This article examines the realization of the future in performance through aesthetic experience. Following the historian Reinhardt Koselleck, who introduces the category of ‘experience’ as the present past, and ‘expectation’ as the present future, in order to formulate a theory of possible histories, I examine the interconnection of different time layers and the potentiality of a performance. I argue that every performance constitutes a space of possibility, defined by a permeation of traces of the past and the future, emergent phenomena characteristic of performance, and a dimension of future inherent in the performative materiality. Hamlet by New York's Wooster Group serves as an example for an analysis focusing on the aesthetic experience of the future in performance. The Hamlet performance proves exceptionally suitable, since the staging is based on a theatrical repetition of the film document of a Hamlet performance long past, and unfolds a complex system of past and future bound time layers.