ABSTRACT
This chapter examines the first part’s key concept of presence from the perspective of the actor as a human being par excellence, with the help of a theological concept—kenosis—used by directors without reference to Christianity, since the process is also found in different world religions and spiritual practices. Otto Tolnai, the Hungarian poet and dramaturg from Palics, who was a considerable inspiration for the metaphors in Josef Nadj’s performances, can also be considered as a significantly inspiring source of poetic and ritualistic theatre, where metaphors in space are the key elements of theatrical performances The growing interest in ritual and poetic theater forms facilitated the reception of Valere Novarina’s theater. The anti-selves of Novarina’s theater, his reversibly operating time, actions, and statements relate to theater as via negativa.
