The article complicates the foundation of "performance" as a necessarily "live" encounter between bodie, using as its case study Rimini Protokoll’s hybrid installation "Nachlass / Pieces sans personnes" that premièred in Théâtre de Vidy in Lausanne, Switzerland in 2016 in which no physical bodies of performers are present. Spectators only experience their voices, images, carefully arranged personal items and belongings in eight crammed rooms. Confronting her own sensations, feelings and affects generated by the installation with theoretical texts, the article aims to scrutinize the relationship between the ‘live’ art of performance, its ‘liveness’ guaranteed by the presence of the artist’s body, and the function of performance in knowledge production and transmission, subsequently unveiling the involvement of performance art in sustaining the Western system of knowledge. Drawing on the findings of Hans Belting, it predominantly focuses on the link between knowing and the modern theatrical architecture dating back to the 16th century which inscribed the act of looking into the represented space in order to persuade the observer that she perceives both a represented world and the reality with her own eyes. One and the other seem to be constituted, controlled and measured by her active gaze. In this context the article discusses three aspects of "Nachlass" which problematize the tenets of Western episteme. First of all, contrary to the theatre of the Moderns, it forces the visitor to pay attention to her bodily reactions in order to unveil the mechanisms of power implied in the nature- human-centered perspective. Secondly, by means of an interactive map of the Earth, it contrasts singular perspective with that of statistic models. Finally, through its use of Augmented Reality technology it allows the visitor to experience both her own situated perspective and the universalized Self, produced by the Western theatrical gaze. The latter point, the article concludes, might offer a compelling vantage point for forging a new epistemic paradigm.