Performance Philosophy is an international network open to all researchers concerned with the relationship between performance & philosophy.

  • Anyone can be a member of Performance Philosophy and it is free to join. Just click on the link that says 'Sign Up' in the box above. 
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Performing Viral Pandemics?

Started by aha. Last reply by aha May 11, 2020. 2 Replies

Hi.Hopefully all is well!The shorty is a suggestion to start an online conversation group to elaborate questions from theCovid-19 oriented period and Performance Philosophy?eg. Intra-Active Virome?…Continue

We all have the same dream?

Started by Egemen Kalyon Apr 2, 2020. 0 Replies

Hello, "We all have the same dream" is my project that aims to create an archive from the dreams of our era and reinterpret Jung's "collective unconscious" concepts with performance and performing…Continue

Circus and Its Others 2020, UC Davis CFP

Started by Ante Ursic Mar 15, 2020. 0 Replies

Circus and its Others 2020November 12-15University of California, DavisRevised Proposal Deadline: April 15, 2020Launched in 2014, the Circus and its Others research project explores the ways in which…Continue

Tags: critical, ethnic, queer, performance, animal

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.…


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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The Ephemera Journal, a Journal of Theatre and Performance Studies edited by Federal University of Ouro Preto, Brazil (PPGAC / UFOP), is a new, open access, peer-reviewed, online journal that does not charge any submission or publication fees. It is accepting submissions of unpublished articles for the Antonin Artaud and Reverberations Dossier. Papers should be submitted until October 04, 2019, for peer review. Accepted papers should be published in its third issue, by December 2019.

Born from the 1st Artaudian Journey: Antonin Artaud and Reverberations, a seminar that took place in May 2019 at PPGAC/UFOP (Federal University of Ouro Preto, Brazil), this dossier intends to gather and report practices on reviewing Artaudian writings and thought in its interface with the contemporary stage and Performative scene.

Antonin Artaud (1896-1948) needs no introductions. His name stands out among the great creators and thinkers of the Performing Arts in the 20th Century, especially when it comes to the search for a theatrical language other than drama, but body-based in its expressiveness and movement – he discusses not only the body as a hieroglyph, matrix of meanings in his Theatre of Cruelty, but lately the body of the performer as a free, anarchic body as well: the famous – and many times misunderstood – body-without-organs. Artaud’s contributions to construct the contemporary theatre are striking in their innovative and experimenting character, in all the multiplicity, untamedness, physics and intensity of the contemporary scene. In Artaud, there is room for the “non-western”, in that he sought for a path out of the West, just as there are elements in his work that point to the future performativity paradigm (as discussed by Josette Feral).

Artaud's life is embedded in his writings. His pathos is his path and his madness: the profound criticism of modernity misleadings and his attempt to establish new possibilities for making theatre. His seminal work proposed to radically transform theatre making in the 20th Century. Artaud took a stand for building a scene whose poetics do not depend on words. This and the crisis of reason, discourse and subject led to a turning point which would prove dominant throughout the 20th Century. Such perception will be echoed by several artists and thinkers decades later, in and outside Theatre. From Artaud’s work, later strengthened by others such Jerzy Grotowski and Eugenio Barba, rises a radical transformation of the actor’s work and of Performing Arts research. Its influences will also be strong to directors like Peter Brooke and to lots of theatre groups in Brazil and worldwide. In addition, philosophers such as Jacques Derrida and Gilles Deleuze will be deeply influenced by their writings.

In this sense, in light of the numerous possible reverberations of Artaud's work, the next issue of Ephemera Journal, edited by the Graduate Program in Performing Arts of the Federal University of
Ouro Preto, invite scholars to submit works resulting from research related to the proposed theme, exploring it in different perspectives and variations. Articles may deal with issues such as (but are not limited to):

  • Antonin Artaud and the Surrealistic Movement;
  • Theatre of Cruelty: its limits and possibilities;
  • Antonin Artaud and its influence on the contemporary stage: performers, groups and spectacles;
  • Antonin Artaud and the Performance Art;
  • Artaud’s influence on philosophers such as Derrida, Deleuze and others;
  • Artaud and the Performance Studies: Possible relations;
  • Artaud’s influence on Jerzy Grotowski (and others);
  • The ‘Body without organs’: between utopia and reality;
  • Artaud and the Performance Philosophy.

Important! The Ephemera Journal also accepts, as in a continuous flow, articles of various themes (Fluxo Section) linked to the central scope of the journal, provided they are unpublished and result from bibliographic reviews, reports of investigations and experiments, academic researches and creative reflections on contemporary creation processes and important historical landmarks in the performing arts, accepting contributions from national and foreign authors. In addition, Section Happens also accepts streaming contributions in a variety of formats: interviews, book review and review of spectacles, festivals, etc. The researchers, Brazilian and foreign, can submit their texts for evaluation at any time, and it is not necessary to wait for the call to submit articles.

Any questions? Our email is:

More information can be found on our website:
Our guidelines for acceptance and publication can be viewed in "Guidelines for Authors":

Languages accepted: Portuguese, English and Spanish.

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