The pain remains pointless. Yet in her physical conformation she is absolute and total. When we suffer, it is impossible for us to ignore it: pain becomes the primordial feeling that supplants all other emotions. And at the same time, it is impossible for us to communicate this experience, but it is possible to show empathy. The lack of empathy for the pain of other human beings has led to violence, abuse and the deterioration of interpersonal and intergroup relationships. Racism and sexism and all other forms of discrimination draw their strength from this lack of empathy, which is essential to community life. Constructed by realizing an idea through a gesture performance has historically always aimed to stage a form of experimentation, to open up new fields of research and engagement, to transgress the norm, to question artistic production and to engage the viewer in the process. The performance is in a way a means of communication and metamorphosis. Through the radical treatment of their bodies, the performers become transmitters. Through its bodily actions, protesting against a world where everything is anesthetized, the wound is the memory of the body, the memory of its fragility, its pain, and therefore the certainty of its existence. Performance Art can, from this point of view, be of great help. Indeed, where information, analyses, scientific knowledge only reach us in an abstract, disembodied way, artists give shape to worlds and situations which, even if they are completely fanciful, are offered to our bodies and our minds as concrete spaces of investment. The question is no longer how performers could give flesh to the textual and human “skeletons” they encounter, but how they could pull a bone from here and another from there to create their own figures.