Mimesis, illusion and simulacrum Some reflections on the shadow play in ­­­Séraphin’s theater

This article ­­­continues analyses by Noriko Yoshida and Hélène Védrine of ­­­Séraphin’s theater. After reviewing the difficulties at the end of the “Preface,” we explored the ­­­convergences and divergences between ­­­Séraphin’s theater and ­­­Plato’s Cave. This approach led us to study the first preface, focusing on how the baroque theme of theatrum mundi was reinvested by Bertrand thanks to the fantastic use of the Unheimlich (Ernst Jentsch).