引言中国美术学院跨媒体艺术学院正在创立开展艺术表演教育。与此相应,我将通过本文介绍这一新的研究领域,它和“表演研究”相关,但又独立于后者;它就是一一表演哲学。这是一个在生成中的国际化、跨学科领域,我会叙述它降生至今的各方面相貌;然后我将讲解当今这一领域中或许最为突出的论辩,即“直面差异”与“表演之为哲学”之争。最近就有这样的争论在英国上演,2013年4月,在伦敦城外吉尔福德的赛瑞大学[University of Surrey in Guildford]举行的表演哲学成立讨论会上;当然,这个话题由来已久,类似的讨论不只在戏剧及表演研究方面的文献中反复出现,在整个哲学一一以及相关学科,如电影哲学一一的历史中也屡见不鲜。我们将看到,这一争论涉及的是对表演与哲学(作为体 Introduction The China Academy of Art’s Cross-media Academy of Art is creating an art performance education. Correspondingly, I will introduce this new field of study through this article, which is related to, but independent from “performance studies ”; it is the philosophy of performance. This is an emerging international and interdisciplinary field where I will describe all aspects of its appearance so far. I will then explain perhaps the most prominent argument in this field today that “face-to-face discrepancies” and “ Performing for philosophy ”dispute. There has been such a debate recently in the UK, at a seminar on the philosophy of performance held at the University of Surrey in Guildford, outside London, in April 2013; of course, the topic is longstanding, Similar discussions not only recur in the literature on drama and performance studies, but also in the history of philosophy as a whole and in related disciplines such as film philosophy. We will see that this debate involves the performance and philosophy (as a body