This article reviews Vygotsky's writings on arts (particularly logocentric art including the theater) and emotions, drawing on his initial exploration in The Psychology of Art and his final considerations set forth in a set of essays, treatises, and lectures produced in the last years of his life. The review of The Psychology of Art includes attention to the limits of his analysis, the mixed Marxist legacy that is evident in the book, the cultural blinders that affect his vision of the relative value of different artistic productions, the content of what he elsewhere refers to his "tedious investigations" into extant views, and the gist of what he considers to be the essence of art. Attention to his late work falls into two areas: Emotion in formal drama and emotion in everyday drama, each of which involves perezhivanie, roughly but incompletely characterized as emotional experience. The article concludes with an effort to situate Vygotsky's writing on art and emotion both within his broader effort to articulate a comprehensive developmental psychology of socially, culturally, and historically grounded individuals and social groups, and within scholarship that has extended and questioned his work as his influence has expanded beyond the clinics of Soviet Moscow.In this article I attempt to bridge work undertaken by L. S. Vygotsky at the beginning and end of his brief career. His first work of scholarship, The Psychology of Art, based on his doctoral research and the insights he developed in his early days of teaching, served as a prolegomenon to his subsequent and more elaborated effort to outline a comprehensive psychology based on cultural-historical principles. Vygotsky's treatment of art was largely logocentric, focusing for the most part on literature and the theater, and thus helped set the stage for his consideration of the fundamental role of speech in human development. This emphasis produced what Van der Veer (1997) called Vygotsky's "linguistic psychology" founded on the three themes of "Words, words, words" (p. 7).Then, in the last years of his life, he returned briefly to questions of the emotions, including the paradox of the actor's verisimilitudinous affectation of emotions on the stage and the 1 "For Vygotsky unlike Piaget, there is no 'stage' but only a progressive unfolding of the meaning inherent in language through the interaction of speech and thought.