Thanks, Ricardo!
Eugene
-----Original Message-----
From: Ricardo Japiassu [mailto:rjapias@uol.com.br]
Sent: Monday, July 28, 2003 8:05 AM
To: ematusov@UDel.Edu
Subject: linking LSV to Stan
Yes. No objection.
I thought it was interesting to send the link to the Portuguese version
because some people could have interest on comparing translations of it. And
also considering the possiblility of a one can use some of those programs
that make automatic translation online.
On the text of LSV...
I like the way he makes us consider a broader use of Stan's system by using
Vakhtangov's Turandot as an example. As always, he (re)signs a theoretic
artifact adjusting it to his cultural-historical conception of human life
and behaviour.
The way he consider the psychology of actor, or acting, guides one on going
beyond the "private's life psychology" of characters in plays.
But, in my oppinion, LVS's ideas in that article can only be better
understood linking it to his theory of aesthetical reaction - the
specificity of aesthetical reactions that makes them different from everyday
ones. And that "law" of artistics "creation-reception" is only available in
his Psychology of Art.
Ricardo, I wonder if LVS used the word “response or “reaction”. Reaction
sounds too Pavlovian for me (although LVS argued with Pavlovian approach in
those times)
Personally, I think that his historical-cultural conception of human
psychsism was raised over his understanding of animic dimension of
aesthetical reactions. I think it (theory of aesthetical reaction) was the
"departure point" to his historical-cultural conception of human psychsism.
And, indeed, if a one takes a carefull look to Psychology of Art (I preffer
translate it as Psychology of ArtS) she/he will "see" that CHAT crosses that
essay from its beggining to the end.
Ricardo Japiassu
Universidade do Estado da Bahia em Teixeira de Freitas - Uneb X
Rua SS, s/n - Jd. Caraípe
Tx. de Freitas - Bahia
45 995 000 BRASIL
http://www.ricardojapiassu.pro.br
Thanks, Ricardo! I can’t read Portuguese, unfortunately, but I read the
article in Russian (my native language). What is interesting did you find in
the article?
Take care,
Eugene
PS Do you want to move the discussion to XMCA? I think many XMCA people will
be benefit from the connection you made.
-----Original Message-----
From: Ricardo Japiassu [mailto:rjapias@uol.com.br]
Sent: Saturday, July 26, 2003 2:00 PM
To: ematusov@UDel.Edu
Subject: Re: Space and time in chat
"I just talked with Ana Marjanovic-Shane in “meatspace” (we both live in
Philadelphia) and, she reminded me work by Stanislavskii (famous Russian
theater educator). Stanislavskii also focused on (at least) three
chronotopes for actor’s work that roughly correspond to three chronotopes of
schooling that I described. Actor chronotopes are: 1) chronotope of play
(“didactic chronotope” in school); 2) chronotope of scene (here-and-now)
(cf. “local chronotope of the classroom”), and 3) chronotope of the actor’s
past experiences (cf. “ontological chronotope” although I think that
ontological chronotope is not only about past experiences, but it is also
future oriented). Ana promised to bring references from Stanislavkii….
(thanks, Ana!)" EMatusov
This parallel you trace between chronotopes of acting in theater (characters
and roles) and chronotopes acting in life (roles) seems very promissing to
me. There's an article of LV that can be usefull to link him to Stan. This
text was translated to portuguese as "On the problem of creativity of actor"
and can be found in:
http://www.ricardojapiassu.pro.br/Cria_VYG.htm
It's a free translation to Portuguese by PHd Beatriz Cabral based on
Elizabeth Roberts's English one.
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