The interactive, immersive, and documentary-like installation, Nachlass – Pieces sans personnes (Heritage – Rooms/Pieces without people, 2016) by the Berlin-based theatre group, Rimini Protokoll, engages with the theme of death in multiple ways, through the traces of eight civil actors, or with other words, “reality experts”. The visitors walk in and out of the characters’ rooms in an arbitrary order, where they meet them through their objects, recorded voices, and videos. The concept derives from the collaboration of Stefan Kaegi, director and Dominic Huber, scenographer. Paying particular attention to the performative effects and paradoxes of mediatized voice, the article aims to explore the in-between, dramatic, and dynamic spaces where the embodied and disembodied, the personal and impersonal, or the live and mediatized contents indecisively interplay.
How to cite:
Theatron 17, 1. sz. (2023): 122–131.
Cím/Title (ENG): On the verge of personal and impersonal. The effects of mediatized voice in Rimini Protocoll’s Nachlass installation
Keywords: mediatized voice, performativity, documentary theatre, “life death”, Rimini Protokoll