List of Illustrations
Notes on Contributors
Acknowledgements
Introduction
Maria Chatzichristodoullou (London South Bank University, UK) : Live Art in the UK: Shaping a Field

Section One: Experiments in Life and in Art

· Chapter 1. Sara Jane Bailes (University of Sussex, UK) : 'All We Have is Words, All We Have is Worlds' - language, looping and the work of Tim Etchells'
· Chapter 2.Roberta Mock (University of Plymouth, UK): 'Marisa Carnesky: Showwoman'
· Chapter 3.Deirdre Heddon (University of Glasgow, UK): 'Marcia Farquhar: Divergent auto/biographies and lines of hope'

Section Two: Performances of Conflict, Resolution, Hurt and Healing

Chapter 4. Dominic Johnson (Queen Mary, University of London, UK): 'The Gold Standard: The Performances of Franko B'
Chapter 5. Gianna Bouchard (University of Birmingham, UK): 'Sparkles and Sputum: The Sick Body of Martin O'Brien'
Chapter 6. Joanna Linsley (University of Roehampton, UK) : 'The Artist Is No Longer Present: Encounter, Assembly and Withdrawal in the work of Oreet Ashery'

Section Three: Camp, Comedy And Laughs
Chapter 7. Gavin Butt (University of Sussex, UK): 'Just a Camp Laugh? David Hoyle's Laden Levity'
Chapter 8. Katie Beswick (University of Exeter, UK): 'Jordan McKenzie: Three Works'
Chapter 9. Eleanor Roberts (University of Roehampton, UK): 'Performance and Prostitution: The Magazine Actions of Cosey Fanni Tutti'
Index

Maria Chatzichristodoulou is Reader in Performance and New Media, Director of Enterprise, Head of Division of Creative Industries and Director of the Centre for Research in Digital Storymaking at the School of Arts and Creative Industries, London South Bank University, UK.

Since entering the performance lexicon in the 1970s, the term Live Art has been used to describe a diverse but interrelated array of performance practices and approaches. This volume offers a contextual and critical introduction to the scene of contemporary Live Art in Britain. Focusing on key artists whose prolific body of work has been vital to the development of contemporary practice, this collection studies the landscape of Live Art in the UK today and illuminates its origins, as well as particular concerns and aesthetics.

The introduction to the volume situates Live Art in relation to other areas of artistic practice and explores the form as a British phenomenon. It considers questions of cultural specificity, financial and institutional support, and social engagement, by tracing the work and impact of key organizations on the UK scene: the Live Art Development Agency, SPILL Festival of Performance and Compass Live Art. Across three sections, leading scholars offer case studies exploring the practice of key artists Tim Etchells, Marisa Carnesky, Marcia Farquhar, Franko B, Martin O'Brien, Oreet Ashery, David Hoyle, Jordan McKenzie, and Cosey Fanni Tutti.