In an essay on the picture frame, Georg Simmel claims the sacredness of this device considered fun- damental for the dialectical articulation of the delicate relationship between art and reality which con- stitutes, for the german philosopher, the core of his aesthetic meditations, including those on theatre. In the most contemporary forms of immersive theatre it is nevertheless no longer the framing of the proscenium – that imaginary “fourth wall”, according to a purely visual approach, through which the audience observes actions on stage – that threshold-figure (according to Simmel’s viewpoint) to which the function of separating and connecting the factual reality of the spectator and the counterfactual one of the (dramatic) possible world is delegated. In fact, in the immersive theatre this boundary device is embodied by the actor himself, who becomes the figure responsible for the continuous transformation and transfiguration of the performative frame, decidedly more opaque and less transparent than to more traditional theatrical forms, such as bourgeois drama. We are, therefore, in presence of a sort of 2.0 fictionality, no longer delegated to that specific fictional frame marked by boundary indicators such as the darkness in theater room, the curtain, the silence, etc. Actually, in this new kind of fictionality bodily matter and aesthesia at stake in the actor-spectator experience are solely account for the establishment of the performative frame.