Abstract
Abstract At the end of the nineteenth century, the French school of modern neurology together with its leading representative Jean-Martin Charcot (1825–93) carried out controversial clinical studies on hysteria at the Salpêtrière Hospital, including the famed weekly public demonstrations of female hysterics, which had a profound influence on the development of modern performing practices and the discourse of their critical reception. The text thus focuses especially on the constitution of modern hysteria as a historical continuation of the alternative dance history of the ancient and Middle Ages writings on dancing mania and the dancing plague. But it also tries to analyse the inherent interconnectedness of performance and madness through the archival prism of pathological choreography and the politics of the modern body.
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