The article presents and discusses the interdisciplinary, collaborative and participatory research project Bieżenki. Thematically, the project is devoted to the history of the so-called bieżeństwo – a migration of people from eastern Poland during the First World War, forced by the retreating Russian Army, when the Germans broke through the eastern frontline in 1915. The stories of those refugees, among whom were a number of Rus’ peasants, and within that group, women with children (the term bieżenki signifies female war refugees), make up a crucial part of the regional history that has been largely absent from public knowledge and historical discourse. Methodologically, the project is based on participatory theatre that engages non-artists both as content providers, and on-stage performers. Theatrical practice has been used to collect the marginalised memories of bieżeństwo (as they are often kept and transmitted within family circles), and present them to the wider public in the form of theatrical performance. The project has also resulted in a theoretical concept of the assemblage of memory, inspired by and grounded in the creative process, which is briefly sketched out at the end of the article.

本文介绍并讨论了跨学科，合作和参与式研究项目Bieżenki。从主题上讲，该项目致力于所谓的bieżeństwo的历史-第一次世界大战期间，由于撤退的俄罗斯军队，当德国人于1915年突破东部前线时，从波兰东部迁徙的人们。那些难民，其中包括一些罗斯的农民，在这些难民中，有孩子的妇女（“ ż”代表女性战争难民），是该地区历史上至关重要的一部分，而公众知识和历史话语基本上是其中的一部分。从方法上讲，该项目基于参与性剧院，它邀请非艺术家作为内容提供者和舞台表演者。戏剧实践已被用来收集比昂斯两个人的边缘化记忆（因为它们经常在家庭圈子中保存和传播），并以戏剧表演的形式呈现给广大公众。该项目还产生了一个关于记忆组合的理论概念，该概念受创作过程的启发并立足于此，并在本文结尾处进行了简要介绍。