SENTIRE, ESPRIMERE, SIMULARE: ARTE DELLA RECITAZIONE E SCIENZA DELLE PASSIONI NEL TARDO OTTOCENTO

This paper, by way of the destiny of Diderot’s Paradox of the Actor, aims to describe the framework of the question of affective dimension in the late 19th Century, investigated in its scientific, physiological, clinical and philosophical implications. A sort of hyperbole where the excessive sensibilities of hysterics, maybe simulated in dramatizing acting, were obliged to fall asleep, to be removed in order of being replaced by a different sensibility “performed” in virtuoso sounds.