Abstract: Two plays by Feydeau, Le Système Ribadier (1892) and Dormez, je le veux ! (1897), jubilantly redistribute the roles: the hypnotist reveals his conservatism and lack of imagination, the hypnotized exhibits the creativity of his unconscious, but, in the end, it is indeed the triumph of laughter that is at stake, hypnosis being only a motive in a narration and a structure that engage effective comic processes.
