From November 30 to December 9, 2012, the people of Nice will have the opportunity to (re)discover the myth of Orpheus through the original theatrical production “Orpheus, the Ultimate Stranger” at the Semeuse Theater in Old Nice. This artistic event, based on Jung’s analytical psychology, highlights various themes concerning the human being: Love, impulse, desire, life, death… Why not attend?
Bringing psychology to the heart of the human being, this is the intention of Fabien Berrais, who works as an art therapist, and Isabelle Warnaar, an artistic mediator who is also passionate about Jungian psychology. From their shared artistic and poetic sensitivity was born the psychoanalytic play “Orpheus, the Ultimate Stranger” (see presentation), which will be performed from November 30 to December 9 at the Semeuse Theater in Old Nice. Fabien Berrais will embody Orpheus, an amnesiac character with no concept of space, time, or identity. Isabelle Warnaar will play a demon who manipulates him by delivering truths. Chloé Marshall, a speech therapist by profession, will take on the role of a benevolent but rigid Oracle who leads him to encounter himself.
A unique universe!
This is the goal sought by the two creators of the play who wish to allow spectators to observe the world with more poetry and kindness. It incorporates various psychological concepts created by the Swiss psychiatrist Jung, such as the principle of individuation which is the main theme of the play. This process aims to make a human being an individual, a unique, indivisible personality, a total being. “The principle of individuation is to be one,” affirms Isabelle Warnaar. According to her, it is also “to accept ourselves as best we can and to be in harmony with ourselves. It’s also about welcoming both our shadows and our light. To accept living with oneself, one must accept who we are.” The Shadow and the Light are also two notions from Jung’s thought. They will also be addressed in the play. We all have within us the archetype of the Shadow, which represents all those things that we repress, that we refuse to see because they frighten us. “It is also where many resources are hidden, provided we accept it,” emphasizes Isabelle Warnaar.
In this play, the actors do not cheat with their emotions, nor with the audience. They deal with themes present in each of us: impulse, the mind, Love, the soul, the body… They hope to awaken in the spectator his creative imagination while conveying messages that he is free to hear or not. But whether he likes it or not, emotions deeply buried in his unconscious will probably surface…
