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 DOCUNIENTATION
(OF A NEAR DEATH EXPERIENCE)
Hobin Deacon

the
First, to define an activity rve all recognise, and probably all induige in:gossip' Assuming
rea-der sti11 cares for the authoritv of print-based ciefinitions, the 1993 edition
of the Cottcise oxford

EnglishDictimarvdescribesgossipas: a)easyorunconstvainedtalkorwriting,esp'a'howtpersalTs0r
sacialincidents;b) idie tal.k, grouttdless'llttt1lur. The connotations bubbling from these
definitions may
lead us to consider the salacious oiltput of the gossip columnist, manifest in the
grubbl" prurient
tabloid story. or perhaps the image rvould be of the paparazziin relentless pursuit of photographic
evidence detailing the unraveiling of a drug-addled celebrity or phiiandering
politician" Here rve
have the notion of gossip as weapon, cr tool for blackmail to avoid reputational ruin'

opposite
In more everyday setting, the image coniured mighr be oftwo neighbours leaning over
a
sicies of a wooden fbnce separating their gardens' They rn'ould be sharing some sort of tittie tattle
he
regarding the behavior of a feckless 1ocallass, or iad about tor'vn' He said, she said' She said'
said. or, this image of 'gossip'might be more specifically characterised by those scenes
in the

BBC situation comedy, Fawlty Towers, rvhere we see Sybil Fawlty engaged in various
telephone
'id1e talk' she
conversations. Sybii is heard to repeatedlv say,'aolt,Iknow', in response to whatever
is hearing through the receiver. 'Oh dear'heltqsn't...'she continues, u'ith a tone ofvague
disbelief'
We have no ide a what this gossip may concern' but there is a sense of it being something
entirely
inconsequential. 14/e watch as her husband listens, impotently fuming behind the hotel reception
desk at the banality of it all.

90
t6
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'sole d \ced acuewrolad aql
^llod :ellsoddo
qde;Ooioqd '(ircue^U) OAZ Ltl6ureog e 1olepolu rl}r'r" urqog pue EnUSoT
6L0Z 'sole/,
^1106,{q
01 pnoi lno pol€ilunua aq ol pau8lsap
'arurtsur srr{l uI 'aJualpn€ pslqlriasse Jno^{ st't\ Jalauroq^
selu\tpbd atwatu'Lol'La| aql}o }'esn e ag oI
lnq 'enqso{ dq uauu.tt 'dtssa utjo JJPeaJ e Eq ol
alllJo ar[os o1 sluapn]s eJltaql
'atilrt;d slr?Jo suollelsa;lutui 1eut8;reru a;olu ';la8uells
e se 'tuoo'tss€IJ aql ul bpad atwawuoJta| aq1
pue €iue;p atenperS;iapun du; Surcnpo'uui;o sutelu
Jo Jasn tuarba;g "
.*"rrq 1 'uorreuiqnd srr 3ur'tro11o1 ''alueruJo;iadSo luauoru 1t'rauraqda
spul>i 3ur'ra3;rp Surrldap JnoJJo
aqt pJoJaJ ol pasa llsnolJ?^ aq dtru reql uoll€luerunJoPJo
s'JaEJoS tnqso{ uIoU ueI?J
ias ?Jo auo st aBtu-tt siql'4sa4ax'ni'tL'Lo!'u62W'uoznrlqndtooz
'arndsrp ut aqdtut Sutqlaiuos:eqr rsa8Ens sa;nlsa3 pueqpu"
lJos aluos ur poBe8ua a're daqr put
suorssa;dxa lerlleJ ueza1s,enqso{ palqnop JliI'ucllEsJe^uolJo
'adelsputl artqar
'(aur8trur plno^\ r.ro dnr loq alu e) EutqlaurcsSo Snru t Surploq si qJ?3
"rrlo 8ut:lts 's;aqog eaqso{ i"liluapl
ssal3Jlura3 e ut 'stieql 3u1p1o3 lellluepi uo Jalllou? auc altsoddo
^ sad'{raque aseql asn 1
o^r;o a;nl:td e Sutrnpo;lut iru ol 'tos;nra;d t sE Jall€-Lil snolo^I4io
..t
a #
uorlelu€uln3oQ
6
 relates to MarinaAbramovtCstgT4
the imagined exampie of gossip Joshua gives rhe reader
the performance' so w'e begin by
performance , Rhythtno. No visual record" is provided of
describing the ivorl< in the barest of terms'

on a table that any

The rules ofthe piece stipulated that there lvere seventy-tn'o obiects
they u/anted' for a period of six
member of the audience could use on Abramovic as
hours. Theie rvere objects ofpain, and obiects ofpleasure''

what might have follorn'ed

With this vague sense ofutensils and contert hal'ing been established'
around the chaos that apparently
is left to the imagination. Perhaps in a nod to the mythologies
clich6s regarding the sort of outlandish things lve
might
ensued (peppered rvith a few attend'ant
expect tohappen at a performance art event), ioshua's
description of further possible descriptions
hor'v a narrative may mutate over the course
of xhythnto collapses into absurdit)" d'emonstrating
to share the following imagined scenario:
of its transmission. Joshua uses myvoice as surrogate

photograph from Rhythm o'

rnfaci.,tcmorrow, u'ithout shorving 1'ou a documentary
whose name you can't quite
one ofyou may u'e11 tell someone else about this woman'
piece li'here she laid out all
remember, N/tarina someone, u'ho d"id this performance
an axe' and even a loaded
these objects on a tab1e, including a pen, scissors' chains'
gallery' and this bloke
pistol, and this fight broke out, y'know, in the middle of the
cut off' and her blood
wanted to shoot this artisr, who had' already had her clothes
the audience' Ancl the da1'after tomorrow'they might
tell a
drnnk by members of
friend that there rvas this rvoman ca11ed Tina rvho w'as shot in a gallery' And so' the
documentation gossiPs on''

by my speeding up the delivery

My students always laughed at this bit, a reaction heightened
The laughter was refreshing - and
as the paragruph progrJrred to a breathless conclusion'
like 'gossip'when r'vriting about
further indicative of rvhat 1 loved about Joshua using a r'vord
the usual dry' cerebral discussions
performance d.ocumentation. Here, rve managed to bypass
at grappling with loftier philosophical
on verification or proof, or any cack-handed attempts
notions: phenomenology, ont;1ogy and other stLch ideas
ofwhich my studenrs (and myself in all
honesty) rvould have limited purchase'

implied in my initial definitions of the

Setting aside the promise of the scandalous or outrageous
instead opened up the intriguing idea
u,ord, ]oshua's usage of the term'gossip'in this context
(or rather' as) everyday conversation' which would
of performance documentation in terms of
and an exponential increase in the
inevitably lead to questions of instability in signal or message'
an exploration of documentation
unreliability of each narrator in the communicative chain' Such
relates less to questions ofpresence and absence, photography or videotape' than to a question
follows; to be clear' I have nothing'on'
of horv we tell stories' tt is ihis notion that frames rvhat
Joshua Sofaer, other than a series of
fragmented accounts based on my increasingly vague
journey from acquaintance to friendship'
memories of our conversations and interactions on a

uu
96
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pa;aEEr,rr rer{r ,a;urJaun J^IteuIJoJ,rad, aqr uaaq perl spJo^l asar{]Jo uoil?If,unue du.i3r se lsoulle
srr\ ti 1 3ur1aa3 aqr Surp,re8a,r enqso{
r",1€J1'lleuun, naoqauos Suraq 1a,te,rr aueld rnoqe ateq uauo
ot iuaruruoDJo lJos aulos ap?u pet{ I 'qseg aql pue Jt[IJe] aq:8urlta1 slaaq^l aql uea^tlaq lng
'puno;8 alil Ual peq aueid eqt rau" spuoras aiue; A\opul.{\ aql plllqaq.{\es 1 rq8rl3o qstp aqt
(?ooz,iaqrua^oN 6r's a wt7 t1sr,tl)
'sef,u?ruroJ;ad paseq-a,rn:Jal u.&\o
rlal1t re^rlap ot saf,uarpxe Suriqeua 'l1T AIC lre-aAII_Jo pu]{ ? sra1Jo }pzd aturrutoJ,La|
,r11 s,JagoS eni{sol 'sdtqtad 'flalis.raaqns aJot\i 'Jle}sJo dlelarras Sn eLIr uo aJnl]al
{ur}D aunnor dn-puers s114'lpt1\od tL",llJ sLulaTJari uoteaq utqog ,'lla{oJd le }ileq
sarJa^oJsrp rtaqr l;oda; uaiil 'uliqnq PunoJ? Surplt sdtp ;naql puads 11rm ui.{[ auoT
:siJosJo sa,rau dpea;1e star (saueutrunl IJV a^IT Jal{lo ie'la^}s rlll.^a
3uo1e) urlqng uI leALLle Jno put '?ooz se,tt tI 'allua) stry lla[o;6 ]e le^Ilsal pa,iosuods llJunoJ
LisurJfl e'atu1llnlqv or slnqlrruol or uliqnc ol uod;te {1i,4\l€5 uopuoJ ruo'r; 8ur11aael: aueld e
uo aJa.&r 't€as a{sl€ eql uI st.4a I '.lat;os enqso{ st,&\.&topul.t\ aqr pueSlas&u uee,{\laq paleas
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,(a.r8 aqr ulqlr,tl ruory e;ll otut Suils;nq qs"L; atlri.&\ a8ue;ls siql 8ur,no11oJ Soa{El raue lurlse
;no ue8aq e.\\ se uozLlor{ eqt pJ,InJSqo ter{t spnolJ arll q3norqr Suttrnr aueid t3o Sullrr aqr
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JoAo tno pa{ool ,&\opul.la slql '.&1opul.tl le^o u?Jo apIS Jerllo aqr uo :q8r1;o Liseg rq8r;rq e se lI nres I
,:.q'ya Buro8 qlnqlq8rl iuer8 alili se&' ll
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^\oq
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ur paBe8ua ar? al6'a8unol a.rnuedap € uI sl?JSJo saro; Euol o.tu;o puJ elll l? pelees riloq a,Ie a,1&
's;rtqr 3u1p1og uOpooul4, ueqt rarlle5 'Pasllelrrt€ru A{ou s?r{ l;od.rte Surpsnq eJo rolJalul aiilJo
a8rrur ue 'puno.r8>peq )iueiq aqt uiqlL!\ tnq - pJe) ,dtsso3. titu6 attLatu,Loi,tad aWUo uaas ?nqso{Jo
salqnop fuuerun asoli]Jo auo parelda; Surleq dpoq u,no dur;o a8erut aril qll.t\ surSaq d;ors a41
'd1aq s,enqso{ qltrn saset aluos uI 'palJaJJot aq
d11a3adoq lpaa (s;ea,{.,(ueu ro; patqnop J^eq J qJILl,{\Jo stJel aql) salualstulluar ul€lJa3 '>lleq Pu€
{lureuarun olur uauiJ,4 a; pu? ualrIr.&\ satoptau? lplotal pu€ plol aq iII^t salel paraqularuaJJleH
 4

The thoughts are al.,vays the same in thosefirst feu, minutes of a plane journey - imagining your
terror as the plane suddenly disintegrates around your sear - the warmth and comfort of the cabin
merging into the freezing cold air, as one's body fa1ls through a rain of suitcases and unfinished
in-flight meals. Once the inevitability ofyour fate has been established, I wonder ifthere would be
time to revisit one's memories in the remaining minutes or seconds of one's life? Would there be
time to make peace with oneself, n ith one's regrets? Would there be time to wonder how (or ifl one
',vould be remembered as a friend, a sibling, a son, a lover, a colleague, an artist?

And if wylrfewere to flashbefore rue,whatkind of docuwentationtvowldt'hisbe?

I was on the phone to Joshua. It must have been sometime in zoor. I was speaking to
him during work hours, on a landline, sitting behind the reception desk in the study
room of Tate Modern w'here I was emplolred as an information Assistant. Usually, I
would have been rn aiting for people to come and ask me about a particular art work
they are looking far, or, as was more often the case. directions to the nearest tube
station. But at this moment in rime, the study room was empty of any people other than
myself; so, I took the opportunity offered by this downtime to explore a little career
deveiopment. loshua was asking me a series of questions about an application I had
sent him to be a guest artist at Nottingham Trent University w-here he u,,as employed as
a lecturer on the BA Contemporar],Arts program. Initial pleasantries were brief, with

the conversation soon moving into a more interrogative mode. Joshua referred me to
something I had written in my covering letter - a claim that I had a series of 'tried and
tested'workshops I could offer to his students. But, he said, looking at my resume,
he could see that my prior teaching experience was, by my own account, minimal.
He asked me where, and how, had these workshops actually been tried, and tested? I
stutteringly acknor,vledged the fact of my lack of teaching experience, and agreed that,
yes, it would be impossible for anything to have been really tried andtested in the light of
this. I u.as genuinely surprised that he went on to invite me to present to his students.c

What kind of documentation?

Ryanair flight FRtt5 had been circling over West Sussex for some time now. The Captain made
an announcement that, unfortunatell,, rve were going to have to make an emergency landing in
Stansted, all passengers no doubt noting that this \,vas not the same airport we had taken off
{rom. I remember finding the announcement to be paraciorically disturbing in its calmness.
Joshua made a joke about this, imagining that having finished delivering his composed message,
the Captain would have switched off the inrercom, and then begun hysterically screaming to
his co-pilot fbr God to have mercy on oLlr doon-led souls. Ioshua played out this scenario in a
convincing Irish brogue. 1 think this r.vas the first time I noticed what an uncanny mimic he was.

Ablack box recording of the last wayds of a pilot svoken b efore final iwp act
-whstl<ind of donLmentatian is this?

94
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'rorrlru
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alll olul Butzefr 'ltns e u1 spuels auoauos a;aqat stua8 aql ol saure4 '{ru lneq I
:sa^lssJno ueql J3qlo eq 01 sa^lasJno
Sur,rrdard dlruapguot '(>po,,-aruoq rno auop Suraeq) .&\ai{ll?r{ pueSlaslul aas ot '{1uo
'pa;eda;idun dlltror pue epnu
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3o rralo;d p1o ue ruorg)
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 *

be someone from a history. Nerrerrheless, I strip off my clothes and strap on a

series of my body frames. Another guy in a suir comes in and picks up the golden
sponge. He is going to be George.'

There is something undeniably srrange about reading a description ofyourself written

by somebody who you now knon, rveil, r,vho at the rime ofwriring the description, did
not know yoll at all. For the sake of clarity in figuring out w,ho is who, I knoli, that
Gilbert is shorter rhan George - and I am shorter than Nlatther.l . Therefore, I must
have been Gilbert. This might actualiy have been the firsr time I w-as wrirren abour
as an artist, but it didn't count, because rhis was me impersonating another artist,
in yet anorher artist's uzork. Bur for loshua, the nighrmare continues, as someone at
Milch Gallery approaches to ask him rn ho he has come as: ,Oh, I,m not sure,, I reply,
embarrassed,' jusr m1'self I guess,

l,Veall gathered ar last for the photograph ro be raken. A collective stillness was to
be maintained for twelve rninutes. Did the slorvness of this exposure give time for
the parricipants to consider the implications ofwhat rtre were doing? Assuming that
most of us were arrists, was anybody mulling over what their own place in art history
might ultimately be? Bur what if one was ro die prematurely, before arraining any such
notoriety? Would f/zis be the photo by u,hich rve lvould be remembered? And was there
any consideration ofthe idea that our approach ro documentation might be less about
verification of past events, but rather imagined futures? Or were rve all wondering
about the identity of the imposrer who had the temerity - the chutzpah, the brass neck
- to think that he himself as'himself,u,ould in any lil<elihood, be part of performance
history? And whlz 1a/3s it. having come in the wrong fancy dress, thar he had been
directed to stand in the centre ofr,r,hat lr,ould become the image?

Dublin

We had survived the emergency landina, and af-rer having been rebooked on a larer flight (with
the added indignity of rechecking our bags), u,e made a triumphanr enrrance into the projecr
Arts Centre. To say loshua and I dined out on our srory of near disasrer when we finaI1y arrived.
in Dublin r,l,ould be an understarement. Initiaily ar leasr, we were a proper pair of raconteurs,
delighting in rhe shared labour of relling, and retelling rhe srory. Over the collrse ofwhat
remained of the da1,, our reiieved peers and colleagues would garher round as rve explained. what
had happened. I remember loshua did the accenrs, or rarher, rhe accent of the Caprain, just like
he did on rhe plane. That gor a big 1augh. We shared rhe rask of quoting our banter back and forth,
with ioshua relling each gathered crou,d, somerhing like, ,So
l,rn t'ltinking, I,ru going to die with Robin
jabbmg on inmlt ear: "See, Itoldyou, it's nnttatural,weweren tyneantto
fly.," That got a big laugh.

My solo contribution to the multiple recitarions of rhis srory was the coda. I would. recount my
memory of sirring on the plane, no'"v parked on rhe rarmac follorving its emergency land.ing.

s0
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uE - ue alii;o Jl;qnr aqr 'l"d uI
LISIIIJg aqr dq parernJ lJ" aAIlJo
uela reql se.&'aJluaS stry lralo;6 pue IlJuno)
s€'^^ leq'&\ oS
Ie^nsaJ l.Ior{s e
'?wLLfloqv Surcq drinlg3lp ouo ;uaql 'tnoge lle 1"q1
:tJipJa^ stq ale8 sautllLlsl,q aql;o dallae;3 Jalad
dueu leqr asuas e se'{
'oor aJarl fiuraq ro3 uoseal ,Ino lno a'rn8g ol 8ur'Crl uaaq peq sraullqno
s^\a1^3't Suipta; lnfl
'araq Suraq ro3 uos€al diu le111tua't
araqt'uolsnlruoJ sll l€ iE^IlsaJ aiilJo
o1 '^or*o*o, uaddtq 01
anp se/^ Iie'&od ulloD lnoqt arutru;oJ;ad d1q
pue 'sntoJal PerlI
'plp I u€q] rallag reJ uilq oqrrr aldoad
';aul.red 8ur11ar[,rors dru rsol P?q I pauraas rI ^\au{
e dluo rurq aes plno'\\ 1 'atou dg aqiSo fiut11ar
r{tr.r\ suoltesJa^uol palErutue ul 'af,uelsIp le "{'rors
s'Jaqlo ql€a tuo'IJ uale'rpqrur dll€nlntu
lu€tsuoJ qrIM pJlsn€Llxa sallasrno sdeq;rad 'dutduor
aql svr'arouldut a;ns aq l'uplnol
;Erq i reqr d11ta't
p€q I pu? Enqsol ,rq, prr,,,, I 'uI las Sutuana
'lr Suuaquarua;l s€,t\ I st sltls € peq se ui s€I& aut8ua aqlSt uottsanb o:
{unqJ Sursstru aql sElA uaq'lr
'Sutsstru >lunqr aLll L1l1'&1 aut8ua aueld aqr aqlrrsap or ue8aq utt8e 1
ueSaq uaaa 1 .'(1p'rt.rtu1
se'u d;ols aql aJou aql ialp or SuioE
l1;reinlr.rrd 'uoltuall€Jo UIrp eql Pasuas I a;orx aql 'plol
leqt uontdsns
'aruJl'ladxa aqr le ,eluneJl' '{ru padeld;ra^o a^eLI rq8rru 1
se,{\ I teqr 4uvql iyaa'tl PJo
a'ra'tt aidoad reqr 3ur1aa3 aqr ra8 or ue8aq
E a^eq 'rqErspurq u1 'lt Sutreaq qlI^\ pa;Ioq Sutruolaq
1
sent dlols aq1
u1 s'Inor{ A\aJ lsJg Jno uI sauJIl lelalas pattada;
'tulod ul€llaf, ? le lnq 'uilqno
1
'Sutsstru sE.!\ sapelq ut3 saut8ua alllJo eJlual
roJJoq dru ol Sutaas pue 'Ual '(ur or 3ur4oo1
alir tE aJnlsnrls ieJIuoJ aLIlJo uollJas a3;rt1 e l€ql
aqrJo ued srqr 8utlar u1
'aue1d aql SutrtxaSo lualuolu aql;o uoildt'rcsap lru seaasJori€d aqt 'flots
lslL1 saftr uotJrll,!aMn)o'P io PuttlxtrLil\\
'aut8ua aqrSo sqde.rBoloqd Eur>1er aq or pa'readde
seal'ltoputm ar{Uo apIS
rlaql L1l1'&\ Paltntlund
uaLIUo auo '^\oN 'aut8ua aqr tr Sutlutod sra8ug
'a1go'rd ut aas dluo PInoJ I auiSua utJo luo4 aqr re f,lruarut
srql tuoU tualIs 'uoIlEsra^uof, ;rraq1
aJaq'l\ '8ur'lrr aql Japun lsaJ sl1 ol a&l€J e13lqa^
3ur1oo1 putls Pu€ 'lno doq sluednrlo aql ^\es 1
au€f,Jr aqi q8nolq: qltd snoltnr;tl slt
aqr'de,ntxtl aqr or Surpeai s8ur>1'rtru a)eJlns pue a8tu8ts
8ur,tto11og 'sla>lleidrrirqrsu q8rq 8ul'reaar
saln8g i{lt{\ uapel 'paqreoldde 't\ou {lnJl aJueualultru
.(1enpt"rB uozlJoq aqt uo >pads t '&\es 1
aqlJo lno Suzeg
il€uis V
'allrqel o,.r, E*r*ro;
" "rylopul^\
 *

culture. But in many cases, Live Art became this nebulous thing that could only be defined
reiative to theatre. The writer continued:

lhe self-reflexivity of performance without characters, narratives without structure

or signs without referents may shriek of reality. Yet there was as much design, artifice
and roie-playing in Forced Entertainment,e Lone Twin and Robin Deacon as yoll will
find in Tne S'hawghrar,Ir, at the Abbey.'"
(Iris'h Time s, 3o November zoo4)

I had always believed thatlhe Perforwance Pachhad succeeded in unpacking a lot of this sort of
baggage in an incredibly accessible way, and this feeling was reinforcedwhen I saw Joshua present
it (in his own voice) at AborltTitne." This question of category, and the broader implications of
placing this kind of performance into a wider public setting was something I had also been trying
to get to grips with in my orvn attempts at writing.

Whenever I intermittently clean out my office, I am always reminded of the existence of a series
of half forgotten, unfinished essays and unpublished articles, as I stumble again upon that same
pile of:.5" floppy discs, on which I stored my data in the early zooos. Despite the fact that I
have no desire to revisit the material that these discs contain, I somehow cannot bring myself to
dispose of them. thinking again of Joshua's categories of documentation, I consider the existence
of an additional species - that of the embarrassing image or text, languishing on some outmoded
storage format, with a raison d'6tre to remain perpetually unwatched or unread.

Whatkind of docwnentation is this?

Any adult reader with a past as an aspiring writer would recognise the cringe suffered
when revisiting one's teenage poetry. But is this cringe ofthe same nature as the cringe
that comes from re-reading one's early attempts at cultural commentary? In zoo3, as
I approached my thirties (not quite as established an artist as I wanted to be, and still
unpublished as a writer), I wrote an essay entitled'What is a Performance Artist?', as a
means of definitively addressing my frustrations with what seemed to be a perennial
question of definition (and by implication, justificationJ lvhen it came to describing the
characteristics of my fie1d. this was an attempt to deconstruct the kind of clich6s that
suggested all manner of incorrigible and unsavory activities as being the stock in trade
of 'the performance artist'. At the time, I was confident that my writing was wry, witty
and incisive, and convinced my essay would be seen as a much needed breath of fresh
air rvithin a parochial community that I saw as averse to any form of internal critique
or satirical prodding. I liked to view myself as being something of an outsider.

Even though I knew the essay would still need to be polished up in preparation for
any wider dissemination, I felt certain that a vrider audience for this writingwould
be richly deserved. But before beginning the process ofbuilding up the courage to

98
 *
66
aW 'loJJa {1rI 01 aur palrale ori't\ an8ealloJ
q]IA\ op ol SuILIlou se.t\ s1rll ltql'se'ry\ ll?J
Iqiu ptp dilenlrt 1 2dq au
aqt qlr^l slql aJ€r{s ol Pass?JJeglua ool s?'1 I lnq 'r'rou>i
'lJV alu?u'IoJJad put l;V aAI'I uaa't\laq
passed a^tr{,IoJJa JIS?q e qlns plnoJ ^\oH
u^ou'i'o'q u? qrns a}Irl\ ol Sulldulatle ur 'tr1a'rn5
1
arua,ia;Jlp ,q, Plnoqs
"{essa
'sEA\ ll JaAJIPL['t\ ro 'sE
fui JoJ lualueauoJ aJout uaag aaeq diuItlJa] plno'\\
lr'il'ty atuawot'La6
qrns 'luarunB;re
'r'rv
aJuEluJoJrad loN 'lrv e1,]1r'tr"Lv aLl'I
sl$Lll\\pallll uaaq Paapul p€q oapl^ spnqsolJt
sIq uI seararl'{\ '1'Ly astruwlo!'La4 :noqe (aru'rt
rnoqr Eut>1itl st,u enqso{ 'JJnlJal oaptl
Surua8 ou s?^& aJaW'altoq'ul pue
ol Surd.tt;o) Suttt;m se.{\ I ltt{l lJeJ aql uo;; '(e'lte
Surdaa.rts &rpqeqo,rd 11" uI s?.1 ill V a^1'l
sLPqly\s,enqsol Surple8a;r lusrualels dru reqr
JaU€ uoos {;o'&\ slq ol eluara;al arl} aAouaJ
Surlaag € al?q 1 '(asuodsar stq: Sutpea'r
s'Enqsol lnoqe ualllJ^t Peq I
o, p"pur-, d1>prnb se.tt,(essa erll Jaquaua'r op I) oapla
aql al€lnrllr€
dltrexa r€q,,ta.jo uolllallorJr alllll e^eq i q8noqllv Slasdru lo; a)uaraglP
arinb r,up1no, 1 q8,-,oq, uala 'luecgtu6is se'tr
uoll)ullslp leli;o8atec 3q1 'laau{ I
(€ooz raqolro z '{n
'rau'lalauo@ a;rnllel oapi^ s'Enqso[ ]uasardarstur plnoqs
eql tllIA\ pal?IJosse
'4ttrtrlualoln3
nod >1urqr 1,uop I os ',l;y aJuEuIJoJJad, uiJel
put s>llel ;raq ur d11n;axo3
pue sadfroa,ra]s eqlJo linsal e sE sI lI put "'s8ut]t't'!\
''1'ry atuauuo!'tad sI leqd\'
uePIa)J sIoT qJII{^\ uollJullslP t sI aJaql
d;a.t sa>1tru-J'lieluX)'
spnqsol :uoll€J5ueic3o lutod e lsn{
lou ,1.1V a&1'ISI l?ql&, palle) sI arnlJai oapl^
'drqs'ieloqrs ;ood ';aqler lnq 'auor pa8pnflit
:8ur,s{o1loj er{l alor,t\ anEealior '{y;
'ullq ol aJuara;al dut ur aptru e>l€lslur t o1 uotluallt
'(tu
u? qlIA\ oP ol lou se,Lr 'io;rra dyx
,laaJp pa^IaJaJ I {J€qpaeJJo alatd auo '\\oLl
put ';at3o5 ?nqsoi lnoq€ allJ'\l ol palll a^eq
tut 'xogul ooq? plo dru;o sassalsJ {rt? aql
I
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aas o1 SutleullsEj sI 1r'61a2 uI
uI punoj 'saButqlxa p1o lead oz '(1'reau asaql ute8e
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s€'&\ sas€J eruos ut ]€lil 'dessa du: ur
pardopt p€q I auol
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luaJ'Inf,ar
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'PalIJ
e sr./!\ !,',1;v alu?ulJojladJO asueJac u1, 'dtssa
€ooz s'ega6 zewou oulJalllnD
reqr uorrdrunsa;d aql qlt'Lr
Sutaq slerrartru aqr pare8IlsaAuI aneq '{pea;rie Plnoqs 1
slutod alileuJalie 'lueulruof,
z{lEurruaas rnq '.(t.u dru ulaoJql aral\ aluara;a;3o
i€relas
1a6 u! sn10t 'Q1110
aluos paaw 1qfttu y wt11
auo s?.4A ,il* Iqns eql uo uowd'o s,aldoad t'atpo '1!
tlulq1 l,- altllads;ad sll uI PaJu€lEquI l€rl'\\auos
t se'tr tressa dur parsa8Sns s€l.r lI
s€'{\ l?ql
'Sutttadxa se^\ I ueLll PalnLu aJoul a1lll1 e sdtq'rad sdeq'rad rnq '8ur8e'rnoJua
uI paAIJJ? sasuodsag 'palsnJl
)iJeqPea; qrral 's.(ep luanbasqns 'ialo xoqul irerua '{ru
suorur,lo asoq^4. sanStallor pue slaad '{\aJ ? ol
gt'rp '{ru l\oqs 01 eepl pooS e aq
1
a ol' autzaitlttr uv ai1'I lJeluol
tq8rru rr PapllaP 1
.,'EIJalu) uolsslruqns JIeql qsllq"ls
 s

any unintentionai 'misrepresentation'. Even now, I take a deep breath as I lr"rite this:
tlte reason thad got the titlewrong of Ioshwa's videowasbecattse I had neverwstchedloskua's
video.Thiswas not the first time my interpassive approach to research had got me into
trouble.'5 I had certainly heardof a video that loshua had made - that it had,
y'knou"
something to do with performance, probably performance art.I think "' I think that it
was titied, something 1ike, 'What is ... sotnething, probably'performance art',
question
mark. I had never watched ]oshua's video.'6 I didn't need to' It w'as all in the title' Or
what I had thought was the title.

In the days following the realisation of my mistaken citation, a particular kind of

anxiousness took hold. I would wake early to switch on my dial-up internet and begin
the ritual of checi<ing my sent folder, then my inbox, back and forth, inbox, sent folder'
inbox, sent folder, each time seeing how the email I had sent to loshua asking for his
thoughts on my essav draft sti1l remained unanswered' Perhaps it was only a few days'
or a few weeks (either way, it felt like forever), but one day, upon returning home from
work, I saw that one of my flat mates had 1eft me a scrar'l''Ied message in biro on the
rvriting pad by the communal land1ine,

I o shua called. N o mes s age'E

And so the documentation gossips on...

It could be argued there is something inherently thrilling in being name-checked, cited, or writren
or
about - to have the sense that something you have said or done might be worthy of commentary
recognition in the present or the future, in print. lfw'e give credence to the notion ofany publicity
being good publicity (or any citation be ing a good citation), then even a negative depiction may
be

welcome . The English comic actor, I(enneth Williams, was knorvn to threaten people with a less
than flattering portrayal in his iournals for those who he perceived as having crossed him:'You'll
beinmy diaryl'This was how the threat would be articulated, with the implication that Williams
wouid one day give permission for these prir''ate writings to be made public'

I was trying to remember how I know this, and for some reason, I had it in my mind that it was
from something Ioshua had written about l(enneth Williams. Did ]oshua ever refer to, or quote
i(enneth Williams in his writing?G Considering my admission of prior sloppy scholarship, I feel
a particular responsibility to establish clarity in this, and other cases ofunclear
recollecrion'
There is a responsibility in writing about somebody else, especially somebodyyou now consider
to be a friend - the past can be a minefield of inadvertent innuendo, implication, and potential
for unintended slights.H

100
 it
t0L
lCXl 'Jaql€a'1 Pooar{lloH & PauJojrad ro^au 1 '8651 Put 966I uaadlJq slue a
a:reuro3:adJosarres?SqruuErSoJd'sopuo'JEr?nEAuvaAItpa -rl-roqststaJtqEalPoo{flloH:rroN,*
I(ul'6561o1 865r uorj
'uopuol'(V3I) strylJ?Joduatuorjoetnrllsul 31llle slivs^11.,o ioDarIC seflrl4aH laqdolsuqD jaloN o
ISI) uo;saaueru':oJiad Jaqltel Poolrdllol-1 s.,laqro q)ea
3rs ua a 3.4[ pr('Suruado r{;a1p g q3lly{ aql arojaq rc;[ e' 166t J€,qurrf, a0 sea )ulw
2acueruro;,rad raqrral poorvrlloll .rnodjo arep aqt s€rlt 1?tlrtIslql lnoqe 3uo,r.rt aq
plnol J rng +'slql ra5e sn parnporlul legl ulzrrag .raqdotsuq3 se^IlI {uIql I lnq
'>lJo \ s.rsqio qJea u3as ilale 'Jaqlo qJeaJo pJPeq a^eq 1q31u a71\'0I Jaqruetua; 1
s" tseal le) as"r aql tou s,reql tnq r)q1o rIsea dptalle a.tt reqr pslt)IPuIiJ€q
^reu{
pue {ep .laqro aqi adlIs uo ruauroul slqr pauolluaru nol'(1aur) tou P"q r { 'oN 'C
lqul 'op nol !eq: tralqns uaa-r8 t lnoqt a:ou aoul lq8ru ruapors t rtqr {r111q1ssod aq: laprsuoa slenp
au epeu slqr'raqJ?al e se pnaro3 Suro8 pue (8troresea J l€ql,(1a>111d1q8rq sturl ':serll? ro):q6il trlqrqold
sem ag ',Eurdpue urd,go d:euuns arernlatul,{u seatq8noq: aq ltqaloS dn au paprq (sess?l8 qlla
t u?u 8uno.{€uDlool qsDlooq r.qltr t) sluapnls aqljo auo rel{l sla ss"l, slql uoiJ raqueual I r"ql1.aloN *
-'uaqi ISII q1l^\ suop d1lEnl,?
Prrl nol leqrtr 01
^rou{
snounr d;aa osle s"^r I uaql puv 'auo8 ptq rr aroq aas 01 (sluapus eql Jo) nod qll^l
dn 3uirno11o33o do1 uo ,roiu uaeq r.uP"r{ J l?ql psss?rrEgura llq ? s€1d I leql Pu?
Sulqcrar srqr Surop ararr nol rEqr uexo3roJ peq 1 l?ql sI raqrueural I t?I{ \ 're}o ol
Surqtauros aaeq plnorr nolreqr 4carlJ 01 peq I Pu" stnor{ raJnleEl lsan8 a,reds auros
arart\ araqtuaq l doqsporrr t un.r or no,{8upraut,{;dtuis sE^! I {ulql I 'ltal^;alul ue
l.us€mtI'oP I ueql a pllsdruoo put lecrqlJ?Jalq aJour itJ se llaqurausJ no'3
'(516I 'ssard dllsiaalufl PJEATtH
:yw'e8pl;qure3) uotTlpe e"z'.s ? 10 Ir\
141t1y\s0u!Wo1 oLdloH'ullsnv "I'l aes 's
[g{] 'SurpueJ i(rua8;aura ue Eu1>1eru aueld uI are t a.{\
"
dlug 'sparu .lraqt SurIo(ua ruo,g s.raqro Surddotg 'pnol alull t pue ssorS 'luernelsar
? ur a3mJes a1qil;el aql lnoq€
Sululeldurol alam nol a>111 sta,r t1 'fia 't7a ,''auo\d
b u!oqx,u?.faotls \ftrtt4m{14toxa stsn11i1otn1ou1ous1Butt17 inotp1o11'aas noL,'[1pno1
Eup(rs nod ot uarslt ot p?q I 'JIp 01 SuIoE sE,rr I r"qt tualuour aql uI '8uryu1qr aur
pur 'aur1d aqr uo Suro8 aur8ua aqt sem dlrr t"ql inoqt lsotu raqruarua.l I lErl \ 'fi
'ueler{lY\ 33a.rD put srarully\
,{,ieg onp t,ry aat11qsqltg sl ut{4I auo'l' t
[g{] 'arr:re.rd allttdtrtlred tJo ur.roJ
aqt ur lll^uea.Ir s,aldoad .raq:o Sultetll1)t; l1loq" sI (sluaPnlsJo lxaluor aql ul .{.io l
,iraqt, or pasoddo se) .4.rorrr.,{ur,[ea 1 lEqiaJo lol E 'raou lq8!r leql Suluollu3rx l{lro&l
oqr sdeq.rad sr 11 's,raqro lq pa3tuB1u Suraq ot tealqns rue 1 a'iaqar '3uo I"uollnl.IlsuI
ue,(letaadsa 'qofgo puq lue Eur^eq tnoqt arou Pue 'as ;ad ,Sulqcea], lnoq" ssel
'sr pu? 's?a aur ro3 ,ura1qo,rd, aqr qulqt I '^\ou lI lnoqrlurqr 1 ueq,ra dllenlr€ lna
'furaprcy a;ttaql ueriazrr,rop aql rt Xlureur !ea.{e slaarn lral e ol sluepnls qll/v\
Sur4.io.npuads i arurgo iunorue aqt trlrlsa.l I droN 'uotlnl.Itrsu.I ,IruePEJ€ ut l?
lsod iuaueurJad e ur 8ui4;oan dors ot tu?^r arx ep?u 1?q1 slqt serr/i 1r lurqr i ;1as.tur
JoJ
U3l Sa)Jnose; ou aa?q pu" 'sJ3rllo uo .r{Snoiql sIezn, e,rilea.rr ,ro3.(rrcedel dur
dn pasn a.,rzq I e{IT JeaJ ut, rI llasdur .ro3 slqr op or Surdlr osle u:.i sy (au;nol
pnldaruor puz aaaea.ra:iaqt q8noiql {ulqt 01 sluapnts ro; sIe,n Sulpug iaqrErinq
Eurqrdue ,3urq-tar, ure I reqr laaJ.{1ea.r r,uop 1 se .Eutqceat, txaluo, ,lEoBeped Jql
ul op 1?q&
I IF, o1 rou 1ur"3l a ?q 'd1pl1t3l3 s.rldoad r3r]1o EurlerlllreJ lq
I
^tou
patsneqp (u3rq aaeq nod rnoq dlruanbasqns put) uaag 3 ?q I Passn)slP aAEq
^\oq
a^l
terlt Jaqruauar op I 'luepnrs relnrrt,rtd stqtSo ssglcads aqt raquaurar l.uoP 1 'V
.st.d'ptg1.t
' eb' d' (v ooz' ercI5 ygyl :uopuol)
'z
4co4 acuow.topa6 aW ' Delos, enrlsgl
' ato,t1 pue Sutmotp' o1o qd
aJa.1a
uorl?lu3urn3op Jo salJoSalel
earql r3q1o er{l'drsso8 saprsag 'r
seloN suorlcorjoS
 5. This is an expandedversion ofa text
by ]oshua that was published one year
prior in Live Av t M ag azin e. Ent itle d'
'Performance Lucida: Enco*nters
with Peter Richards', I find this earlier
account to be far less infased with
anxiety when foshua describes his
experience of participating in Richards'
event at Milch CailerY'

7. loshua Sofaer,'Conflict of lnterest:

Performance as SPectator SPort',
P erfortx anc e Re s e ar ch, 5 :t {Spr ing za o o),
12,a-n5{p"12,7}.
s. rbid.

E. To say the engine had been blown out entirely

\l/ould be an exaggeration but I
f-tge portion of itwas missing' l rememberwhenwe stepped
offthe
**"-i.t
" lack of support from the ground staff' l mean' none was really
;hrJ;;;;p[te
'n""J"a,
*. 1or, t ad to book inother flight' Aad then there was a guy on his mobjle
how
talkingloujlyto someone and his call was full ofovetstatements' describing
as I
oo, had been met by a fleet offire engines etc' But' at ieast
"ir"rg""rytanding 9. Iorced Entertainment is an
remember, there weren't any fire engines' []S)
experimental theatre company based
in Sheffieid, England, founded in rs8+.
rc.'Ihe Shawghraun|TST4) is a
melodramatic playwrirten by lrish
playwrigtrt Dion Boucicault.
11.Considering our (perhaps) near
death experience when traveli ng to
the AbowtTiwe {estival, I am struck
by the fact that in the short essay he
contributed to the festival brochure,
(at that
Joshua included a quote from
time) the oldest woman on record,
at tzzyears old.:'Lloubliee de Dieu
(God has forgotten me'). According
to ,oshua, it was as ifto saY, 'she has
erceeded the boundaries of time, gone
on too 1ong, that her death wouldbe
about time too'.
v . Live Art Magazine is a row defiuct
publication based in Nottingham (UK)
that consisted of reviews, articles
andlistings for the Live Art and
Performance communitY'
13. 'The best way to chart performance
art is to start with what it is nct: our
work overlaps with exPerimenral
theatev, but is neither acting nor
spoken word poetry' Mosc performance
artists write, brrt rareiy to publish'
(Guillermo G6mez-Petia, 'In Defense of
Ferformance Ar t', Ar t P ap e rs, zl'.+ {luly I
August zoo3l, p. 23).
r4. Lois Keidan is currentlY the
Director of the Live Art Development
Agency which she co-founded with
Catherine Ugwu in rg99. She was the
Director ofLiqe Arts at the Institute
of Contemporary Arts (iCA) from rqgz
to1997.

102
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