La philosophie du personnage conçoit l’identité à travers le miroir de l’identité. Au vu de l’histoire des idées de vision, de présence, de représentation et de mimêsis, nous pouvons élaborer une théâtralité de l’expérience au croisement de l’Un dionysiaque (la totalité de la fusion extatique) et du Deux apollinien (la perception de la scission représentée). « Être un autre » est l’expression qui résume le rôle central du théâtre en ce qui concerne l’origine de la subjectivité. En tant qu’unité paradoxale de βίος et de Ζωή, le personnage consiste en un fond où plusieurs formes de vie deviennent possibles ; cela le rend une figure apte à déclencher les procès de subjectivation. Le personnage renferme une idée de vie se développant dans le corps, l’espace et le temps, éléments qui sont singuliers et infinis à la fois. / The philosophy of character looks at the identity through the mirror of the alterity. Considering the history of the ideas of vision, presence, representation and mimesis, it is possible to describe the expenence as a theatre. The world’s theatre concerns, at the same time, the Dionysian “one”, complete ecstatic fusion, and the Apollonian “two”, consciousness of the representation.“Being someone else” is an expression that aims to resume the central role of characters in the subjectivity’s formation. Since it is a paradoxical mix of βίος and Ζωή’, the character contains several possible lives. Therefore, it is an important element in processes of subjectivation: it shows an idea of life which develops in a body, in a certain space and time, but which also expands in infinity.The ontological characterisation of character, in Pirandello’s theatre, is related to the reflexion on the character that everybody has to wear in the world’s theatre. Because life doesn’t coincide onty wil.h onc form of individuation, there’s always a rupture between the Self-perception and Others perception. The rupture can be solved, in pirandellian conception, when the subject abandons his own identity, in order to fuse with the nature. This perspective is radicalized in Carmelo Bene’s theatre: his processes of de-subjectivation are essentially an oblivion of the individuation. The Teatro delle Albe gets across the desert of subject and object opened by CB, inheriting bis work on the chasm of the voice. Nevertheless, in the company poetics, there is the possibility to think the subjectivity according to new borders and new desires. / La filosofia del personaggio pensa l’identità attraverso lo specchio dell’alterità. Alla luce della storia delle idee di visione, presenza, rappresentazione e mimesi, si delinea una teatralità dell’esperienza al limite fra l’uno dionisiaco, totalità della fusione estatica, e il due apollineo, percezione della scissione rappresentata. “Essere un altro” è un’espressione che intende riassumere il ruolo centrale del teatro nella genesi della soggettività. Intreccio paradossale di βίος e ζωή, il personaggio è un ricettacolo di vite possibili e si rivela, perciò, una figura decisiva nei processi di soggettivazione. Esso racchiude un’idea di vita che si sviluppa in un corpo, in uno spazio e in un tempo, che sono, al contempo, puntuali ed infiniti.