Ever since Plato, we have known that the relationship between philosophy and theatre is not simple. One of the philosopher's desires is to discern the real below the game of appearances, a game that the theatre, a place of masks and shams, seems to devote itself to. How can theatre be thought of philosophically based on this initial paradox? Four years after his In Praise of Love, a philosopher-playwright who wanted to be an actor, comes back to the art and central question of performance.