The present dissertation aims to approach the multiples senses of the relationship between life and creation departing from an encounter between theater and psychology. Through the reflection about the notion of transitionality, proposed in the work of the psychoanalyst Donald Winnicott, this study tries to understand the manners in which formation of subjectivity takes place within an experimental space, in the paradoxical play between continuity and rupture with the cultural signs. In a dialogue with authors and artists from the theatrical scene, who, in their creative processes faced the limits of representation, the work aims to question the borders between art and life, beyond the mimetic paradigm which orientated in a dominant way occidental theatre. This questioning of the borders intends to incur on, not only an esthetic domain, but also on the thought about the relationship between subjectivity and culture.