esse tremor da voz, essas palavras suspensas,
esses sons sufocados ou arrastados, esse frmito dos
membros, essa vacilao dos joelhos, esses furores,
pura imitao, lio recordada de antemo, trejeito
pattico,macaquicesublime(...)(p.2627)
Agladiatorofancienttimesislikeagreatactor,anda
greatactorislikeanancientgladiator;theydonotdie
as people die in bed. They must portray before us a
differentdeathsoastopleaseus,andtheviewerfeels
thatthebare,unadornedtruthofmovementwouldbe
shallowandcontrarytothepoetryofthewhole(ibid.,
p.581apudVigotski,1932/1999,p.239).
O gladiador antigo, como um grande comediante, e

umgrandecomediante,assimcomoogladiadorantigo,
no morrem como se morre na cama, mas so
obrigadosanosrepresentarumaoutramorteparanos
agradareoespectadordelicadosentiriaqueaverdade
nua, a ao despida de qualquer afetao seria
mesquinha e contrastaria com a poesia do resto. (p.
31)
ButIwantverymuchtotellyou,asanexample,how
an actor and his wife, hating each other, played a
scene of tender and passionate lovers in the theater.
Neverhavetwoactorsseemedsostrongintheirroles,
never have they aroused such long applause from the
orchestra and the loges. We have interrupted this
scene dozens of times with applause and shouts of
delight. This is in scene three, act four of Molires Le
DepitAmoureux(ibid.,p.586).seesthebestevidence
of his being correct (ibid., pp. 586 apud Vigotski,
1932/1999,p.240).
Mas sinto vontade de te esboar uma cena entre um

comedianteesuamulher,quesedetestavam;cenade
amantes ternos e apaixonados; cena interpretada
publicamentenopalco,talcomovouapresentlaatie
talvez um pouco melhor; cena em que dois atores
parecerammaisdoquenuncaestarememseuspapis;
cena em que arrancaram os aplausos contnuos da
platia e dos camarotes; cena que nossas palmas e
nossos gritos de admirao interromperam dez vezes.
a terceira do quarto ato do Despeito Amoroso de
Molire(...).(p.35)

ANEXO2
REFERNCIASDEVIGOTSKISOBREOTEMADA
EXPERINCIA/VIVNCIA[PEREJIVANIE]
Por limite de espao, dentro da diagramao adotada, essas referncias no foram

compiladas na ntegra na nota de rodap em que foram mencionadas as obras a que
correspondemverasegundanotadapgina8.
VIGOTSKI,L.S.(193334/2006)Lacrisisdelos sieteaos.Obrasescogidas.TomoIV.
Madrid:VisoryA.MachadoLibros.
Aqui Vigotski trata de perejivanie como unidade da conscincia e como unidade

personalidademeio, entre outros aspectos. A opo de traduo do russo ao espanhol
foiporvivncia.
VIGOTSKI, L. S. (1935/1994) The problem of the environment. In:______. The Vygotsky

reader.EditedbyRenevanderVeerandJaanValsiner.Oxford;Cambridge:Blackwell.
Aqui Vigotski trata de perejivanie como unidade cognio e afeto e como critrio
para compreender como as influncias do meio se relacionam com o desenvolvimento,
entre outros aspectos. A opo de traduo do russo ao ingls foi por emotional
experience.
Nonossoanexo3humabreverevisodeumlivrocontemporneosobreStanislavskina
qualcitadaumadiferenciaodoseuconceitodeperejivanieparacomodeStrasberg.
O assunto aparece apenas de passagem, no aprofundado, mas talvez algumas pistas
possamserobtidasdaliparabuscasposteriores.
Achilles.
Umuarama,14dejunhode2009.

ANEXO3
REVISODECATHERINESCHULERAOLIVRO
STANISLAVSKYINFOCUSDESHARONM.CARNICKE
[CITAOTEMAPEREJIVANIENESTEAUTOR]
Review:[Untitled]
ReviewedWork(s):
StanislavskyinFocusbySharonM.Carnicke
CatherineSchuler
RussianReview,Vol.59,No.2.(Apr.,2000),pp.290291.
StableURL:
http://links.jstor.org/sici?sici=0036
0341%28200004%2959%3A2%3C290%3ASIF%3E2.0.CO%3B26
RussianReviewiscurrentlypublishedbyTheEditorsandBoardofTrusteesof
theRussianReview.

Review: [Untitled]
Reviewed Work(s):
Stanislavsky in Focus by Sharon M. Carnicke
Catherine Schuler
Russian Review, Vol. 59, No. 2. (Apr., 2000), pp. 290-291.
Stable URL:
http://links.jstor.org/sici?sici=0036-0341%28200004%2959%3A2%3C290%3ASIF%3E2.0.CO%3B2-6
Russian Review is currently published by The Editors and Board of Trustees of the Russian Review.
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained
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http://www.jstor.org
Mon Dec 3 14:16:35 2007
290 TheRussin~Review
stood in the shadows of the "great" writers of the age: Elena Gan, Nikolai Gnedich, and Vladimir
Odoevsky, all writers primarily recognized for their other literary achievements (the society tales of Gan
and Odoevsky, and Gnedich for his translations of foreign works into Russian).
The topics pursued are equally various, but all discussion stems more or less from a finite group of
common concerns, which are almost by definition those addressed by all writers of the gothic and
fantastic traditions. These are universal concerns, which find expression readily in the equivocal world
of the gothic novel. These concerns include problems of parentage, procreation, and origins (Cynthia
Ramsey, "Gothic Treatment of the Crisis of Engendering in Osoevskii's TheSnlamander"); uncertainty
and even "anxiety about the position of the self in the world" (p. 179), and in reality itself (Roger
Cockrell, "Philosophical Tale or Gothic Horror Story? The Strange Case of V. F. Odoevskii's The
Cosnzornnzn," and Derek Offord, "Karamzin's Gothic Tale, The ZslnndofBorn/zolm"); and the deter-
minism and supernatural forces that negate and deny man's free will (Richard Peace, "From Pantheon to
Pandemonium").
One challenge, of course, to addressing and discussing the gothic and fantastic in Russian
literature is in establishing that such works are in fact generic and not simply imitations in the
gothic and fantastic style. Richard Peace describes a logical and even natural progression of one of
the common concerns of the gothic when he traces nineteenth-century interest in the supernatural
forces. Carolyn Jursa Ayers attempts to establish Elena Gan as a writer in the continuing tradition
of Female Gothic, raising the important question of whether one can state that there is such a
tradition in Russian literature. On the other hand, Derek Offord suggests that while Karamzin's
"Bornholm Island" is clearly riddled with stock gothic elements, this tale in fact fits into a Senti-
mental framework and is but "a development of a particular strand of Preromanticism" (p. 41).
One conspicuous detail regarding this collection, however, is the consistent reliance on Tsvetan
Todorov's work on the fantastic: five of the twelve essayists rely on Todorov's theory to establish or
prove the fantastic qualities of the work they are addressing; four of the five quote the same passage
from Todorov, the fifth refers to it in a footnote. While Todorov's contribution to the study of the
fantastic is certainly significant, the frequency with which this one theory is applied would seem to
suggest that there are only limited methodologies to approaching and interpreting the fantastic.
Vicki J. Hendrickson Hodovance, University of Colorado, Boulder
Carnicke, Sharon M. Sfatzislnvskjl in Focc~s. Russian Theatre Archive. Amsterdam: Harwood
Academic Publishers, 1998. xiii + 235 pp. $23.00 (paper). ISBN 90-5755-070-9.
Do actors pursue "objectives" or perform "tasks"? Is a dramatic text structured in "bits" or "beats"?
Is theater an artistic or a commercial practice? Should Lee Strasberg be held criminally liable for
corrupting Stanislavsky's theory and practice? Sharon Carnicke's attention to these and other provoca-
tive questions reveals that the preoccupation of Americans with Konstantin Stanislavsky and his notori-
ous "System" for actors continues unabated. Carnicke's SfnnislnvskyinFocc~sis the latest in a long line
of exegetical texts devoted to the Master's theory and practice.
Critical analysis of Stanislavksy and his work began shortly after the founding of the Moscow Art
Theater in 1898; following the dissemination of the System in the West, "Stanislavsky studies" have
become increasingly complex and vexed. Although Stanislavsky expounded at length on his theory and
practice in a series of published texts, he apparently failed to explicate the System satisfactorily because
the secondary literature and lore on the System and its corruption by American admirers is great and still
growing. In her introduction, Carnicke proposes to "demythologize Stanislavsky" through careful
analysis of three frequently misunderstood and misinterpreted aspects of his work: "the history and
premises of the System"; "the transformation of the System into the Method; and "Soviet conditioning
of the System" (p. 6). Although Carnicke fails to demythologize Stanislavsky and her study tends to
reinforce "great man" theories of history, there is much of interest in this articulate comparative investi-
gation of Stanislavsky's System and Strasberg's Method.
Book Reviews 291
The book is organized in three parts. Part 1, "Transmission," describes the Moscow Art Theater's
New York tours; part 2, "Translation," considers the appropriation of the System by American admirers
through classroom lore and Elizabeth Hapgood's translations of Stanislavsky's texts; part 3, "Transfor-
mation," interrogates issues of linguistic and cultural translation. Part 1 will interest readers new to
Stanislavsky studies in English; the uniqueness of Carnicke's contribution to the field is, however, her
discussion of linguistics in parts 2 and 3. Although skeptics might argue that by the simple act of
theorizing acting, Stanislavsky mystified an otherwise uncomplicated activity, confusion escalated when
monolingual members of the Group Theater appropriated terms and concepts associated with the
System.
Mistranslations and misinterpretations occurred on both mundane and recondite points. Thus, for
example, in Richard Boleslavskii's broken English, the System's "bits" (kusokz) became the Method's
"beats." Hapgood's translation of zndncha as "objective" rather than "task" had serious practical
consequences for American actor training. Mistranslation and cultural transformation of Stanislavsky's
"lost term,"perezhivanie, gave rise to profound conceptual antagonisms between Russian and American
practitioners. Stanislavsky, Carnicke argues, understood perezhivanie as the ability of an actor to
"experience" the role with dual consciousness of self and character, while Strasberg construedperezhivn~zie
as "living through" the role. The translation of the System into the Method reveals the preference of
Russians for behaviorism and Americans for Freudian psychology.
Carnicke's account of Stanislavsky's heritage from nineteenth-century theatrical theory and practice
is less satisfying than her discussion of translation and transformation. Although the relationship she
establishes between Tolstoy's writings on aesthetics and Stanislavsky's practice is surely significant,
other critical influences are neglected. Indeed, readers might conclude on the basis of this book that
Tolstoy and Stanislavsky invented performance theory in Russia. In fact, Stanislavsky joined a conver-
sation already in progress. The first purely theoretical treatise on acting, P. D. Boborykin's thoroughly
materialist manifesto, Tentml'hoe iskusstvo, was published in 1873; the terms of the debate over /grn
andperezhzivnnie were established in the 1870s in response to neurasthenic actors like Polina Strepetova;
and by the 1890s, professional journals regularly included articles on the theory and practice of acting
and actor training. Surely Stanislavsky drew from this lore and literature as well.
Catherine Schuler, University of Maryland
Sandler, Stephanie, ed. Rereadzkg Russian Poetry. New Haven and London: Yale University Press,
1999. xi + 365 pp. $40.00. ISBN 0-300-007149-3.
This is the first book dedicated entirely to the reinterpretation of Russian poetry from Zhukovsky to
Kibirov, and it should be warmly welcomed. It is edited by one of the most knowledgable scholars,
who possesses the talent for reading Pushkin and Sedakova with equal ease, as her very informative
introduction and essay on Elena Shvarts confirms.
Each contribution in interesting in its own way. The collection contains a wide range of
topics. Part 1 has the subtitle "Vocation of the Russian Poet"; part 2 reconsiders some less-known
Silver Age poets (Annensky, Kuzmin, Gumilev, Merkureva, and Gertsyk); part 3 focuses on imag-
ery, tropes, and genres. There is a fascinating discussion of homosexuality (Esenin, Kliuev, Ivlev)
by Luc Beaudoin, and a balanced and convincing essay on Nina Iskrenko's poetry by Vitaly
Chernetsky. While David Bethea deals mainly with Pushkin's first poem, Gerry Smith concen-
trates his attention on Brodsky's last poem.
This reviewer has a problem with Andrew Wachtel's contribution on the odic genre employed
by contemporary Russian poets. By including such different poets as Sedakova, Parshchikov, Kibirov,
and Kutik in one article, Professor Wachtel opens the sluice gates rather too far. He speaks of every
poet as if for the first time, ignoring the considerable literature on each one of them; for example, there is
no reference to a special issue of Literatu~izoeobozrenie(1998, no. 1) which was dedicated to Kibirov;
or to Olga Sedakova's interview, where she speaks about her own poetry, including the symbol of water

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Vigotski - Sobre o Problema Da Psicologia Do Trabalho Criativo Do Ator - 1932 - Revisão Por Iulia Vladimirovna Bobrova Passos

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L.S.

Agradeo educadora, estudiosa de Vigotski, doutoranda em Educao pela Unicamp,

The last section is a fitting close to the Collected Works of L. S.

By closing this volume with a return to the theater, including

Para concluir este volume com um retorno ao teatro, incluindo a

The problem of the psychology of the actor and theatrical creative

O problema da psicologia do ator e do trabalho teatral criativo ao

Por um lado, parece que nunca houve, mesmo em certa medida, um

Se ns tentarmos examinar as fontes da psicologia teatral, elas nos

Thus, in theatrical systems, if the problem of the psychology of the

Only very recently did we note an attempt to overcome the

Portanto, em sistemas teatrais, se o problema da psicologia do ator,

Apenasmuitorecentemente nsnotamosuma tentativadesuperaras

Moreover, as has been indicated, each of these trends has a specific

A inadequao comum das tendncias principais o completo

Psychotechnical investigations, on the other hand, lose sight of all

If formerly the testimony of one actor or another or one epoch or

Investigaes psicotcnicas, por outro lado, perdem de vista toda a

A nova abordagem psicologia do trabalho criativo do ator

In the new formulation of the question that we are considering, the

In the beautiful words ofDiderot, first of all, pronouncing the words,

Na nova formulao da questo que ns estamos considerando, o

Nas belas palavras de Diderot, em primeiro lugar, pronunciando as

Como diz Diderot, todas as paixes do ator e sua expresso entram

This contradiction, which cannot be resolved in abstract psychology

Como ns dissemos, a viso de Diderot baseada em fatos, e esta a

Ns dissemos que a nova tendncia posiciona o problema como um

The psychology of the actor is a historical and class category, not a

Thus, it is not the nature of human passions that determines directly

A psicologia do ator uma categoria histrica e de classe, no uma

Together with recognizing the historical nature of the problem that

First, like any concrete mental phenomenon, the actors work

Second, admitting the historical character of this problem and at the

Junto com o reconhecimento da natureza histrica do problema que

Primeiro, como qualquer fenmeno mental concreto, a representao

Segundo, admitindo o carter histrico deste problema e ao mesmo

The first thing we come to is the establishment of the limited

A primeira coisa que nos vem o estabelecimento da significncia

Here we are approaching close to an extremely important

whose stylistic aspirations were so very different from the initial

Aqui ns estamos chegando perto de um momento sociolgico extre

Zakhava says: Internal justification, the basic requirement of

Zakhala disse: Justificao interna, o requisito bsico de Stanislavski,

We see how the internal technique of Stanislavsky and his mental

Ns vemos como a tcnica interna de Stanislavski e seu naturalismo

Por essa razo, as declaraes dos atores sobre sua representao

This path is much more tortuous and, as Stanislavsky correctly notes,

O primeiro consiste em que Stanislavski expressa a qualidade

Este caminho muito mais tortuoso e, como Stanislavski

According to the justifiable expression of L. Ya. Gurevich,

De acordo com a justificvel expresso de L. Ia. Gurevitch,

Mas este apenas um aspecto do problema. O outro est includo no

To study the order and connection of affects is the principal task of

A psicologia ensina que as emoes no so uma exceo, algo

Estudar a ordem e a conexo dos afetos a principal tarefa da

1. This paper was written in 1932. First published in the book: P. M.

3. Clairon, pseudonym of Claire Hippolyte Leyris de la Tudi (1723

4. Dumesnil, pseudonym, real surname Marchand, Marie Francoise

5. Three Sisters, a play by A P. Chekhov, was first presented in the

6. Paulhan, Frederick (18561931), see Vol. 2, p. 488. For more details

2. Diderot, Denis (17131784), filsofo e educador francs, autor de

3. Clairon, pseudnimo de Claire Hippolyte Leyris de la Tudi (1723

4. Dumesnil, pseudnimo de Marie Francoise Marchand (17111803),

5. As Trs Irms uma pea de A. P. Tchekhov, foi apresentada pela