Philosophers rarely think about acting in the theatrical sense, but they do have a discourse of ‘acts’ that maintains associative semantic meanings with theories of performance and acting. For example, John Searle’s ‘speech acts,’ those verbal assurances and promises which seem not only to refer to a speaking relationship, but to constitute a moral bond between speakers, illustrate one of the illocutionary gestures that constitutes the stage of the analytic philosophy of language. Further, ‘action theory,’ a domain of moral philosophy, seeks to understand what it is ‘to do’ prior to any claim of what one ought to do. Finally, the phenomenological theory of ‘acts,’ espoused by Edmund Husserl, Maurice Merleau-Ponty and George Herbert Mead, among others, seeks to explain the mundane way in which social agents constitute social reality through language, gesture, and all manner of symbolic social sign. Though phenomenology sometimes appears to assume the existence of a choosing and constituting agent prior to language (who poses as the sole source of its constituting acts), there is also a more radical use of the doctrine of constitution …

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