Sometimes diabolized or stigmatized for its violence, rap culture seems to stress a structural stage in course of which the behaviour and discourse of adolescents become necessarily hystericized, whereas, at the same time, they reach a more or less poetical narrative style. In that sense, the rap overflower, within its most accomplished ways, goes far beyond wthat might have been assimilated to a plain repetition of fantasies linked with the adolescent psychical scene, in such a way as it then on reaches a new inscription of its fantasy elements into a sublimatory process. Being a performative art, rap is precisely located on this very spot where some kind of giving up and transposition of an act into discourse does take place, even if it becomes thus compelled to keep up a constant ambiguity as for as the supposed giving up is concerned. In that sense, the “ prose combat ” which is part and parcel of rap enables at least to generate such a fit of hysteria liable to faresee such violent interpretation of the puberty scenes. In short, the rap stage, through a resaerch on language, on voice, on diction and on scainson of the texts, would promote a true freedom in improvisation and “ know-how to voice ” in accordance with the intrinsic rules of “ speech act ” and within the boundaries decreed by this kind of musical genre.