(Nie)obecność: Rimini Protokoll i granice poznania
“(Non)‑Presence: Rimini Protokoll and the Limits of Knowing

Summary/Abstract: The author describes the experience of participating in Rimini Protokoll’s “Nachlass/Pièces sans personnes” performance, in which the central motif is the performers’ physical absence. This hybrid installation by the German collective, whose subject orbits around death and the memoryof eight deceased people, prompts the author to ponder how ways of participating have changed, and the category of presence in performanceart. Tracing the history of changes in relationships between viewers andactors in the medium of theater and between participants (including performers)in performance art allows her to show the impact of technology on experience, kind of participation, and viewer perspective. The author wonders how far “live” performance art, an heir to traditional theater, remains embroiled in upholding the Western hierarchy of knowledge, which it merely appears to challenge at a first glance.

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