Goals of the work. The aim of the work is to create a model for the study of computer games from the perspective of performance, especially in the understanding of Jon McKenzie as "a new way of shaping power and knowledge" and with the help of other performative theories, especially outside the field of art. I see the practical application (effects) of this dissertation in performative education, including museum education (performative museology). I have made an attempt (a challenge) to investigate whether and how organizational performance (performative management) can be reconciled with computer games, especially in uniformed secondary and higher schools. At the same time, I decided to organize (as bibliography) unpublished studies on computer games, including over a thousand topics of diploma theses.
Methods. I combine performance with education and gamification, I use methods of autoethnography extensively, including performative autoethnography (I refer to my own "gaming performances" from a playing student to a teacher teaching players - from tutorial to tutoring). I use selected methods of game research (I use ludology and posthumanism, cultural history and visual history) and performative theories (I put them in order in the "State of research ..." section). Much of the research material was created during my classes with cadets and students; the games themselves were performed by pupils or students, I also launched the teacher's (tutor) performances. In this sense, on an educational basis, the dissertation aspires to the role of a methodological model (set of challenges) for future performers.
Theses. In the dissertation, directly or indirectly, I argue that: 1) It is difficult to study computer games, especially those created in the 21st century, other than with the use of performatics; 2) J. McKenzie's model divided into cultural, technical and organizational performance is very useful for the study of games; 3) Thanks to performatics, the use and efficiency of computer games in education will increase; 4) Just like every teacher "wears a mace in a backpack", every teacher-performer can and should use computer games, even if not necessarily being a gamer; 5) Every game is historical; also in the case of old games, their performances can be recalled (historical performatics and the method of autoethnography support the reconstruction and documentation of game fragments and memories after sessions).