Scholarship has put "the recorded" and "the live" in a state of constant tension, in which archive was posited in opposition to performance, or embodied performance against archive. Here, the archive is posited as a lasting receptacle of artifacts from the past, producing historical depictions and representations of some kind fixed, bygone reality. By contrast, performance is considered to be a live event with some documented afterlives, but ultimately dominated by fleeting liveness that is inaccessible to the archive. However, archives often store the traces of performance development, revealing genealogies of liveness hidden within. The goal of my dissertation is to uncover these creative beginnings and to supplement the existing scholarship with a more adequate analysis of the relationship between "live" and "recorded".