RE: [xmca] Vygotsky, Luria and Eisenshtein (links to chain)

To add more two or three links to a chain-complex

1) About Luria and Eisenshtein: “Eisenstein planned two courses on the psychology of art at Luria’s request, in 1940 and 1947 (both in Leyda (ed.) “The Psychology of Composition”).” (Christie & Taylor, 1993, p. 225 - Endnote 87); I ask for an used edition at amazon, seems to be fine. “Psychology of Composition” sounds like an interesting title and subject to me, composing evoques spinozian concept of "joy".

2) About Eisenshtein and Stanislavsky similarity: there is a very interesting note by Nikolai Veresov commenting Vygotsky’s “genetic law of cultural development” explaining something about what they means by “Category”:

“Category is the philosophical concept. How can one imagine that the function exists as a category? Sounds strange, but according to STANISLAVSKY (famous theatre director Vygotsky used to know) AND Sergey EISENSHTEIN (filmmaker and a friend of Vygotsky) "category" in the drama means "collision", "event", dramatic unit, and the unit of analysis of drama: it might be a dialogue (mostly) or emotional explosion and so on. Vygotsky is speaking about development as a process of events, collisions and their reflections in both planes.” (N. VERESOV) (Caps mine)

Available at http://webpages.charter.net/schmolze1/vygotsky/vygotsky.html
I don´t know the actual source yet - If there is a book or paper by Verosov about these matters. I will check.

3) About Eisenshtein and Stanislavsky differences: Eisenshtein seemed to be closer to Meyerhold than to Stanislavsky, the pome of Eris was maybe differences of emphasis in verbal or non-verbal components of the actor’s play... but this stands only like um more question, not a secure information. Seems that there was, at that time, some kind of fight against "verbalization" in theatre, in which Meyerhold was activily envolved, but the actual role of Eisenshtein in that dispute is nothing clear to me. Eisenstein movies seems to operate with some kind of "pictograms", but nothing to affirm about absolutily dispense "words", even like "inner speach" - must be something about this in his own writings, quoting Vygotsky, I guess that I remember something like this in a work of a filmmaker friend of mine, some talks with her. But it was a long time ago, too. I remain in my thinking by complex, you know.

What do you think about these links? There are something useful?

Thank you.
Achilles.

> From: achilles_delari@hotmail.com
> To: xmca@weber.ucsd.edu
> Subject: RE: [xmca] Vygotsky, Luria and Eisenshtein (a question)
> Date: Fri, 31 Oct 2008 01:02:11 +0000
>
>
> Oh, it's great, Mike...
>
> Borges wrote a tale named "Funes..." recreating something of Shereshevsky... you know. So
> seems that there is very artistic features in real human psychic experience. About "generalized
> image" I will see... Is this concept at "Iazik i soznanie"? We have a Portuguese version. I have
> read many years ago. I don't remember if I knew this concept , even in another book. It
> occurs to me, right now, to search immediately something about what system of acting was
> used by Eisenstein's actors, if we can find any relation with Stanislavsky's system of creative
> actor's work... studied by Vygotsky discussed in the text from 1932 (publish in Collected Woks,
> vol. 6 - prologue by Dot Robbins), and so important in 1934 (thought and word) with the
> notion of "subtext"... If you tell us about psychological studies about audience, and the feelings
> and understanding of audience, the way that film is constructed and actor plays their roles
> must be interesting to study too. After all, all we must to act... (as "akt", and as "postuk").
> I had think about the other way of mutual influences in dialog psychology-movie too: what we
> can learn from movie semiotics? And/or what about Eisenstein can teach something to historical-
> cultural approach? For instance, the notion of "non-indifferent nature"... I'm thinking by complex,
> like ever I do. But now, it's the only way I can think. And these are all links that I can put in the
> chain until now. And we even need a thesis and the young guy/girl with it in mind - I hope this
> person can will arise soon in this context...
>
> I will see something about Eisenshtein and Stanislavsky, right now.
> What do you think? It can be useful?
>
> Thank very much, for all your contributions since before, since many years ago.
>
> Achilles.
>
>
>
>
>
> > Date: Thu, 30 Oct 2008 16:10:46 -0700
> > From: lchcmike@gmail.com
> > To: xmca@weber.ucsd.edu
> > Subject: Re: [xmca] Vygotsky, Luria and Eisenshtein (a question)
> >
> > Excellent question. Lets see what we can find out.
> > There are references in Eisenshtein's published work about his activities
> > with
> > Shereshevsky, the mnemonist. And there is, I believe, a close relation
> > between the idea of "generalized image" in Luria and Eisenshtein's notion of
> > montage.
> >
> > All we need is a bright young person with a thesis in mind and a ghost of
> > chance
> > of getting it done in this context.
> > mike
> >
> > On Thu, Oct 30, 2008 at 3:35 PM, Achilles Delari Junior <
> > achilles_delari@hotmail.com> wrote:
> >
> > >
> > > Greetings for all.
> > >
> > > One more extemporaneous question.
> > >
> > > If I'm not misremembering, in "Making mind", Mike Cole exposes some very
> > > interesting data about Luria and Vygotsky's works with the audience of
> > > Eisenshtein's movies, didn't he expose? Puzirey, I remember well, has said
> > > something about Eisenshtein's reading of "Psychology of Art", in the files
> > > of Eisenshtein's personal library was founded an exemplar of the book, in
> > > which at several places are underlined the words "contend and form"... a
> > > basis for his own work has filmmaker. But, what more we can know about those
> > > works with audience? Everything was loosed with War? Is there no follower or
> > > co-worker that have dedicate even a single book or paper about these
> > > researchs? I Have thinking about these questions since 1991-1994 when I had
> > > read the fragments that I quote here, and only now I can ask for you. It's
> > > not my main subject now, but I'm concerning with it in a personal way, and
> > > why not to ask for? Somebody can give me some help?
> > >
> > > Thank you very much for your attention and help.
> > > Achilles.
> > >
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Received on Fri Oct 31 11:29:50 2008