In this paper, I deal with some problems concerning stage business whenthe actors are wounded on Shakespearean stage. As we do not hurt real actors, we rely on animal blood, cloth to cover bodies, prostheses or other artificial equipment on modern stages. But this kind of performing was not needed on the Elizabethan stages. Because they attended churches, Elizabethan London citizens easily believed that Christ’s body resided inside bread and were able to see things that really did not exist. This kind of life style affected them when they were seeing plays. Wounded Lavinia, Edgar, and Coriolanus are actually in front of us on stage, but their identities are hidden together with their wounds deep inside their bodies. Using Ogai Mori’s and Yasumasa Okamoto’s theories, I try to reveal some of the mysteries of Shakespearean characters’ subjectivity.