The craft of contemporary actors and dancers traces back to formal education and legacies of the grand masters such as Grotowski, Lecoq, and Cunningham. Similarly, performers of participatory performance are often educated as professional actors or dancers who are familiar with these seminal acting theories and movement styles. However, performers of participatory performance express that their craft is mainly influenced by other performing traditions. A main reason is the different skill set required of a performer of participatory performance in comparison to an actor or dancer on stage. Rather than eloquent speech and expressive body language, the performer of participatory performance needs the capacity to (physically and affectively) guide an audience through spaces and actions. To address the lack of knowledge on the performer’s craft of participatory performance, we investigated its genealogies and the skills it requires. We conducted a three-year ethnographic study of the training practices of performing artists Katrien Oosterlinck (BE), Sarah John (AU/DK), and Seppe Baeyens (BE). Via participant observation, we noticed that training among peers does not suffice for performers to hone their craft. Instead, they engage in various units of practice – e.g. workshops, playtests, performances, socially engaged projects – where they interact with non-professional participants and audiences. Via these units of practice, the performer develops three main types of tacit knowledge, i.e. knowledge that cannot be easily formulated. (1) Somatic tacit knowledge is necessary to perform physical actions as an individual. All contemporary performers rely on this type of knowledge for their craft. Specific to participatory performers are the two other types of tacit knowledge: (2) collective tacit knowledge – which resides in the collective and refers to the modes of conduct of a culture or situation – and (3) procedural knowledge – which refers to understanding rules, knowing how to play a game, and the ability to reconfigure rules to solve issues. Complementary with participant observation, informal interviews with the three case studies showed that the exercises and procedures of their units of practice draw on the work of Enrique Vargas, Lygia Clark, Anna Halprin, and Augusto Boal. The work of these seminal practitioners allows performers to engage with structures, procedures, and scores that invite for group dynamics. The performer learns to absorb social rules and ways of conduct from the surrounding culture while at the same time remaining attentive to what a situation needs and developing the ability to direct, conduct, and mediate audience participation. Thus, the performer of participatory performance draws on a genealogy of training practices different from current formal higher education in the arts. These practices allow the performer to develop a skill set necessary to guide an audience through verbal, movement, and tactile exchanges. What the performer requires in particular is ‘tactical ability’, i.e. the ability to hold a conversation with the situation where they read the situation, recognise what the audience does – however subtle – and respond appropriately to the unfolding pattern of actions, whether or not those actions were anticipated by the performer. Through practice, the performer builds a repertoire of experiences of social settings and expands their arsenal of options of how to respond appropriately to a situation.