Archiviare la performance

Questioni, casi studio, paradigmi di azione

Abstract

The Convention adopted by UNESCO in 2003 redefined the concept of intangible cultural heritage in the sign of a clear shift from a humanistic to an anthropological conception. The new emphasis placed by the Convention on research and documentation interventions coincides with the increase in good practices of archives, especially digital ones, rethought not as mere repositories of memory, but as real devices of continuous reconfiguration of artistic processes. Starting from these considerations, the essay draws on the fundamental distinction between repertory/embodied knowledge and archive theorised by Diana Taylor to analyse the use of the archive device applied to the preservation, valorisation and therefore reactivation of theatrical documents.