Abstract

The Soviet psychologist L. S. Vygotsky was immersed in theater and the arts through much of his life, collaborating with scholars of the psychology of acting, including Konstantin Stanislavski’s close confidante and long-time editor Liubov Gurevich, on terms and theories expressed in his historically defining text, An Actor’s Work. This article connects linguistic, theoretical, and methodological aspects of Stanislavski’s work with Vygotsky’s quest to develop a new psychology, finding its apogee in the works of his final years, especially after he gained access to an extended draft of Stanislavski’s chapters. As Vygotsky’s theories continue to influence the field of psychology, this article looks to provide a guidepost for refining understanding of Vygotsky’s theories based on archival evidence and a close reading of contemporary translations of Vygotsky’s major works.