Whilst I have declared for a theatre-philosophy, it is the imperatives of performance and performativity per se which have provided the ground of a renewed encounter between philosophy and the thinking of the theatrical. Much of the work which places itself in proximity to performance stakes a great deal on its interrogation of knowledge-as-theory via practices or other forms of "know-how" that are occluded within institutionalized forms of knowledge, including philosophy. Amongst these might be the plural arts of the everyday, of the colonized, oppressed or forgotten, or of the non-cognitive dimensions of human perception and communication. Despite this diversity, what has become "performance studies' still constitutes itself as a body of writings, a loose community of inscriptions — however much this or that particular work gestures towards its own scriptural limitations.