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Thanks, Professor Kotik-Friedgut!
Yes, that's what I thought. So it's rather odd that Yaroshevsky says Vygotsky had personal knowledge of the production. Of course, he must have read the reviews; but they were pretty unfavorable.
I guess my real question is this: When and why did Vygotsky start to see Hamlet as the portrait of a single mind, with a self-directed, soliloquizing "foreplane" and a social-interactive, communicative backstage?
The Craig production does contain this idea, because Craig saw Hamlet as a monodrama, a one man show, like Chekhov's play about tobacco. But Craig's idea of Hamlet-as-monodrama was diluted with all kinds of symbolist ideas, i.e. Hamlet-as-myth, myth-as-religion, Hamlet-as-medieval-mystery-play, etc.
And the biggest single difference between Vygotsky's early draft of Hamlet and the one that ends up in Chapter Eight of Psychology of Art seems to be precisely that: Vygotsky gives up on the idea that Hamlet is a religious mystery play (he even rejects the idea that Vygotsky's sparing of Claudius in Act Three is religiously motivated!) and from that moment on sees it as purely psychological.
I think the 1924 production Vygotsky saw was pretty close to the original Craig version, and that production was criticized as being covert religious propaganda. Vygotsky is pretty hard on it too!
David Kellogg Hankuk University of Foreign Studies
PS:
By the way, I very much enjoyed your work on Vygotsky's theatre pieces in "Psyanima", and I noticed that Vygotsky's review of children's theatre includes another complaint about Chukovsky's "Crocodile", which suggests that the note we find in "Educational Psychology" really is Vygotsky's.
dk
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