There are no known affects that are lacking in a bodily component. Thus in order to conceptualize affect, one must “include the body” (Lacan, 1974 , p. 39; 1990 , p. 22). The body’s involvement in affect is, indeed, quite obvious. Lacan mentions surges of adrenaline, 1 but there are many other examples: a lump in one’s throat, the trembling of one’s hands, the trembling of one’s voice when one is intimidated, the shaking of one’s legs, the racing of one’s heart, tears, and so on. These are among the many bodily manifestations employed by literature, theater, dance, and especially mime to display a character’s emotions and feelings.