1. Presentation by Françoise Davoine: A New Paradigm of Psychoanalysis as Old as War
The first psychoanalysts who worked with psychosis were forged in the crucible of the First World War — though, curiously, not in France. This moment inaugurated a paradigm of psychoanalysis under conditions of madness and trauma, one that must be continually rediscovered and renewed. Traces of this paradigm already appear in The Iliad, where war, loss, and the disintegration of meaning call for new ways of listening to human suffering.
In this presentation, we will revisit this enduring lineage of psychoanalytic practice, drawing from the monthly meetings Françoise Davoine has joined since 2022 — with Ukrainian analysts who continue their work amid bombardment. These conversations — recorded by the Freud Museum in Vienna under the title “Psychoanalysis under Conditions of War” — bear witness to the vitality of psychoanalysis that confronts violence not abstractly, but through living links between analysts and those they accompany.
2. Presentation by Suzanne Lalonde: The Dawn of Psychoanalysis: Belle Époque Paris, the Salpêtrière Hospital, and Traumatic Hysteria
This study situates the emergence of psychoanalytic thinking in the cultural and clinical networks of late-nineteenth-century Paris. Focusing on Jean-Martin Charcot’s lessons at the Salpêtrière Hospital, it interprets his practice to treat patients with traumatic hysteria as a form of clinical dramaturgy that prefigured psychoanalytic theories. For instance, the neurologist did not discourage patients from: playing roles of religious figures; tapping into unconscious material with and without hypnosis; and engaging in performances, such as dancing.
It is argued that this clinical dramaturgy laid the groundwork for the following foundational psychoanalytic concepts: Pierre Janet’s accounts of dissociation and idées fixes; Breuer’s and Freud’s abreaction and cathartic method; and Freud’s “acting out,” shifting to “working-through” and free association. This research project also traces reciprocities between clinic and stage: cabaret performer Jane Avril and theater star Sarah Bernhardt, both of whom spent time as a patient and a visitor to the hospital, and included material from the Salpêtrière into their productions.
These exchanges demonstrate that Charcot’s clinical theatre catalyzed both novel representational and therapeutic vocabularies and practices, bridging performance, neurology, and emergent psychoanalysis, while inviting interdisciplinary research on post-traumatic conditions, from PTSD to healing, today.