From the correspondence with Yvette Guilbert and in the light of some notes left by Freud, the authors update the elements that allow to envisage a Freudian “theory” of the art of the actor in which the Persona/Personage and the conflict in act that the actor is requested to reveal in “presence” are situated at the centre of the “scene”. The quoted Freudian remarks seem to invalidate the idea of an essentially “conservative and traditional” Freudian approach of the art and to distinguish by their modernity the proximity with a vision of the actor which will be afterwards developed by the men of the theatre, as K. Stanislavski.

Based on the exchange between Yvette Guilbert and Freud about the Freudian intuition that the mute predispositions could find the possibility of being revealed on scene, testifying the otherness of the unconscious, the authors disclose the barely know continuation of this dialogue about the theatre that will lead the “teller” to rethink the actor in the form “of a residential hotel” whose owner benefits from its inhabitants, and Freud to the presentiment of the specificity of the time to the meeting with the actor in the play.