Symbolism is a challenging aspect of all arts after the World War II due to its ability to literally be polemical or political whilst simultaneously represent non-political, social, or even comical means of insight for investigation by performance artists, painters and theoretician as K. Gustav Jung. By fantasizing and fictionalising mundane items, they made allusions to aspire the people and presented their socio-political self-consciousness as creator of inspiration for society. In order to investigate the meaning behind symbolism in arts after The Second World War, I am going to introduce installation and live art works by Joseph Beuys, Damien Hirst, Cornelia Parker and Vanessa Beecroft for their minimalistic modification of mundane images, and refer to scenographic works by Tadeuz Kantor, Robert Wilson, and Pina Bausch as well-known examples of the scenography. Based on my research, I have created a none-verbal performance inspired by a painting of Gustav Klimt. Unlike the traditional Freudian response along with exploration of sexuality, the character development of the script became more of a complex Jungian analysis on the unseen human psyche and ambiguity of woman’s sexuality. While dealing with more substantial issues on life, Klimt’s muse on the woman portrait became a protagonist and I tried to integrate the visual metaphors in the 4D structure.