Abstract

The author describes her first journey through the territories that may appear to be common between theatre and psychoanalysis: first of all the “theatre-that-heals”, but also the nomenclature that psychoanalysis derives from theatre; usages such as those by Moreno, or by the Actors Studio; theatre as a research on yourself. Despite the affinities between the two fields, the author is above all interested in theatre as a “third way” compared to illness and healing, a way parallel and independent from psychoanalytical approaches, and investigates it through two symbolic performances: the Marat-Sade, by Peter Brook and Marco Cavallo, by Giuliano Scabia.