If we consider the presentation of the "poetics of memory," since it creatively unites the memory of the author with the memory of the actor and the memory of the spectator with the memory of society, then theater can be referred to as the "art of memory," of reflection and the repeat appearance of the past in the present, thus of the temporally present existence of a timeless past, by which cultural memory (as a collective product) is embedded in the individual memory of the spectator (as a subjective creation) with universal reference.

In this way, theater transforms into a "ritual of remembrance and reproduction of the past, an act of gathering and gluing elements of it, with which an interpretation of it is simultaneously attempted to be imposed, the consciousness of the spectator is formed, and through them a cultural identity is designed." These thoughts form the core of the Conference "Time in Theater. Theatrical Memory of a Timeless Present" and the corresponding practices of this volume, which refer to the time of the spectator and the textually inscribed time, the chronologically measurable time, in relation to the scenically appearing time of the performance, as well as the time in ancient drama and modern theater, the time of the child spectator, in contrast to that of the adult and the a posteriori tracing of impressions, memories, and experiences caused by the participation of the observing consciousness in the scenically presented spectacle.