The passions are existential, they draw their strength from deep roots in the question of being. This is why a passionless existence while possible, always seems inauthentic. But then that points to a kind of existential question that is mainly in performance. The most private consideration of existence, the soliloquy itself, is on stage, is framed by the attention, real or imputed of others, your being in a situation comes before all else. This is infuriating, is itself a matter for passionate protest.