The present paper aims at investigating the role that perceptual distortion had in Oskar Kokoschka’s (1886-1980) drama and painting. He was considered one of the most representative expressionist artists but his use of such device has a different meaning in the representation of reality. As it emerges from the analysis of his first drama Mörder, Hoffnung der Frauen (Murderer, Hope of Women) and his picture Windsbraut (The Bride of Wind), he uses distortions and deformations to re-signify reality. In this process a big role is played by the sight and the human body.