The paper aims to trace some features of Psychedelic art, as a form of visual art in Judith Thompson's play Lion in the Street (1990). These characteristics are explored against the backdrop of C. G. Jung's theory of Individuation.Psychedelic art corresponds to the analysis of the play as it explores the thoughts about personalized perceptions and tries to reflect them. In other words, it is a way to externalize the internal feelings stored in the unconscious.The core of Jungian theory is "to experience the unconscious with its vital imagery, affective power and strong spiritual quality" (Martin, p. 257). The purpose of Jung's Individuation process is to increase the individual's consciousness to heal the splits between the conscious and the unconscious, bringing them to wholeness to overcome the trauma of the individual's psyche. The three stages of Individuation: Personal Unconscious, Shadow (Anima/Animus), and Self, are employed to analyze the characters process of moving from the unconscious to the conscious to reach a new realm of consciousness that boosts wholeness and freedom.Judith Thompson (1954-) is a renowned Canadian playwright. She has created a body of powerful and challenging dramatic works. In her play Lion in the Street, Thompson follows the psychedelic style to unfold the psychic trauma of her characters. She exposes the suppressed memories in their unconscious to heal the split between the unconscious and the conscious, thus helping them to attain what she terms as the level of grace that is equivalent to Jung's wholeness of )*( Bulletin of the Faculty of Arts Volume 80 Issue

Discussing her play Top Girls, Churchill explains to Renate Klett in "Anything's Possible in the Theatre" that theatre can create illogical connections: "If you want to bring characters from the past onto the stage then you can do it, without having to find a realistic justification" (19). Both Churchill in Top Girls and El-Assal in Without Masks bring a number of women from different social classes and historical backgrounds together on stage narrating their experiences, with the aim of questioning "the relationship between the past and current social practice" (Morelli 154). Hence, Churchill's and El-Assal's dramatic technique changes the purpose of

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