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| List of illustrations | |
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| Preface | |
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| Acknowledgments | |
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| Introduction: what is performance? | |
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| The aims of this book | |
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| The display of skills | |
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| Patterned behavior | |
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| Keeping up the standard | |
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| Theatre and performance art | |
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| The plan of this book | |
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| Performance and the social sciences | |
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| The performance of culture: anthropological and ethnographic approaches | |
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| Performance and anthropology | |
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| Theories of cultural performance | |
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| Liminality and play | |
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| Performing anthropology | |
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| Performance in society: sociological and psychological approaches | |
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| Social performance | |
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| Framing | |
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| Performance and agency | |
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| Perspectives on social performance | |
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| Moreno and psychodrama | |
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| Eric Berne and Talcott Parsons | |
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| Social constructionism | |
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| Erving Goffman and keying | |
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| Richard Schechner and restored behavior | |
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| Binocular vision and the actual | |
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| Performance and psychoanalysis | |
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| The performance of language: linguistic approaches | |
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| Semiotics | |
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| The poststructuralist challenge | |
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| The linguistic tradition | |
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| Speech act theory | |
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| The literary speech act | |
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| Speech act theory and semiotics | |
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| Text and performance | |
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| Performativity and citation | |
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| Performance and the social sciences: a look backward | |
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| The art of performance | |
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| Performance in its historical context | |
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| Performance's new orientation | |
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| Folk and popular performance | |
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| Experimental performance | |
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| Modern mime and dance | |
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| Non-dramatic events | |
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| Performance art | |
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| The beginnings of performance art | |
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| Spectacle performance | |
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| Solo work | |
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| The turn to language | |
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| Live art, liveliness, and the media | |
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| Looking ahead | |
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| Performance and contemporary theory | |
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| Performance and the postmodern | |
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| Theorists of the modern and postmodern | |
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| Postmodern dance | |
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| Strategies of postmodernism | |
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| Postmodernism, poststructuralism, and theatricality | |
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| Performance as experience | |
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| After postmodernism | |
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| Performance and identity | |
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| Early feminist performance | |
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| Autobiographical performance | |
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| Male performance | |
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| Controversies of the 1990s | |
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| Performance and ethnicity | |
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| Cultural performance | |
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| Guerrilla and street performance | |
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| Social concerns in early feminist performance | |
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| The search for subjectivity | |
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| Resistant performance | |
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| Recent political performance | |
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| Post-colonial perspectives | |
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| Intercultural performance in a global context | |
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| Conclusion: what is performance? | |
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| Drawing to a close | |
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| Some overviews | |
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| The spread of performance study | |
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| Coda: an apologia for theatre | |
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| Glossary | |
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| Notes | |
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| Bibliography | |
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| Name index | |
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| Subject index | |