Considering Live Art’s resistance to conventional structures of power and performance practices, this article argues that Live Art affords more egalitarian modes of training to emerge. Focusing specifically on the cross-generational artistic exchange between performance artists, Martin O’Brien and Sheree Rose, it is this article’s contention that it is through peer-mentorship and not a one-directional form of master-led training, that knowledge can be seen to be shared and nurtured. With their generous, egalitarian and familial approach, O’Brien and Rose offer multilateral opportunities to train the body beyond the confines of conventional heteronormative training paradigms. Considering O’Brien and Rose’s engagement with BDSM practices in their performances, this article highlights how a different kind of discipline, generosity and training can develop alternative opportunities to train the body and disseminate knowledge. Thus, this article repositions perceptions of preparation and structure within discourses and practices of Live Art. By both engaging with and beyond texts and discourses on psychophysical performer training and queerness, this article theorises a departure from the phallocentric privileging that is evident in some of the performer trainings, performance practices and processes developed in the latter half of the twentieth century.

中文翻译：

---

“我和他就像和任何人一样亲密”：像现场艺术表演者培训一样奇怪的方法、相遇和交流

考虑到现场艺术对传统权力结构和表演实践的抵制，本文认为现场艺术提供了更多平等主义培训模式的出现。特别关注表演艺术家 Martin O'Brien 和 Sheree Rose 之间的跨代艺术交流，本文的论点是，通过同行指导，而不是大师主导的单向培训形式，知识可以被被视为被分享和培育。凭借他们慷慨、平等和家庭式的方法，O'Brien 和 Rose 提供了多边机会来训练超越传统异性恋训练范式的身体。考虑到 O'Brien 和 Rose 在他们的表演中参与 BDSM 实践，本文重点介绍了一种不同的纪律，慷慨和培训可以开发替代机会来训练身体和传播知识。因此，本文在现场艺术的话语和实践中重新定位了对准备和结构的看法。通过参与和超越有关心理物理表演者培训和酷儿的文本和话语，本文提出了一种脱离男性中心特权的理论，这种特权在 20 世纪下半叶发展起来的一些表演者培训、表演实践和过程中很明显。