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The article examines the voice of Carmelo Bene in certain performances (Manfred, Canti Orfici and Lectura Dantis) and shows how the actor from Salento is engaged in a profound work of semantic elaboration of the text, emphasized in its space-time, chromatic, quantitative, emotional aspects. In the end, the study opens up to questions, and one wonders how this creative behavior of Bene is admissible in the poetics of a theater that focuses entirely on “dethinking”.