Fans of Live Art

This paper explores Live Art as a participatory community of artists, critics, historians and fans whose affective, embodied and re-writing/re-making practices are motivated by a love and appreciation for live performance, but more specifically performance which distinguishes itself from theatre, and in some cases expresses a complete hatred for theatre. How has live art maintained itself precisely by distinguishing itself from theatre? Even when, as some have argued, such distinctions are defunct, what importance, nevertheless, does such distinction hold for the minority communities that form around live art and fandom? And what methodologies do the distinguished fields of live art and fandom share or have in common?

• Organisation