ABSTRACT
A young girl came across as a gloomy, observant and tense “kid”, on the margins of family life, with an unpredictable, capricious and disturbing mother, a tender but rather unavailable father, and siblings for whom she was an enigma. Theatre is her “central laboratory”, which she invests in as a space and time that are conducive to learning and to experiences favoured by the existence of a frame and rules that she can gradually understand and appropriate. The story of Esther Khan is thus one of the involvement of another person in the relationship of the subject tormented by desire and its misrecognition. It is also what occurs in the space/time of the session condensed in this idea of the “central laboratory” that welcomes human passions in order to construct and transform their expressions, images and words, to make them liveable with.
