I found an interesting trajectory from Thomas Hobbes to Walter Benjamin which can be summed up in a quote from each of them:
The word person is Latin, instead whereof the Greeks have prosopon, which signifies the face, as persona in Latin signifies the disguise, or outward appearance of a man, counterfeited on the stage; and sometimes more particularly that part of it which disguiseth the face, as a mask or vizard: and from the stage hath been translated to any representer of speech and action, as well in tribunals as theatres. So that a person is the same that an actor is, both on the stage and in common conversation; and to personate is to act or represent himself or another; and he that acteth another is said to bear his person, or act in his name (in which sense Cicero useth it where he says, Unus sustineo tres personas; mei, adversarii, et judicis- I bear three persons; my own, my adversary’s, and the judge’s), and is called in diverse occasions, diversely; as a representer, or representative, a lieutenant, a vicar, an attorney, a deputy, a procurator, an actor, and the like.
–Thomas Hobbes, Leviathan, Chapter XVI
The artistic performance of a stage actor is definitely presented to the public by the actor in person; that of the screen actor, however, is presented by a camera, with a twofold consequence. The camera that presents the performance of the film actor to the public need not respect the performance as an integral whole. Guided by the cameraman, the camera continually changes its position with respect to the performance. The sequence of positional views which the editor composes from the material supplied him constitutes the completed film. It comprises certain factors of movement which are in reality those of the camera, not to mention special camera angles, close-ups, etc. Hence, the performance of the actor is subjected to a series of optical tests. This is the first consequence of the fact that the actor’s performance is presented by means of a camera. Also, the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person. This permits the audience to take the position of a critic, without experiencing any personal contact with the actor. The audience’s identification with the actor is really an identification with the camera. Consequently the audience takes the position of the camera; its approach is that of testing. This is not the approach to which cult values may be exposed.
–Walter Benjamin, Art in the Age of Mechanical Reproduction