Clean Up on Aisle Six: Closing the Gap between Spectator and Performance in Uli Jaeckle’s Discounter


Brian Rhinehart


In lieu of an abstract, the first paragraph of the essay follows:

Live Art came into vogue in Britain in the early 1960s and has since spawned a multitude of diverse approaches to artistic creation. Central to this diversity is the notion that the process of making art is just as important as the result. Rather than preparing an artistic product to be viewed by an audience at a later time and a different place, the typical Live Artist makes art in the presence of the spectator, in a shared space and coexistent moment of time.

Comparative Drama is carried by JSTOR and Project MUSE.