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Started by Luciana da Costa Dias Aug 21, 2019. 0 Replies


Available Online IMAGINED THEATRES issue #03

Started by Daniel Sack Aug 13, 2019. 0 Replies

We are pleased to announce the launch of issue #03 of …Continue

Tags: imagined, writing, theatres, open, access

Workshop CFP: The Mimetic Condition: A Transdisciplinary Approach

Started by Daniel Villegas Vélez Jun 3, 2019. 0 Replies

Workshop CFP: The Mimetic Condition: A Transdisciplinary ApproachInstitute of Philosophy, KU Leuven (Belgium)December 5-6, 2019Keynote: Prof. Gunter Gebauer (Free University of Berlin)Since the…Continue

Tags: workshop, transdisciplinarity, mimesis

Blog Posts

"Further Evidence on the Meaning of Musical Performance" Working Paper

Posted by Phillip Cartwright on January 15, 2020 at 21:28 0 Comments

Karolina Nevoina and I are pleased to announce availability of our working paper, "Further Evidence on the Meaning of Musical Performance". Special thanks to Professor Aaron Williamon and the Royal College of Music, Centre for Performance Science.…



Posted by Anirban Kumar on October 20, 2019 at 22:01 0 Comments

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Division of Labor - Denis Beaubois

Posted by Gabrielle Senza on February 23, 2018 at 0:36 0 Comments

I just came across Denis Beaubois, an Australian multidisciplinary artist whose work, Currency - Division of Labor might be of interest to researchers here.

It is a series of video/performance works that use the division of labor model in capitalism as a structural tool for performance.

From his website:

The Division of labour work explores…



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Gnothi seauton - no paper conference

Event Details

Gnothi seauton - no paper conference

Time: October 24, 2014 at 6pm to October 27, 2014 at 7pm
Location: Prague, Czech Republic
Event Type: no, paper, conference, performances, and, lectures
Organized By: Alice Koubová
Latest Activity: Sep 22, 2014

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Event Description

Conference Aim

The conference will focus on: 1) Reflections on the relationship between self-knowledge and knowledge in philosophy and performance; 2. A deconstruction of commonplace academic conference-based interactions in order to search for the relationship between performative and content components of philosophical expression. 

We would like to open a free space for a variety of expression formats, and for an experimental dimension of the event.


The Main Topic of the Conference


The imperative of “Gnothi seauton” has survived to this day as a possible trace of the transition from the world of myth to the world of philosophy. On one hand, this maxim does not offer any completed and unquestionable account of the world and of humans’ place in it, as we are accustomed to from mythological narratives; on the other, however, it is not yet a statement belonging to philosophical ethics as we understand it, such as Kant’s categorical imperative.

On closer inspection, the appeal to “Gnothi seauton” leads to a number of questions: Does self-knowledge belong to the field of philosophy, at all? How is philosophy, with its claim of universality, related to self-knowledge, which is performed as an entirely individual enterprise? Or is it precisely the other way round? Is it that only with self-knowledge does philosophy achieve its value?  And why is it that the Delphic Oracle exhorts us to know ourselves, and not others? Or is it that the path to real understanding of others leads only through knowing ourselves first?


The conference will provide its participants space to avoid some of the typical behavior that can be observed so often in standard academic interactions. During their contributions the presenters will not simply read their fixed texts, but express their thought-out meditation without that support. As for the lectures’ settings, they may choose not only a standard conference room, but also a theater stage or the cozy attic at the Theater On the Balustrade.

Such a conference format is also associated with the conference’s theme itself. It is relevant to ask what the relationship is between self-knowledge and habit, and whether we are able to discover something in the communication itself when we are delivering an impromptu lecture, or what impact the presentation format has on the lucidity and intelligibility of the ideas for the others and for us as well. 


Please send your proposals for 20- to 60-minute-long presentations associated with the conference’s theme to the following e-mail address:, no later than March 15, 2014. Diversity of submission formats is most welcome (lectures, speeches, dialogs, moderated discussions, performances), as is diversity of approaches (systematic philosophy, artistic research, theater studies, historic analysis, personal reflection). In your application, please, write your name, title, submission format, length of the contribution, the language in which you intend to deliver your presentation, and any requirements you may have concerning the venue. 

We shall inform you on the submission’s reception by March 30, 2014.


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