I've always thought that this is was an interesting prescription for writers, critics or other viewers of performance but that it doesn't really address any of the complex issues that exist for the performer herself with regard to the document.  

This is such an interesting question/problem because as makers of live work, artists have only the document to rely on, along with the members of an audience, to perpetuate their career (or simply their ability to work again).  However, the importance of the body as
an imutable, transient object, or the empathic connection between performer and audience that is so effective in some performance work can be totally lost or worse when reduced to two-dimensions.  I think of Carolee Schneeman's "Scroll" where live the body may
have such subjective power, in photographs the body can only be objectified.  In terms of feminist discourse around "gaze" this seems particularly problematic.

I apologize if I've rambled on too long.  But I should also point out as a correction to Alistair's email that Peggy Phelan is no longer at NYU - she is currently working at Stanford.  I do not have a forwarding email but you could check on the Stanford website (www.stanford.edu).

Best, Jessica Buege