Jasmin Schaitl // Re-experiencing Performance. From Documentation to Representation
This workshop tackles the use and the meaning of the documentation of
performance art. It questions how to re-present a performance by using
documentation taken from it.
By re-presenting a performance, major elements which define performance
as an art form, such as ephemerality, liveness and co-presence of the
performer and audience, can be taken into consideration. However,
this process does not necessarily lead to a re-performance or a re-
enactment, what it potentially leads to is a performative way of presenting
This workshop is about questioning how to re-stage documentation in
a performative way. This staging aims to function as a reference of the
original performance within a museological context.
The workshops objective is to create a performance/setting/situation where
the public is able to re-experience a past performance, detached from the
original performer, time and location of its presentation.
Throughout the workshop we will also focus on documentation of
canonical contemporary performances. Of interest will be how this
material can contribute to re-experiencing past performances. We will also
deal with the questions of what it means to “experience“ a performance
and the relevance that individual memory has compared to visual
Performance is an art form which exists in the present moment.
Therefore it is an important task to capture such performance action through other media, such as photography, video or sound. This material is a direct
This material is a direct reference of the art piece which can be used for a spectator who was not present at the performance itself.
The need to document is obvious; it is an archive material for the artist him/herself and a reference for an audience
after the performance. It is also material which replaces the ephemeral performance helping enter the historical context. Often,documentation is the only remnant of a historical action, and receives more attention than the real performance itself.
The conflict of performance art – between ephemerality and historiography – points out the challenge and at the same time, the
necessity of performance documentation.
Who can participate:
Everyone who is interested in performance art and has attended one is invited to participate in the workshop.
What to bring for the workshop:
For the first day: Think of a performance art piece which you personally have seen and experienced (excluding personal performance works).
If possible, bring any existing documentation, official or non-official, pertaining to it. If there is no documentation, it’s also fine, just bring your memory.
Structure of the Workshop:
Each person will share his/her experience of a past performance he/she has personally attended. This will happen with the aid of different means of communication.
Observing reenactements or reperformances of known performance artists.
Search for a performance, which the group aims to “relive” again. Work on a possibility to present it to a public.
Preparing to present the outcomes of the workshop.
when// 23 – 25th of May
time// from 10 a.m. – 1p.m. /break/ 2 p.m. – 4 p.m.
fee// 75 euros
subscription// think firstname.lastname@example.org
max// 15 people
performance// 25th of May at 8 p.m.
Agora // Mittelweg, 50 12053 – Berlin
Jasmin Schaitl born in Vienna, finished her studies at the University of Applied Arts in Vienna in
2012, with a Master Degree in Art, Communication and Textile Art. She performed and exhibited in
Brazil, Portugal, Belgium, the Netherlands, Germany and Austria. In 2009 she was living and working
in Nicaragua in self-initiated social-artistic projects supported by the University of Applied Arts.
She wrote her Master Thesis about documentation theory of performance art, the potentials of working
with documentation and the possibilities of re-experiencing past performances. In her artistic works
she started to deal with the sensual element of video and photography before she went on to work
within the field of performance art.
By presenting performances with confronting and emotional elements, she positions herself between
body art – focusing on the live moment as well as the presence of the body – and demanding
audience participation. The status and importance of documentation material of performances
is another major focus of her artistic work. She tries to question how past performances can be relived
and re-experienced by the audience, and which elements need to be considered.