The definition of time is quite complex, it is seen as “the indefinite continued progress of existence and events in the past, present, and future regarded as a whole.” This definition assumes the idea that time is fixed it has either happened or is happening or will happen. When we think of time in terms of performance however, this is not necessarily the case. In performance the way we measure time is not a fixed construct. Instead Pearson explains how we warp time. “by playing with time: slowing down, speeding up” (Pearson, 2010, 159) We defy the conventions of what we assume to be “normal” time.

            When we think of using time in performance, Scheckner provides us with a better understanding of how this may be split into three different categories. The first of which is event time, “In event time the activity takes as long as it is required for completion: application without fixed duration.”(Pearson, 2010, 160)  By this he means if it takes half an hour to thread a needle then the performance will last half an hour. The amount of time taken for the completion of the activity is how long the performance lasts.

            The second is set time, “In set time all the activity has to be completed in a given time: a fixed duration that may lead to a sense of urgency and quality of energetic engagement.” (Pearson, 2010, 160) If it takes someone half and hour to thread a needle, but they only have 10 minutes then this creates the urgency and energy in the performance that Scheckner is speaking about.

            The third is symbolic time, “in symbolic time one span represents another duration” (Pearson, 2010, 160) For example one hour could represent a whole day. The whole performance that takes three hours could actually represent three days of activity which is being represented on stage.

Time is linked with the idea of sequence, mostly in conventional theatre time runs in a linear sequence with the action that happens on stage. There are times however when time does not. In flash back scenes the performance goes back to a date in time which is before the scene which is being portrayed on stage now. This temporal shift may be used as the sequencing for the performance, instead of following a linear sequence where events happen one after the other, the sequence in the play may be deemed as following temporal organisation.