Evocations of the ‘Believable’ on Stage. Mechanisms of Perception

It is not possible to say with precision where the need to look at a theater performance through the lens of the ‘believable’ comes from. Whether this fact is a reflection of contemplative consciousness, carried by the echoes of a "probable" and tempted by questions launched to unknown horizons, or it represents a way of resonance with the scenic act, it is certain that, over time, reason has dictated the reiteration of the search for and the rediscovery of credibility on stage. In an attempt to follow a thread of some mechanisms of perception, we will analyze to what extent the need for verisimilitude circumscribes other needs, with a significant amplitude. The present approach also takes into account relations to the concept of truth, reality and scenic reality, sensoriality, as well as the role of scenic temporality with regard to the creation of the illusion of truth. If, as George Orwell says, "reality is only in the mind, nowhere else", how does the viewer's perception of the perceived object, in this case, stage reality, act on the perceived object?