Lev S. Vygotsky is one of the major figures of psychology; however, his deep engagement with the arts is less known. This is surprising, given the fact that the arts, and especially Shakespeare’s Hamlet, are present throughout his career. In this article, we argue, first, that Hamlet was a major symbolic resource for Vygotsky in times of liminal transitions, and second, that it is this very deep experience of having been transformed by means of Hamlet that grounds his psychology of art, which aims precisely to show how Hamlet works as a “technique of emotions.” Our demonstration is organized into three main movements. In Part 1, we retrace the historical and cultural context in which Vygotsky grew up as a young man. We emphasize his experiences of liminality and transitions, due to transformations of the social world and his own life. In Part 2, we examine Vygotsky’s proposition itself through a close analysis of his Psychology of art. Finally, in Part 3, we further explicate the relation between art and life at play in Vygotsky’s approach and relate this to Vygotsky’s broader psychology.

Lev S. Vygotsky 是心理学的主要人物之一；然而，他对艺术的深入参与鲜为人知。这是令人惊讶的，因为艺术，尤其是莎士比亚的哈姆雷特，贯穿了他的整个职业生涯。在本文中，我们认为，首先，哈姆雷特是维果茨基在阈限过渡时期的主要象征资源，其次，正是这种通过哈姆雷特被改造的非常深刻的体验奠定了他的艺术心理学基础，旨在准确展示哈姆雷特如何作为“情感技术”发挥作用。我们的示威活动分为三个主要运动。在第 1 部分，我们回顾了维果茨基年轻时成长的历史和文化背景。由于社会世界和他自己的生活的转变，我们强调了他的阈限和转变的经历。在第 2 部分中，我们通过对他的艺术心理学的仔细分析来检验维果茨基的命题本身。最后，在第 3 部分，我们进一步解释了维果茨基方法中艺术与生活之间的关系，并将其与维果茨基更广泛的心理学联系起来。