Asmaa Houri and her team were able to convey their essential message. Last Sunday, and within the framework of the Festival of Public Performances, the "Théâtre Anfass" troupe encouraged the general public to reflect. Far from this simple and banal cultural consumption, the play "4:48 Psychosis", performed, was above all an invitation to travel, Baudelairean, certainly, but also at the height of the great reflections of a certain Michel Foucault. And like the Brazilian director Glauber Rocha, the young director Asmaa Houri intends to set the bar very high. "It's unavoidable, we have no choice, either leave the public where it is, by offering it petty and puny offers, culturally speaking, or instruct it and invite it to reflect. That is one of the traditional missions of the stage," she says, in an intellectual tone. So here is a new generation that thinks differently. Beneficial for the cultural scene of our country. And when we know that her team includes the actress Meryem Zaimi, the set designer Abdelmajid El Haouasse, and the composer Rachid Bromi, we understand everything. Khalid Amin and his International Centre for Performance Studies will have offered the general public not only a play to see, but also a vision to understand.

Adapted from Sarah Kane's "4:48 Psychosis", the play sets itself the artistic and thematic challenge of lifting the veil on the unspoken, of relating what others do not see, of pointing the finger at this murderous indifference of the other, or rather of others... And finally to ritualise a taboo... Asmaa Houri, who has a theatrical background in Sweden, thinks eloquently about her subject: "...When one suffers from chronic depression and one develops, or rather matures, a premeditated and timed decision to kill oneself, would one be giving birth to wisdom? Or is it simply madness? Who is crazy? Is it the delusional subject or the world that surrounds it?", asks the director who puts all possible ambiguities on stage, in order to make the public participate in the reflection, and not necessarily in the answers. There, that is in no way her objective.