"Hence it Follows That the Actor Must Have a Double Personality": Acting and Concepts of Dissociation around 1900

Abstract: In the nineteenth century, dissociative states of consciousness became a central focus of research. Techniques such as hypnosis and suggestion, along with phenomena like somnambulism and trance, played a pivotal role in shaping consciousness theory. These insights were subsequently adopted by theater theorists to deepen their understanding of the actor's capacity for transformation and character portrayal. This article examines how theater theorists integrated psychological findings on dissociation into their theoretical frameworks, leading to a redefinition of traditional concepts of identity and identification in acting. Specifically, I focus on the German theater director Max Martersteig and the English theater critic William Archer, illustrating how their work reflects broader cultural concerns regarding the performative and fluid nature of identity.