This text provides a study of Jean-Martin Charcot, a founding figure in the history of neurology as a discipline and a colleague of Sigmund Freud. It argues that Charcot¿s diagnostic and pedagogic models, explaining both how disease is recognized and described and how to teach the act of neurological diagnosis, should be considered through a theatrical lens. Considering the constitution of the living, moving body in terms of performance, Charcot created a situation whereby the line between deceptive acting and real pathology, scientific accuracy and creative falsehood, and indeed between health and unhealth, becomes blurred. The physician becomes a medical subject in his or her own display, transforming medicine into a potentially destabilizing, even grand guignolesque, discourse. Offering a unique insight into Charcot¿s work, his concepts and his methods, this text represents a unique and interdisciplinary analysis cutting across the fields of art and neurology.

Introduction.- PART 1: PATHOLOGICAL PERFORMANCE: CONTEXTS, FRAMES AND STAGES.- 1. Theatrum Analyticum: The Stage of the Salpêtrière and Its Players.- 2. Materializing the Archetype.- 3. Theatrical Pedagogy.- 4. The Grotesque Body and the Living Nude.- PART 2: PATHOLOGICAL PERFORMANCE IN THE CLINIC.- 5. Performing Hysterioepilepsy.- 6. Infectious Representations.- PART 3: THEATRICAL FICTIONS.- 7. Theatrical Appearances and Degenerative Synaesthesia: Munthe and Daudet.- 8. The Theatre of Horror and Dread.- Conclusion.

Jonathan W. Marshall, born on February 22, 1970, is an interdisciplinary scholar who has published on the relationship between neurology and the arts, as well as photomedia, sound art, butoh dance, Australian painting and choreography, and other topics. Marshall is a freelance critic and reviewer of contemporary arts. He is currently based at the West Australian Academy of Performing Arts, Edith Cowan University, Perth.