Dublin’s The Mirror Stage Explores Psychosis Through Dance

Four dancers glide across the stage in a haunting waltz, each carrying a large white rag doll. Their movements, fluid yet disjointed, create a mesmerizing illusion that blurs the lines between performer and puppet. This is a rehearsal for The Mirror Stage, a new theatrical work by the Dublin-based company Brokentalkers, which aims to provide insight into the often misunderstood experience of psychosis.

The performance is not only a display of artistic talent but also a collaborative effort with individuals who have experienced psychosis. Over a layered soundscape, a recorded voice articulates a powerful sentiment: “The key to my recovery was realising that I have a knowledge that other people do not have… and I can use that to really make a difference.” This poignant statement encapsulates the essence of the project, which seeks to bridge the gap between lived experience and artistic expression.

Brokentalkers, founded by Gary Keegan and Feidlim Cannon, began this journey in 2022. While touring with another production, they were approached by a member of the Royal College of Surgeons in Ireland, who encouraged them to explore the theme of psychosis through a theatrical lens. With little prior knowledge on the subject, the company embarked on an extensive research process, engaging with mental health professionals and individuals who had encountered psychosis firsthand.

The duo approached the project with sensitivity, asking, “When you imagine a theatre show about psychosis, what do you see?” This question initiated a three-year exploration involving interviews, workshops, and rehearsals with at least 15 participants in recovery, alongside clinicians and researchers. The aim was to develop a script that resonated with those experiences, allowing for an authentic representation of the complexities of psychosis.

As the project evolved, a significant insight emerged: traditional acting might not adequately capture the nuances of psychosis. Participants expressed discomfort with actors portraying their experiences. This led to a pivotal decision to utilize dancers as the primary storytellers. One participant, Nicola, a former dancer who had stopped performing due to psychosis, suggested that dance could effectively convey the internal struggles and sensations associated with their experiences.

The result is a production that prioritizes the embodiment of psychosis. In workshops led by movement director Eddie Kay, participants shared their sensations and emotions rather than recounting specific events. The dancers—Diarmuid Armstrong, Kévin Coquelard, Bun Kobayashi, and Carolina Wilkinson—translated these impressions into movement, creating a visceral representation of what it feels like when one’s reality diverges from the consensus of those around them.

Keegan reflected on this process, stating, “What I have, watching it, is a genuine feeling that they were listened to in that room.” The performance becomes a dialogue, an exchange where the dancers embody the voices and experiences of those who have navigated psychosis. This abstract interpretation aims to resonate with audiences, steering clear of clichéd portrayals while offering a deeper understanding.

As the work progressed, the team grappled with the responsibility of representation. They encountered various beliefs and experiences among participants, particularly concerning psychiatry and medication. By layering testimonials over the dance, they could encapsulate these contradictions without diluting their complexity. Keegan noted the importance of exploring the nature of the voices experienced by individuals, whether kind or abusive, and how these reflections can reveal deeper truths about identity.

Despite the diversity of experiences shared, common themes began to surface. Many participants discussed archetypes and symbols, highlighting a collective subconscious that resonated across different narratives. This therapeutic reflection allowed them to find meaning in their experiences, drawing parallels to the therapeutic process of interpreting symptoms.

Stigma continues to hinder understanding of psychosis, often leading to misconceptions that label individuals as dangerous. Keegan pointed out that the conflation of terms like “psychotic” and “psychopathic” contributes to societal fear. This project aims to dismantle such misconceptions, fostering a greater awareness of the realities faced by those living with mental health challenges.

“The goal is to make the best art we possibly can,” Cannon said, emphasizing the commitment to merging authentic stories with artistic expression. The production seeks to interrogate the nature of reality and fiction, utilizing the stage as a platform for exploration.

The influence of avant-garde director Robert Wilson is evident in certain sequences, where dreamlike imagery is layered to create a hypnotic visual experience. Keegan appreciated Wilson’s ability to capture the essence of liveliness in theatre, a quality he and Cannon strive to achieve in their work.

Since its inception in 2001, Brokentalkers has built a reputation for addressing socially relevant subjects through innovative storytelling. Their productions, including The Blue Boy and The Examination, have tackled complex issues such as institutional abuse and personal grief, always centering the lived experiences of individuals.

The significance of The Mirror Stage is underscored by its timing with the annual conference of the Psychological Society of Ireland, which has drawn interest from artists and policymakers alike. Keegan highlighted the company’s mission to create a space for underrepresented stories, aiming to foster understanding and compassion within audiences.

Ultimately, the production aspires to evoke an emotional response that transcends mere explanation of psychosis. “We want to present something to an audience who may walk in not really knowing that much about psychosis,” Keegan said. The hope is that attendees will leave with a broader perspective and a deeper empathy for those within the community who experience such challenges.

The Mirror Stage runs at the Project Arts Centre in Dublin from November 5 to November 12, 2025, before moving to the Everyman theatre in Cork on November 18.