ABSTRACT
In this last chapter we discuss performance, its documentation, performance re-enactment and the archive of performance. We discuss the history and complexity of documenting and archiving the live event, the function and politics of the archive through the works of Jacques Derrida, Philip Auslander and Peggy Phelan and the repertoire as opposed to the archive (Diana Taylor). We address the issues of the impossibility of recreating the original event in connection to the (supposed) truth of the event and the possibility of an archive open to interpretations and touch upon the relevant issues brought up by the restrictions imposed following the Covid-19 pandemic. The purpose is that performers appreciate how performativity may go beyond the live event and that they discuss the live event as mediated experience. Finally, the aim is that they familiarize themselves with the current debates surrounding performance and the archive.
