This article extends the exchanges with L. Stocker, an actor, during the CPLF. The identificatory processes that enable the actor to embody his role are revisited successively on the basis of a dream by Freud, non dixit, and a theatrical rehearsal scene in prison, filmed by the Taviani brothers. Both the dream play and the theatrical play, nourished by sensoriality, deal with the imbalance of the dreamer's instinctual drives as well as the necessary imbalance of those of the actor.