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[[scene]] ([[French]]:''[[{{Top}}scène]]''){{Bottom}}

[[Freud]] states borrowed the expression "[[another scene]]" ([[German]]: ''[[eine andere Schauplatz]]'') from G.T. Fechner, and used it in ''[[The Interpretation of Dreams]]'', [[stating]] that "the [[scene]] of [[action]] of [[dream]]s is different from that of waking ideational [[life]]."<ref>Freud. {{F}} ''[[The Interpretation of Dreams]]'', 1900a. [[SE ]] V. p.535-6</ref>

This led [[Freud]] borrowed to formulate the expression "[[another scene]]" ([[Germanidea]]: ''[[eine andere Schauplatz]]'') from G.T. Fechner, and used it in ''[[The Interpretation of Dreams]]'', stating that "the [[scene|psychical locality]] of [[action]] of [[dream]]s is different from that of waking ideational [[life]]."<ref>Freud. 1900a. SE V. p.535-6</ref>

This led However, [[Freud]] emphasized that this [[concept]] of locality is not to formulate the idea be confused with [[physical]] locality or [[anatomical]] locality, and [[Lacan]] takes this as a justification for his own use of "psychical locality[[topology]].<ref>{{E}} p."285</ref>

However, [[Freud]] emphasized that this concept of locality is not to be confused with physical locality or anatomical locality, and [[Lacan]] takes this as a justification for his own use of [[topology]].<ref>{{E}} p.285</ref> ([[Lacan]] makes repeated reference to Fechner's expression in his [[work]];<ref>{{E}} p.193</ref> the "other scene" is, in [[Lacan]]ian terms, the [[Otherterms]].) [[Freud]] developed , the idea of "[[psychical locality]]" (in opposition to [[physical]] or [[anatomicalOther]] locality).

==Fantasy==[[Lacan]] takes this as a justification for also uses the term "[[scene]]" to denote the [[imaginary]] and [[symbolic]] theatre in which the [[subject]] plays out his own use [[fantasy]], which is built on the edifice of the [[real]] (the [[topologyworld]]).<ref>{{E}} p.285</ref>

The [[Lacanscene]] uses the term "of [[scenefantasy]]" to denote the is a [[imaginaryvirtual]] and [[symbolicspace]] which is framed, in the same way that the [[scene]] (of a play is framed by the proscenium arch in a theatre, whereas the world) (theater) in is a [[real]] space which lies beyond the [[subjectframe]] comes to stage (plays out) his or her .<ref>{{F}} ''[[fantasySeminar X|Le Séminaire. Livre X. L'angoisse, 1962-63]] (which is built on the edifice of the '', unpublished. [[realSeminar]] (the world))of 19 December 1962.</ref>

The [[scene]] of [[fantasy]] is a virtual space which is framed, in the same way that the scene of a play is framed by the proscenium arch in a theatre, whereas the world is a [[real]] space which lies beyond the frame.<ref>Lacan. 1962-3. Seminar of 19 December 1962.</ref>== Acting Out and the Passage to the Act == This [[notion ]] of [[scene]] is used by [[Lacan]] to distinguish between [[acting out]] and [[passage to the act]]. The former still remains inside the [[scene]], for it is still inscribed in the [[symbolic order]].

It is said that the [[process ]] of [[acting out]] remains inside the [[scene]], inscribed in the [[symbolic]] [[order]].

The [[passage to the act]], however, is an exit from the [[scene]], is a rossing crossing over from the [[symbolic]] into the [[real]]; there is a [[total ]] [[identification]] with the [[other]] and hence an abolution of the [[subject]].<ref>Lacan{{F}} ''[[Seminar X|Le Séminaire. Livre X. L'angoisse, 1962-3: seminar 63]]'', unpublished. [[Seminar]] of 16 January 1963.</ref>

== Perversion ==

The [[pervert]] typically [[stages ]] his [[enjoyment]] in terms of some highly stylised [[scene]], and according to a stereotypical script.

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