The study of the history of theatre in India highlights the variety of body techniques used by actors. Based on the analysis of real performances ‘La Gestothèque’ attempts to measure the transformation of gestures in performative practices and their transfer through time and space. Its objective lies in the creation of new archiving tools in two, three and four dimensions. Are gestures finite or infinite? How can one study them without fossilising them? How can we record a gesture? How can we archive body movement? These questions are addressed by referring to Bergson’s collection La Pensée et le Mouvant (1934) and its analysis by Gilles Deleuze in his courses at Vincennes, in 1983. Further, through an inquiry into vernacular taxonomy for a technological implementation this chapter offers a tool for techno-criticism.