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

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Discussion Forum


Started by Simon Rose. Last reply by James Hamilton Jun 5. 3 Replies

I've recently completed this book about the experience of improvisation. I hope it may be of interest.…Continue

CALL FOR PAPERS - Performance Phenomenology

Started by Stuart Grant Jan 25, 2014. 0 Replies

Please distribute this call for papersApologies for cross-postingEdited Collection: The Thing Itself – Performance PhenomenologyStuart Grant (…Continue

Getting Together at the PP Conference

Started by Stuart Grant. Last reply by Jane Carr Mar 27, 2013. 4 Replies

Dear AllIt seems there are a lot of us in the phenomenology group. I am wondering how many of us will be at the conference in April. Do we think it would be fruitful to get together in Surrey and…Continue

Blog Posts

International University “Global Theatre Experience” The Ostrenko Brothers and Embodied Statues of the Psyche

Posted by Jack Beglin on September 15, 2017 at 17:30 0 Comments

ArtUniverse is an international arts agency created in 2006 in Great Britain with the mission;

‘ To develop transnational cultural collaboration and exchange between arts and culture workers, to strengthen international cultural links through artistic expression and to…


2-year Postdoctoral Research Fellowship on “Aesthetics of Performative Environments: Immersivity, Agency, Avatar” - University of Milan

Posted by Emmanuel Alloa on September 10, 2017 at 22:36 0 Comments


The Department of Philosophy at the University of Milan offers a Postdoctoral Research Fellowship on “Aesthetics of Performative Environments: Immersivity, Agency, Avatar


The Fellow will carry out the activities at the Department of Philosophy of the Università degli Studi di Milano under the supervision of Andrea Pinotti and Chiara Cappelletto.


Description of the research project:  Immersive environments impact on artistic…


MA Performance

Posted by silvia battista on August 3, 2017 at 9:27 0 Comments

Dear all

Liverpool Hope University is now accepting applications for its new postgraduate programme in performance. I would appreciate if you could pass this information to any graduates who might be interested.

This MA programme offers an interdisciplinary and multicultural perspective on contemporary performance practice and research. It is primarily addressed to practitioners, curators and researches interested in performance as an expanded field of cultural and critical…


OPEN CALL: Symposium Performance Philosophy School of Athens II

Posted by Stella Dimitrakopoulou on July 20, 2017 at 17:30 0 Comments

Athens, 23-24 September 2017

Performance Philosophy School of Athens II, is a two-day symposium, organised by Stefania Mylona and Stella Dimitrakopoulou, in association with the Performance Philosophy network. This year will focus on Performance Dance, performances of all kinds that stand in-between dance and performance art or more broadly the visual arts world. The symposium…



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Please distribute this call for papers
Apologies for cross-posting

Edited Collection: The Thing Itself – Performance Phenomenology
Stuart Grant (
Matt Wagner (

The term phenomenology is increasingly being employed to describe diverse approaches and tendencies in the study and practice of theatre and performance and throughout the humanities more generally. However, more often than the not, the term is not defined clearly and is used to mean a number of different things. This is partly caused by the nature of phenomenological philosophy itself. From Husserl’s original claim that phenomenology would be “the science of all sciences” to Heidegger’s observation that the term phenomenology does not denote a specific area of study but a method which derives its terms and procedures from the phenomenon being examined, to Merleau-Ponty’s assertion that it is not possible to give a clear answer to the question, “What is Phenomenology?”, the field has remained open to many broad definitions, practices and interpretations. The recent fashion for loosely inserting the term in all manner of studies exacerbates the problem. This book aims to lend some clarity to the situation, with particular reference to theatre and performance.

We seek contributions from scholars and practitioners to a volume that will form the first comprehensive book on phenomenology and performance.  Contributed work should aim to fit into one of three broad categories:

1.      General concerns (histories, genealogies, principles, etc.) regarding phenomenology and performance;
2.      Phenomenological approaches to and analyses of major categories in the study of performance (embodiment, place, time, language/text, object, audience);
3.      Examples, critiques, and analyses of applied phenomenology (creative work which the practitioners considered to be ‘enacted, embodied phenomenology’, or work on and in the field of performative phenomenological writing).

While the above categories reflect the interests and structure of the book, work that combines or cuts across these would of course also be welcome.  Specifically, some of the key questions that contributions might address include:

•       How might the history and development of the relationship between phenomenology and performance be productively charted and analysed?
•       How do we account for the recent resurgence in phenomenological approaches to theatre and performance?  How might we most productively consider the relationship between this resurgence – and phenomenology in general – with the theoretical and philosophical paradigms that dominated the latter part of the 20th century?
•       What constitutes a phenomenological approach to the study of performance?
•       Is ‘approach’ a fitting term, or is it more apt to speak of phenomenological method(s)?  If so, what defines such method(s), and how malleable might these methods be?
•       In what ways is the term phenomenology being deployed currently, and what case might be made for greater rigour and definition in the use of the term?
•       How might phenomenology account for what we might term the fundamental ‘things’ of performance (body, space, time, language, object, audience)?  Does phenomenology offer a justification for considering performance in terms of ‘fundamental things’ (a consideration which might readily be branded as essentialism)?
•       What impact has phenomenology had on performance practitioners?
•       Can performance itself be explicitly ‘phenomenological’?  If so, what hallmark traits does a phenomenological performance bear?  And are there tools or methods for effectively creating phenomenological performance?
•       How might phenomenology bridge what has long been perceived as a gap between performance and its (written) reception/critique/analysis?  Does phenomenological writing bring us ‘closer’ to the performance(s) that for its subject?

Please submit abstracts of 500 words along with a cv to both editors – Dr. Stuart Grant ( and Dr. Matt Wagner ( – by 31st March 2014.  If accepted, full contributions will be expected by 31st October 2014; conventional essays should be between 6000-8000 words, and the length and format of contributions from practitioners will be determined in negotiation with the editors at the point of accepting the abstract.  A proposal is being prepared for Palgrave MacMillan, with whom we are currently in conversation.

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