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When examining the interrelations between art and cinema, theater must be taken into account: the mode of theatricality, long banished in fine art, made the rounds especially in those art films that dealt with the intersections of the social and medial staging of roles. In this context, one can find a special affinity to the topos of the rehearsal, since it appears suitable to reveal and press ahead with the dedifferentiation of “real” and “fictive” roles and actions. The rehearsal appears as an improvised and staged form of “making of” as well as a biopolitically charged model situation in which the practicing of socio-medial role identities under the prevailing power and hierarchy relations is to be made visible.