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This article reviews recent work applying a notion of "performance" in the study and representation of lives. It tries to clarify some of the issues involved—including the meaning of "performance"—and "performative"—the range of possible approaches (e.g., in addition to drama—other arts) and the relationship between "subjects", "researcher" and "audience". An immediate concern is the nature of the researcher—as having the necessary skills and abilities or knowledge involved in "performance" (in researching, writing, recording and representing), as engaged (to some extent) in "artistic" endeavour, and moving between a number of "roles" and social relations in "performing" with/to others (the "researched" group, audience and society). An important issue for social science in crossing or bridging the social science-arts, in taking up "performative approaches", is "What remains distinctive about the social science if it becomes involved with performance approaches?" As a source for comparison (and inspiration), some brief reference will be made to the work of KANDINSKY—who moved across disciplinary boundaries and artistic practices—as ethnographer, painter, teacher, designer, theorist and poet. Finally, perhaps, there is a deeper "turn" indicated by the "turn to performance" in the study of lives, a more "complete" portrait of the individual as an active, communicative and sensual being. URN: urn:nbn:de:0114-fqs0802588