1.
Carlson M. Performance: A Critical Introduction. 2nd ed. Routledge; 2004.
2.
Carlson M. Performance: A Critical Introduction. Routledge; 2004. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153
3.
Johnson D. Introduction: The What, When and Where of Live Art. Contemporary Theatre Review. 2012;22(1):4-16. doi:10.1080/10486801.2012.651360
4.
Goldberg R. Performance Art: From Futurism to the Present. 3rd Edition. Thames & Hudson; 2011.
5.
Heathfield A, Glendinning H. Live: Art and Performance. Tate; 2004.
6.
Song Dong: A Pot of Boiling Water. http://www.tate.org.uk/art/artworks/dong-a-pot-of-boiling-water-p80531
7.
Auslander P. Liveness: Performance in a Mediatized Culture. 2nd Edition. Routledge; 2008.
8.
Auslander P. Liveness: Performance in a Mediatized Culture. Routledge; 2008.
9.
Spackman H. Minding the Matter of Representation: Staging the Body (Politic). Contemporary Theatre Review. 2000;10(3):5-22. doi:10.1080/10486800008568593
10.
Friedman A. Kindertotenlieder Created by Gisèle Vienne. Theatre Journal. 2015;67(2):319-320. doi:10.1353/tj.2015.0058
11.
Jaimangal-Jones D, Pritchard A, Morgan N. Exploring Dress, Identity and Performance in Contemporary Dance Music Culture. Leisure Studies. 2015;34(5):603-620. doi:10.1080/02614367.2014.962580
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Gisèle Vienne: Disturbance in Representation - Dansens Hus. https://www.dansenshus.com/en/articles/om-forestillingen-crowd
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Etchells T. Introduction: Performing Questions, Producing Witnesses. In: Certain Fragments: Contemporary Performance and Forced Entertainment. Routledge; 1999:9-23.
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Etchells T. Introduction: Performing Questions, Producing Witnesses. In: Certain Fragments: Contemporary Performance and Forced Entertainment. 1st ed. Routledge; 1999:9-23. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=166451
15.
Kelleher J. Everybody Acts (On Friendship). In: The Illuminated Theatre: Studies on the Suffering of Images. Routledge; 2015:126-145.
16.
About Us | Forced Entertainment. https://www.forcedentertainment.com/about/
17.
Bleeker M. Visuality in the Theatre: The Locus of Looking. Palgrave Macmillan; 2008.
18.
Bleeker M. Visuality in the Theatre: The Locus of Looking. Palgrave Macmillan; 2008. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230583368
19.
Grehan H. Performance, Ethics and Spectatorship in a Global Age. Palgrave Macmillan; 2009.
20.
Jones A. Introduction. In: Body Art/Performing the Subject. University of Minnesota Press; 1998:1-19.
21.
Schneider R. The Explicit Body in Performance. 1st ed. Taylor and Francis; 1997. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366
22.
Schneider R. The Explicit Body in Performance. Routledge; 1997.
23.
Schneemann C, McPherson BR. More Than Meat Joy: Performance Works and Selected Writings. 2nd ed. McPherson & Co; 1997.
24.
Solga K. Theatre & Feminism. Palgrave, an imprint of Macmillan Publishers; 2016.
25.
Solga K. Theatre & Feminism. Palgrave Macmillan; 2016. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763280
26.
Heathfield A, Hsieh T. Impress of Time. In: Out of Now: The Lifeworks of Tehching Hsieh. Live Art Development Agency; 2009:10-61.
27.
Shalson L. Chapter 3 Enduring Life. In: Performing Endurance: Art and Politics since 1960. Cambridge University Press; 2018:109-145.
28.
‘One Year Performance1980-1981’, Tehching Hsieh, 1980-1 | Tate. https://www.tate.org.uk/art/artworks/hsieh-one-year-performance1980-1981-t13875
29.
Wiles D. Theatre & Time. Palgrave Macmillan; 2014.
30.
Wiles D. Theatre & Time. Palgrave Macmillan; 2014. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763677
31.
Live Art in the UK: Lois Keidan interview with British Library (Parts 1 and 2). http://www.thisisliveart.co.uk/blog/live-art-in-the-uk-lois-keidan-interview-with-british-library/
32.
Study Room Guides - Live Art Development Agency. http://www.thisisliveart.co.uk/resources/study-room/study-room-guides
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Catalogue - Live Art Development Agency. https://www.thisisliveart.co.uk/resources/search/
34.
Schmidt T, ed. Bodies: Introduction. In: AGENCY: A Partial History of Live Art. Intellect; 2019.
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Schmidt T, ed. Bodies: Introduction. In: Agency: A Partial History of Live Art. Intellect; 2019. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5748642
36.
Bleeker M, Kear A, Kelleher J, Roms H, eds. Thinking through Theatre and Performance. Bloomsbury Methuen Drama; 2019. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
37.
Bleeker M, Kear A, Kelleher J, Roms H, eds. Thinking through Theatre and Performance. Bloomsbury Methuen Drama; 2019. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
38.
Auslander P. The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art. 2006;28(3):1-10. doi:10.1162/pajj.2006.28.3.1
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Finbow A. 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. 2018;47(4):291-299. doi:10.1080/09298215.2018.1486432
40.
Jones A. ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal. 1997;56(4). doi:10.2307/777715
41.
Giannachi G, Westerman J, eds. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. Routledge; 2018.
42.
Giannachi G, Westerman J, eds. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. Routledge, Taylor & Francis Group; 2018. https://www.taylorfrancis.com/books/9781315645384
43.
Burden C. Shoot | Media Art Net. http://www.medienkunstnetz.de/works/shoot/
44.
Leap into the Void. https://www.metmuseum.org/toah/works-of-art/1992.5112/
45.
DeFrantz T, Gonzalez A, eds. Black Performance Theory. Duke University Press; 2014.
46.
DeFrantz T, Gonzalez A. Black Performance Theory.; 2014. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1666607
47.
Auslander P. Liveness: Performance in a Mediatized Culture. 2nd Edition. Routledge; 2008.
48.
Auslander P. Liveness: Performance in a Mediatized Culture. Routledge; 2008.
49.
Auslander P. The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art. 2006;28(3):1-10. doi:10.1162/pajj.2006.28.3.1
50.
Abramovic M, Biesenbach KP. Marina Abramovic: The Artist Is Present. Museum of Modern Art; 2010.
51.
Bishop C. Participation. Whitechapel; 2006.
52.
Carlson M. Performance: A Critical Introduction. 2nd ed. Routledge; 2004.
53.
Carlson M. Performance: A Critical Introduction. Routledge; 2004. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153
54.
Chrysochou P. Performing Identity and Gender in Literature, Theatre and the Visual Arts. Cambridge Scholars Publishing; 2017. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4820227
55.
Concannon K. Yoko Ono’s Cut Piece : From Text to Performance and Back Again. Journal Of Performance And Art. 2008;30(3):81-93. https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150
56.
Banes S, Lepecki A. The Senses in Performance. Routledge; 2007.
57.
Goldberg R. Performance Art: From Futurism to the Present. 3rd Edition. Thames & Hudson; 2011.
58.
Goldberg R. Performance: Live Art Since the 60s. Thames & Hudson; 1998.
59.
Heathfield A, Glendinning H. Live: Art and Performance. Tate; 2004.
60.
Guy G. Theatre, Exhibition, and Curation: Displayed & Performed. Vol 46. Routledge; 2016.
61.
Guy G. Theatre, Exhibition, and Curation: Displayed & Performed. Vol 46. Routledge; 2016. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719
62.
Guy G. ‘NOTES on a Return’ to a Not-Forgotten: Durations of the Missed and the Previously Unvisited. Performance Research. 2012;17(5):135-139. doi:10.1080/13528165.2012.728455
63.
Heathfield A. Small Acts: Performance, the Millennium and the Marking of Time. Black Dog; 2000.
64.
Heathfield A, Glendinning H. Live: Art and Performance. Tate; 2004.
65.
Heathfield A, Hsieh T. Out of Now: The Lifeworks of Tehching Hsieh. Live Art Development Agency; 2009.
66.
Jones A, Heathfield A. Perform, Repeat, Record: Live Art in History. Intellect; 2012.
67.
Heddon D, Klein J, eds. Histories and Practices of Live Art. Palgrave Macmillan; 2012.
68.
Hoffmann J, Jonas J. Perform. Thames & Hudson; 2005.
69.
Johnson D. Introduction: The What, When and Where of Live Art. Contemporary Theatre Review. 2012;22(1):4-16. doi:10.1080/10486801.2012.651360
70.
Johnson D. Theatre & the Visual. Palgrave Macmillan; 2012.
71.
Johnson D, ed. Critical Live Art: Contemporary Histories of Performance in the UK. Routledge; 2014.
72.
Jones A. ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal. 1997;56(4). doi:10.2307/777715
73.
Jones A. Body Art/Performing the Subject. University of Minnesota Press; 1998.
74.
Jones A. "The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR/The Drama Review. 2011;55(1):16-45. doi:10.1162/DRAM_a_00046
75.
Kaye N. Site-Specific Art: Performance, Place, and Documentation. Routledge; 2000.
76.
Kaye N. Site-Specific Art: Performance, Place, and Documentation. Routledge; 2000.
77.
Kelleher J. The Illuminated Theatre: Studies on the Suffering of Images. Routledge; 2015.
78.
MacRitchie L. Marina Abramovic: Exchanging Energies. Performance Research. 1996;1(2):27-34. doi:10.1080/13528165.1996.10871487
79.
Phelan P. Unmarked: The Politics of Performance. Routledge; 1993.
80.
Phelan P. Unmarked: The Politics of Performance. Routledge; 1992. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272
81.
Phelan P. Marina Abramovic: Witnessing Shadows. Theatre Journal. 2004;56(4):569-577. doi:10.1353/tj.2004.0178
82.
Phelan J, Rabinowitz PJ. A Companion to Narrative Theory. Blackwell; 2008.
83.
Phelan J, Rabinowitz PJ. A Companion to Narrative Theory. Blackwell; 2005. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554
84.
Phelan P. Live Art in LA: Performance in Southern California, 1970-1983. 1st Edition. Routledge; 2012.
85.
Rancière J. The Politics of Aesthetics: The Distribution of the Sensible. Continuum; 2004.
86.
Read A, Robinson B. Theatre in the Expanded Field: Seven Approaches to Performance. Bloomsbury; 2013.
87.
Read A. Theatre in the Expanded Field. Bloomsbury Publishing; 2014. http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137
88.
Sayre HM. The Object of Performance: The American Avant-Garde Since 1970. New ed. The University of Chicago Press; 1992.
89.
Schneider R. The Explicit Body in Performance. 1st ed. Taylor and Francis; 1997. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366
90.
Schneider R. The Explicit Body in Performance. Routledge; 1997.
91.
Schneider R. Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge; 2011.
92.
Schneider R. Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge; 2011. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786
93.
Shalson L. On Duration and Multiplicity. Performance Research. 2012;17(5):98-106. doi:10.1080/13528165.2012.728448
94.
Wakefield N. Time-Specificity of Performance. Choreographic Practices. 2014;5(2):183-197.
95.
Ward F. Alien Duration: Tehching Hsieh, 1978-99. Art Journal. 2006;65(3):6-19. doi:10.1080/00043249.2006.10791212
