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Drawing together carefully commissioned contributions by leading international scholars and artists, this radical new work poses a number of essential questions:         What are the principle signifiers of theatrical presence?       How is presence achieved through theatrical performance?       What makes a memory come alive and live again?       How is presence connected with identity?       Is presence synonymous with 'being in the moment'?       What is the nature of the ‘co-presence’ of audience and performer?       Where does performance practice end and its documentation begin?  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The archive, traditionally a body of documents or a site for the preservation of documents, changed over the centuries to encompass, often concurrently, a broad but interrelated number of practices not traditionally considered as archival. Archives now consist of not only documents and sites but also artworks, installations, museums, social media platforms, and mediated and mixed reality environments. Giannachi tracks the evolution of these diverse archival practices across the centuries. Archives today offer a multiplicity of viewing platforms to replay the past, capture the present, and map our presence. Giannachi uses archaeological practices to explore all the layers of the archive, analyzing Lynn Hershman Leeson's  Women Art Revolution project, a digital archive of feminist artists. She considers the archive as a memory laboratory, with case studies that include visitors' encounters with archival materials in the Jewish Museum in Berlin. She discusses the importance of participatory archiving, examining the multimedia roadshow Digital Diaspora Family Reunion as an example. She explores the use of the archive in works that express the relationship between ourselves and our environment, citing Andy Warhol and Ant Farm, among others. 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From hybrid and interactive arts, to games and virtual and mixed reality performance, this collection investigates the burgeoning role of the performative in museum displays.  Gabriella Giannachi and Jonah Westerman bring together interviews and essays by leading curators, conservators, artists and scholars from institutions including MoMA, Tate, SFMOMA and the Whitney, to examine a range of interdisciplinary practices that have influenced the field of performance documentation. Chapters build on recent approaches to performance analysis, which argue that it should not focus purely on the live event, and that documentation should not be read solely as a process of retrospection. 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