The article examines the current relevance of the six points of contact between theatre and anthropology defined in 1985 by the author Richard Schechner. By means of critical tools characteristic of the disciplinary hybridism of Performance Studies (anthropology, medicine, history), he considers “Indigenous” and prehistoric ritual practices to be performance which are representative of an “Embodied Knowledge” neglected or distorted by the positivist outlook of Western science. He pleads for a methodological adaptation to this object.