Bibliography for DT2401: The Idea of Live Art BETA

About Us | Forced Entertainment (no date). Available at: https://www.forcedentertainment.com/about/.

Abramovic, M. and Biesenbach, K.P. (2010) Marina Abramovic: The Artist Is Present. New York: Museum of Modern Art.

Auslander, P. (2006a) ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28(3), pp. 1–10. Available at: https://doi.org/10.1162/pajj.2006.28.3.1.

Auslander, P. (2006b) ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28(3), pp. 1–10. Available at: https://doi.org/10.1162/pajj.2006.28.3.1.

Auslander, P. (2008a) Liveness: Performance in a Mediatized Culture. 2nd Edition. London: Routledge.

Auslander, P. (2008b) Liveness: Performance in a Mediatized Culture. London: Routledge.

Auslander, P. (2008c) Liveness: Performance in a Mediatized Culture. 2nd Edition. London: Routledge.

Auslander, P. (2008d) Liveness: Performance in a Mediatized Culture. London: Routledge.

Banes, S. and Lepecki, A. (2007) The Senses in Performance. New York: Routledge.

Bishop, C. (2006) Participation. London: Whitechapel.

Bleeker, M. (2008a) Visuality in the Theatre: The Locus of Looking. Houndmills, Basingstoke: Palgrave Macmillan.

Bleeker, M. (2008b) Visuality in the Theatre: The Locus of Looking. Basingstoke, Hampshire: Palgrave Macmillan. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230583368.

Bleeker, M. et al. (eds) (2019a) Thinking through theatre and performance. London: Bloomsbury Methuen Drama. Available at: https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u.

Bleeker, M. et al. (eds) (2019b) Thinking through theatre and performance. London: Bloomsbury Methuen Drama. Available at: https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u.

Burden, C. (no date) Shoot | Media Art Net. Available at: http://www.medienkunstnetz.de/works/shoot/.

Carlson, M. (2004a) Performance: A Critical Introduction. 2nd ed. New York: Routledge.

Carlson, M. (2004b) Performance: A Critical Introduction. New York: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153.

Carlson, M. (2004c) Performance: A Critical Introduction. 2nd ed. New York: Routledge.

Carlson, M. (2004d) Performance: A Critical Introduction. New York: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153.

Catalogue - Live Art Development Agency (no date). Available at: https://www.thisisliveart.co.uk/resources/search/.

Chrysochou, P. (2017) Performing Identity and Gender in Literature, Theatre and the Visual Arts. Newcastle upon Tyne: Cambridge Scholars Publishing. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4820227.

Concannon, K. (2008) ‘Yoko Ono’s Cut Piece : From Text to Performance and Back Again’, Journal Of Performance And Art, 30(3), pp. 81–93. Available at: https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150.

DeFrantz, T. and Gonzalez, A. (eds) (2014a) Black Performance Theory. Durham: Duke University Press.

DeFrantz, T. and Gonzalez, A. (2014b) Black Performance Theory. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1666607.

Etchells, T. (1999a) ‘Introduction: Performing Questions, Producing Witnesses’, in Certain Fragments: Contemporary Performance and Forced Entertainment. London: Routledge, pp. 9–23.

Etchells, T. (1999b) ‘Introduction: Performing Questions, Producing Witnesses’, in Certain Fragments: Contemporary Performance and Forced Entertainment. 1st ed. London: Routledge, pp. 9–23. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=166451.

Finbow, A. (2018) ‘Multiplicity in the Documentation of Performance-Based Artworks: Displaying Multi-Media Documentation in Rebecca Horn’s Body Sculptures at Tate’, Journal of New Music Research, 47(4), pp. 291–299. Available at: https://doi.org/10.1080/09298215.2018.1486432.

Friedman, A. (2015) ‘Kindertotenlieder Created by Gisèle Vienne’, Theatre Journal, 67(2), pp. 319–320. Available at: https://doi.org/10.1353/tj.2015.0058.

Giannachi, G. and Westerman, J. (eds) (2018a) Histories of performance documentation: museum, artistic, and scholarly practices. London: Routledge.

Giannachi, G. and Westerman, J. (eds) (2018b) Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London: Routledge, Taylor & Francis Group. Available at: https://www.taylorfrancis.com/books/9781315645384.

Gisèle Vienne: Disturbance in Representation - Dansens Hus (no date). Available at: https://www.dansenshus.com/en/articles/om-forestillingen-crowd.

Goldberg, R. (1998) Performance: Live Art Since the 60s. London: Thames & Hudson.

Goldberg, R. (2011a) Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson.

Goldberg, R. (2011b) Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson.

Grehan, H. (2009) Performance, Ethics and Spectatorship in a Global Age. Basingstoke: Palgrave Macmillan.

Guy, G. (2012) ‘“NOTES on a Return” to a Not-Forgotten: Durations of the Missed and the Previously Unvisited’, Performance Research, 17(5), pp. 135–139. Available at: https://doi.org/10.1080/13528165.2012.728455.

Guy, G. (2016a) Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge.

Guy, G. (2016b) Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719.

Heathfield, A. (2000) Small Acts: Performance, the Millennium and the Marking of Time. London: Black Dog.

Heathfield, A. and Glendinning, H. (2004a) Live: Art and Performance. London: Tate.

Heathfield, A. and Glendinning, H. (2004b) Live: Art and Performance. London: Tate.

Heathfield, A. and Glendinning, H. (2004c) Live: Art and Performance. London: Tate.

Heathfield, A. and Hsieh, T. (2009a) ‘Impress of Time’, in Out of Now: The Lifeworks of Tehching Hsieh. London: Live Art Development Agency, pp. 10–61.

Heathfield, A. and Hsieh, T. (2009b) Out of Now: The Lifeworks of Tehching Hsieh. London: Live Art Development Agency.

Heddon, D. and Klein, J. (eds) (2012) Histories and Practices of Live Art. Basingstoke, Hampshire: Palgrave Macmillan.

Hoffmann, J. and Jonas, J. (2005) Perform. New York: Thames & Hudson.

Jaimangal-Jones, D., Pritchard, A. and Morgan, N. (2015) ‘Exploring Dress, Identity and Performance in Contemporary Dance Music Culture’, Leisure Studies, 34(5), pp. 603–620. Available at: https://doi.org/10.1080/02614367.2014.962580.

Johnson, D. (2012a) ‘Introduction: The What, When and Where of Live Art’, Contemporary Theatre Review, 22(1), pp. 4–16. Available at: https://doi.org/10.1080/10486801.2012.651360.

Johnson, D. (2012b) ‘Introduction: The What, When and Where of Live Art’, Contemporary Theatre Review, 22(1), pp. 4–16. Available at: https://doi.org/10.1080/10486801.2012.651360.

Johnson, D. (2012c) Theatre & the Visual. Basingstoke: Palgrave Macmillan.

Johnson, D. (ed.) (2014) Critical Live Art: Contemporary Histories of Performance in the UK. London: Routledge.

Jones, A. (1997a) ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56(4). Available at: https://doi.org/10.2307/777715.

Jones, A. (1997b) ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56(4). Available at: https://doi.org/10.2307/777715.

Jones, A. (1998a) Body Art/performing the Subject. Minneapolis: University of Minnesota Press.

Jones, A. (1998b) ‘Introduction’, in Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, pp. 1–19.

Jones, A. (2011) ‘"The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence’, TDR/The Drama Review, 55(1), pp. 16–45. Available at: https://doi.org/10.1162/DRAM_a_00046.

Jones, A. and Heathfield, A. (2012) Perform, Repeat, Record: Live Art in History. Bristol: Intellect.

Kaye, N. (2000a) Site-Specific Art: Performance, Place, and Documentation. New York: Routledge.

Kaye, N. (2000b) Site-Specific Art: Performance, Place, and Documentation. London: Routledge.

Kelleher, J. (2015a) ‘Everybody Acts (On Friendship)’, in The Illuminated Theatre: Studies on the Suffering of Images. London: Routledge, pp. 126–145.

Kelleher, J. (2015b) The Illuminated Theatre: Studies on the Suffering of Images. London: Routledge.

Leap into the Void (no date). Available at: https://www.metmuseum.org/toah/works-of-art/1992.5112/.

Live Art in the UK: Lois Keidan interview with British Library (Parts 1 and 2) (no date). Available at: http://www.thisisliveart.co.uk/blog/live-art-in-the-uk-lois-keidan-interview-with-british-library/.

MacRitchie, L. (1996) ‘Marina Abramovic: Exchanging Energies’, Performance Research, 1(2), pp. 27–34. Available at: https://doi.org/10.1080/13528165.1996.10871487.

‘One Year Performance1980-1981’, Tehching Hsieh, 1980-1 | Tate (no date). Available at: https://www.tate.org.uk/art/artworks/hsieh-one-year-performance1980-1981-t13875.

Phelan, J. and Rabinowitz, P.J. (2005) A Companion to Narrative Theory. Oxford: Blackwell. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554.

Phelan, J. and Rabinowitz, P.J. (2008) A Companion to Narrative Theory. Malden, Mass: Blackwell.

Phelan, P. (1992) Unmarked: The Politics of Performance. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272.

Phelan, P. (1993) Unmarked: The Politics of Performance. London: Routledge.

Phelan, P. (2004) ‘Marina Abramovic: Witnessing Shadows’, Theatre Journal, 56(4), pp. 569–577. Available at: https://doi.org/10.1353/tj.2004.0178.

Phelan, P. (2012) Live Art in LA: Performance in Southern California, 1970-1983. 1st Edition. New York: Routledge.

Rancière, J. (2004) The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum.

Read, A. (2014) Theatre in the Expanded Field. Bloomsbury Publishing. Available at: http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137.

Read, A. and Robinson, B. (2013) Theatre in the Expanded Field: Seven Approaches to Performance. London: Bloomsbury.

Sayre, H.M. (1992) The Object of Performance: The American Avant-Garde Since 1970. New ed. Chicago, IL: The University of Chicago Press.

Schmidt, T. (ed.) (2019a) ‘Bodies: Introduction’, in AGENCY: A Partial History of Live Art. Bristol: Intellect.

Schmidt, T. (ed.) (2019b) ‘Bodies: Introduction’, in Agency: A Partial History of Live Art. Bristol: Intellect. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5748642.

Schneemann, C. and McPherson, B.R. (1997) More Than Meat Joy: Performance Works and Selected Writings. 2nd ed. Kingston, NY: McPherson & Co.

Schneider, R. (1997a) The Explicit Body in Performance. 1st ed. London: Taylor and Francis. Available at: http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366.

Schneider, R. (1997b) The Explicit Body in Performance. London: Routledge.

Schneider, R. (1997c) The Explicit Body in Performance. 1st ed. London: Taylor and Francis. Available at: http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366.

Schneider, R. (1997d) The Explicit Body in Performance. London: Routledge.

Schneider, R. (2011a) Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge.

Schneider, R. (2011b) Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786.

Shalson, L. (2012) ‘On Duration and Multiplicity’, Performance Research, 17(5), pp. 98–106. Available at: https://doi.org/10.1080/13528165.2012.728448.

Shalson, L. (2018) ‘Chapter 3 Enduring Life’, in Performing endurance: art and politics since 1960. Cambridge: Cambridge University Press, pp. 109–145.

Solga, K. (2016a) Theatre & Feminism. London: Palgrave, an imprint of Macmillan Publishers.

Solga, K. (2016b) Theatre & Feminism. Basingstoke, England: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763280.

Song Dong: A Pot of Boiling Water (no date). Available at: http://www.tate.org.uk/art/artworks/dong-a-pot-of-boiling-water-p80531.

Spackman, H. (2000) ‘Minding the Matter of Representation: Staging the Body (Politic)’, Contemporary Theatre Review, 10(3), pp. 5–22. Available at: https://doi.org/10.1080/10486800008568593.

Study Room Guides - Live Art Development Agency (no date). Available at: http://www.thisisliveart.co.uk/resources/study-room/study-room-guides.

Wakefield, N. (2014) ‘Time-Specificity of Performance’, Choreographic Practices, 5(2), pp. 183–197.

Ward, F. (2006) ‘Alien Duration: Tehching Hsieh, 1978-99’, Art Journal, 65(3), pp. 6–19. Available at: https://doi.org/10.1080/00043249.2006.10791212.

Wiles, D. (2014a) Theatre & Time. Basingstoke: Palgrave Macmillan.

Wiles, D. (2014b) Theatre & Time. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763677.