ABSTRACT
An excess of figuration sometimes leads to a dramatic turn of events in the treatment: feelings of love of which the patient is unaware are powerfully projected onto the analyst, and there is then fire in the transference. “There is a complete change of scene; it is as though some piece of make-believe had been stopped by the sudden irruption of reality as when, for instance, a cry of fire is raised during a theatrical performance”. The meshing of the associative chains favours the representation of the transference. Certain details belonging to childhood love-objects are transposed onto the analyst and she becomes the father or the mother.
