When Horace wrote in Ars Poetica, “If you would have me weep, you must first feel grief yourself” (“Si vis me flere dolendum est primum ipsi tibi”), he expressed the ancient world's view that, in order to emotionally affect his audience, an orator needed to feel the emotion himself. This idea was widely subscribed to in the eighteenth century. In the modern era Konstantin Stanislavsky engaged in a sustained investigation of emotion and acting, stressing that the actor needed to experience “real feeling” in order for the audience to experience authentic emotions also. As a theory of emotional transmission, it seems like common sense. Yet, when Denis Diderot witnessed in Baron d'Holbach's salon David Garrick's parlor trick of sticking his head out between two screens, and cycling through a range of passions with his face, the great philosophe wondered whether the actor felt anything at all even though his audience, including Baron Grimm, evidently did. “Can his soul have experienced all these feelings, and played this kind of scale in concert with his face?” Diderot asked, and then answered, “I don't believe it; nor do you.” By deciding in the negative, that Garrick could not have felt anything, Diderot reveals a common fallacy of the audience: the belief that what an audience feels reflects, and is a result of, what an actor feels. The problem for Diderot, which he addressed in the Paradox of Acting (1773), was how an actor such as Garrick managed to evoke emotions in his audience when he apparently felt nothing himself.

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“以身作则”：十八世纪悲剧表演中的情感与惯例

当霍勒斯在诗篇，“如果你想让我哭泣，你必须先让自己感到悲伤”（“Si vis me flere dolendum est primum ipsi tibi”)，他表达了古代世界的观点，即为了在情感上影响他的听众，演说家需要自己去感受这种情感。这个想法在十八世纪被广泛接受。在现代，康斯坦丁·斯坦尼斯拉夫斯基（Konstantin Stanislavsky）对情感和表演进行了持续的调查，强调演员需要体验“真实的感觉”才能让观众也体验到真实的情感。作为一种情感传递理论，这似乎是常识。然而，当丹尼斯·狄德罗在 Baron d'Holbach 的沙龙中目睹大卫·加里克的客厅戏法时，他将头伸出两个屏幕之间，并用他的脸在一系列激情中循环，伟大的哲学想知道这位演员是否有任何感觉，尽管他的观众，包括格林男爵，显然有。“他的灵魂能经历过这一切感觉，并配合他的脸演奏这种音阶吗？” 狄德罗问道，然后回答说：“我不相信；你也没有。” 通过否定加里克不可能有任何感觉的决定，狄德罗揭示了观众的一个常见谬误：相信观众的感受反映了演员的感受，并且是演员感受的结果。狄德罗的问题，他在表演的悖论（1773 年），像加里克这样的演员是如何在他自己显然没有任何感觉的情况下设法唤起观众的情绪的。