Presence on stage is a complex notion of the actor's performance. It confronts those in favor of the gift and those of the technique, champions of energy against strategists of the audience's reception. Yet, there is an evidence: no presence on stage can exist in itself. Constantin Stanislavski talks about a «scenic charm» from which comes an «enchanment», an «influence on the audience»1. The presence of the actor is described as a power the latter has on the senses of the spectators – power colored of the mystery contained in the words «charm» and «enchanment». The actor's presence only exists through the reception of his acting by the audience, an obvious fact, of course, but not without consequences. Without denying the gift of the so called born actors, is it possible to imagin presence on stage which, as co-presence, could be the object of a construction? Based on the analysis of Delphine Eliet's pedagogy at Ecole du Jeu, both as a spectator and a pratician, the hypothesis is made that a presence on stage could be built by the actor through a conscious and controlled use of the here and now that makes theater a living art of which he is the fundamental agent, a use affecting all the levels of acting, from the silent being-there to the most complete artistic project. 1-Cf. STANISLAVSKI, Constantin, La Construction du personnage, traduit de l’anglais par Charles ANTONETTI, Éditions Pygmalion – Gérard Watelet, 1988, pp. 275-176.
