Technology usually implies the distancing of the human experience, but I argue what technology has enabled can teach us something about the role of multiplicity and the rhizomatic nature of history and storytelling. By looking at the subject position of the practicing performance researcher in terms of the walking dramaturg, the autoethnographic catalogue of such experience becomes a form of documentation in the archive of theatre histories. Taking the time to explore a nuanced understanding of the documeter’s subject position acknowledges the multifarious subject positions that contribute to the archive of theatre histories.

Beyond creating a record of evidence, I build on Ledger, Ellis and Wright's (2010, p. 181) argument that “documentation is an implicit part of practice as research” (p. 181). I suggest it is in the act of walking that documentation becomes a verb—it becomes a form of artistic practice that fully considers the space and time in which the self as an artifact is considered.

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