摘要：ABSTRACT – The present essay focuses on the presence of painting in ways of mirroring between the scene and the audience, respectively, in two romantic dramas, Henri III et sa cour (1829) by Alexandre Dumas and Hernani (1830), by Victor Hugo, highlighting the features of picturality which compose and legitimate a romantic body. The pictural plasticity of the audience is an element of the teatrical play and it integrates the ethos of the performance.
