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Jean-François Dusigne examines the actor's status, as a performer and/or a creator, based on his own stage experience. In so doing, he presents an approach in which texts are regarded as visual aids for a future stage score, which is choreographed in space and time. The rhythmic approach helps not to play the words, but instead what sets them in motion–thoughts, feelings or intangible sensations. Dusigne thus suggests that actors should approach the spoken text as a foreign language one learns just by listening, with the satisfaction of effectively using it, emphasizing its timbre and punctuation. Moreover, Dusigne captures how much working in multiple languages is fertile for the actor. The work of a dialogue ‘by listening' valorizes the sonority of the text: it enables one to be more receptive to what the partner plays, beyond the words.