Why Do We Lie? 'On the Edge of Credibility' Explores the New Garments of Deception

Paris, France - Ekhbary News Agency

Why Do We Lie? 'On the Edge of Credibility' Explores the New Garments of Deception

In the vibrant cultural heart of Paris, the Théâtre de Belleville is currently hosting a thought-provoking production titled 'À la limite de la crédibilité' (On the Edge of Credibility). Staged by the innovative Janitor company, led by the talented trio Marguerite Courcier, Camille Jouannest, and Laurine Villalonga, the play offers a profound and incisive examination of one of humanity's most perplexing behaviors: lying. This theatrical journey transcends superficial narratives, probing the multifaceted reasons that compel individuals to fabricate, distort, or conceal the truth.

The genesis of this compelling work can be traced back to a seemingly innocuous incident: a casual lie shared among friends over coffee. One friend’s enthusiastic, albeit false, claim of dining with a celebrity quickly gained traction, highlighting the surprising ease with which minor deceptions can take root and propagate within social circles. From this relatable starting point, the creative team embarked on an extensive research endeavor, extending beyond the stage to conduct interviews with a diverse array of professionals—from lawyers and caregivers to bartenders and psychologists. These candid conversations, preserving their raw authenticity, including speech quirks and natural hesitations, were meticulously woven into the play's fabric, lending it a powerful sense of realism and immediacy.

What distinguishes 'À la limite de la crédibilité' is its nuanced portrayal of lying not as a monolithic vice, but as a complex phenomenon with paradoxical dimensions. The play posits that deception can serve various purposes: to inflict harm or to offer comfort, to seek recognition or to avoid exposure, to assert one's existence or to fade into the background. This exploration resonates with the ancient Greek concept of 'pharmakon,' where a single substance can function as both a remedy and a poison depending on its application. Such philosophical depth enriches the theatrical experience, encouraging audiences to contemplate the inherent duality of truth and falsehood in their own lives and in broader societal contexts.

Beyond its narrative structure, the production masterfully employs visual and sensory elements to enhance its thematic exploration. Lighting design and masks are used to create an evocative atmosphere that blurs the lines between reality and illusion, drawing the audience into a liminal space where perceptions are constantly challenged. Central to the staging are the 'habits' or clothes, which function not merely as costumes or props, but as potent metaphors. As one character eloquently states, stories, much like garments, 'stick to us, they are inhabited,' suggesting that the narratives we construct, truthful or otherwise, become integral to our identity and how we present ourselves to the world.

The play's intellectual rigor is further underscored by its incorporation of insights from prominent thinkers. British pediatrician Donald Winnicott's profound observation, projected onto the stage: 'We hide in order to be found. For hiding is a pleasure, but not to be found is a catastrophe,' encapsulates the core human paradox. It speaks to the simultaneous desire for privacy and the yearning for recognition and understanding. This sentiment is echoed by the play's psychiatrist character, who, amidst a haze of smoke, describes her patients' stories as 'clinging to them, inhabiting them like clothes,' reinforcing the idea that our personal narratives, whether authentic or fabricated, profoundly shape who we are.

'À la limite de la crédibilité' offers more than mere theatrical entertainment; it is an urgent invitation for critical introspection into the intricate relationship between truth and deception in our daily lives. Through its compelling blend of personal storytelling, investigative journalism, and symbolic staging, the Janitor company has crafted an artistic work that continues to provoke questions and stimulate reflection long after the curtain falls. The production runs at the Théâtre de Belleville until February 28, 2026, providing ample opportunity for audiences to immerse themselves in this profound exploration of the human condition.

Ekhbary News Agency