From http://www.anthropoetics.ucla.edu/ap0602/perform.htm :

I can make out five basic features of performatism:

1. No more endless citing and no authenticity, but rather the framing of things already existing in order to transcend or radically renew them; use of ritual, dogma or similarly inhibiting frames in order to transform or transcend existing states of being; return of history in the guise of an empirically framed subject (for example, Greenblatt's history of self-fashioning, Michaels' neopragmatism). In narrative, return of authoriality, of a binding authorial frame, marked by different ways of stylizing transcendence: vertically (passage to a higher level); horizontally (sidestepping to a different frame); holistically (getting the right fit between subject and frame).

2. Instead of an order of floating, unstable relations between parts of signs the holistic subject-sign-thing-relation becomes the basis of all communication and all social interaction; the use of a sign is an (involuntary) act of belief instead of a semiotic or semantic blunder. The subject appears to solid or opaque; it can be dumb, naive, dazed, simple-minded, simple, earnest and heroic but not endlessly cynical or ironic.

3. The switch from a mode of endless temporal deferral (différance , process) to the one-time or finite joining of opposites in the present (paradoxical performance, Gans's ostensivity).

4. Transition from metaphysical pessimism to metaphysical optimism; the metaphysical point of orientation is no longer death and its proxies (emptiness, kenosis, absence, dysfunctionality) but rather psychologically experienced or fictionally framed states of transcendence (resurrection, passage to Nirvana, love, catharsis, fulfillment or plerosis, deification etc.).

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5. Return and rehabilitation of the phallus as an active, unifying agent of performativity; simultaneous ironization or retraction of its desire and pretensions to power for the benefit of the feminine; the phallus as positive frame for the vagina and vice versa (male characters act empty or vaginal; female ones act phallic, that is, active and goal-oriented). In general, a tendency towards desexualization; love, or the unifying quality of desire, whether masculine, feminine, hetero- or homosexual, is more important than endlessly playing out one's otherness.