Self-Representation

Abstract

It would be difficult to quantify the precise relationship between the ideas, impulses and imagery of documentation explored in the previous two chapters and the more immediate world of performance production and reception. However, the passion in evidence within discourses of documentation suggests a significant connection with performances, practices and audiences. To work through some possible relationships, this chapter presents a detailed case illustration that traces the political and ideological relationship between performance practice, documentation, archives and the academy. This will be focused through the exploration of the documentary attitudes and activities of the British theatre ensemble Forced Entertainment, looking at how their practice is manifested in archival, academic and self-representational endeavour.’