In line with Barthes' notion of the performative "text" (in Barthes R, 1977, 'Death of the author', Image, Music, Text, Fontana, London, pp. 142-48, CQUniversity Course Resources Online (HUMT20012)),  the "self" can also be thought in terms of a performance. He writes:

...there is no other time than that of the enunciation and every text is eternally written here and now. The fact is (or, it follows) that writing can no longer designate an operation of recording, notation, representation, ‘depiction’ (as the Classics would say); rather, it designates exactly what linguists, referring to Oxford philosophy, call a performative, a rare verbal form (exclusively given in the first person and in the present tense) in which the enunciation has no other content (contains no other proposition) than the act by which it is uttered [my bold]—something like the I declare of king or the I sing of very ancient poets. Having buried the Author, the modern scriptor can thus no longer believe, as according to the pathetic view of his predecessors, that this hand is too slow for his thought or passion and that consequently, making a law of necessity, he must emphasize this delay and indefinitely ‘polish’ his form. For him, on the contrary, the hand, cut off from any voice, borne by a pure gesture of inscription (and not of expression), traces a field without origin—or which, at least, has no other origin than language itself, language which ceaselessly calls into question all origins. (Barthes 1977, pp. 145–146)