‌‌‌‌　　英：scene: 法：scene

‌‌‌‌　　弗洛伊德从费希纳2那里借来“另一场景”（eine andere Schauplatz)这一措辞，并且将其使用在《释梦》一书中，声称“梦中行动的场景并不同于清醒观念生活的场景”(Freud, 1900a: SEV, 535-6)。这导致弗洛伊德构想出了“精神位点”(psychical locality)的概念。然而，弗洛伊德曾经强调这个位点的概念不应当混淆于身体的位点或是解剖学的位点，拉康则将此当作他自己使用拓扑学 (TOPOLOGY)的正当理由 (见：E, 285)。拉康在其著作中反复地提及费希纳的这一措辞 (例如：E, 193), 用拉康的措辞来说，这个“另一场景”即大他者。

‌‌‌‌　　拉康也会用“场景”这一术语来指代想象性与象征性的剧场，这个剧场建立在实在界大厦（世界）的基础之上，主体在其中上演自己的幻想 (FANTASY)。幻想的场景是一个具有框架的虚拟空间，正如一幕戏剧的场景是以剧场中的舞台拱门为框架的，而世界则是位于框架之外的一个实在空间（Lacan, 1962-3:1962年12月19日的研讨班）。场景的概念被拉康用来区分行动搬演 (ACTINGOUT)与行动宣泄 (PASSAGE TO THE ACT)。前者仍然保持在场景内部，因为它仍旧被铭刻在象征秩序当中。然而，行动宣泄则是一个退出场景的出口，是从象征界到实在界的某种跨越，存在着一种对于对象（对象小）的完全认同，且因此存在着对于主体的某种废除(Lacan,1962-3:1963年1月16日的研讨班)。幻想的场景也是性倒错(PERVERSION)中的一个重要的面向。性倒错者通常根据某种高度风格化的场景，并按照一个刻板的剧本上演自己的享乐。

‌‌‌‌　　(scene) Freud borrowed the expression 'another scene' (eine andere Schauplatz) from G.T.Fechner, and used it in The Interpretation ofDreams, stating that 'the scene of actionof dreams is different from that of waking ideational life' (Freud, 1900a: SE V, 535-6). This led Freud to formulate the idea of psychical locality'. However, Freud emphasisedthat this concept of locality is not to be confused with physical locality or anatomicallocality, and Lacan takes this as a justification for his own use of TOPOLOGY (see E, 285). Lacan makes repeated reference to Fechner's expression in his work (e.g.E, 193); the 'other scene'is, in Lacanian terms, the Other.

‌‌‌‌　　Lacan also uses the term 'scene'to designate the imaginary and symbolic theatre inwhich the subject plays out his FANTASY, which is built on the edifice of the real (theworld). The scene of fantasy is a virtual space which is framed, in the same way that thescene of a play is framed by the proscenium arch in a theatre, whereas the world is a realspace which lies beyond the frame (Lacan, 1962-3: seminar of 19 December 1962). Thenotion of scene is used by Lacan to distinguish between ACTING OUT and PASSAGETO THE ACT. The former still remains inside the scene, for it is still inscribed in thesymbolic order. The passage to the act, however, is an exit from the scene, is a crossingover from the symbolic to the real; there is a total identification with the object (objetpetit a), and hence an abolition of the subject (Lacan, 1962-3: seminar of 16 January1963). The fantasy scene is also an important aspect in PERVERSION. The perverttypically stages his enjoyment in terms of some highly stylised scene, and according to astereotypical script.