About Us | Forced Entertainment. (n.d.). https://www.forcedentertainment.com/about/
Abramovic, M., & Biesenbach, K. P. (2010). Marina Abramovic: The Artist Is Present. Museum of Modern Art.
Auslander, P. (2006a). The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art, 28(3), 1–10. 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), 1–10. https://doi.org/10.1162/pajj.2006.28.3.1
Auslander, P. (2008a). Liveness: Performance in a Mediatized Culture (2nd Edition). Routledge.
Auslander, P. (2008b). Liveness: Performance in a Mediatized Culture. Routledge.
Auslander, P. (2008c). Liveness: Performance in a Mediatized Culture (2nd Edition). Routledge.
Auslander, P. (2008d). Liveness: Performance in a Mediatized Culture. Routledge.
Banes, S., & Lepecki, A. (2007). The Senses in Performance. Routledge.
Bishop, C. (2006). Participation. Whitechapel.
Bleeker, M. (2008a). Visuality in the Theatre: The Locus of Looking. Palgrave Macmillan.
Bleeker, M. (2008b). Visuality in the Theatre: The Locus of Looking. Palgrave Macmillan. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230583368
Bleeker, M., Kear, A., Kelleher, J., & Roms, H. (Eds.). (2019a). Thinking through theatre and performance. Bloomsbury Methuen Drama. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
Bleeker, M., Kear, A., Kelleher, J., & Roms, H. (Eds.). (2019b). Thinking through theatre and performance. Bloomsbury Methuen Drama. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
Burden, C. (n.d.). Shoot | Media Art Net. http://www.medienkunstnetz.de/works/shoot/
Carlson, M. (2004a). Performance: A Critical Introduction (2nd ed). Routledge.
Carlson, M. (2004b). Performance: A Critical Introduction. Routledge. 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). Routledge.
Carlson, M. (2004d). Performance: A Critical Introduction. Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153
Catalogue - Live Art Development Agency. (n.d.). https://www.thisisliveart.co.uk/resources/search/
Chrysochou, P. (2017). Performing Identity and Gender in Literature, Theatre and the Visual Arts. Cambridge Scholars Publishing. 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), 81–93. https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150
DeFrantz, T., & Gonzalez, A. (Eds.). (2014a). Black Performance Theory. Duke University Press.
DeFrantz, T., & Gonzalez, A. (2014b). Black Performance Theory. 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 (pp. 9–23). Routledge.
Etchells, T. (1999b). Introduction: Performing Questions, Producing Witnesses. In Certain Fragments: Contemporary Performance and Forced Entertainment (1st ed, pp. 9–23). Routledge. 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), 291–299. https://doi.org/10.1080/09298215.2018.1486432
Friedman, A. (2015). Kindertotenlieder Created by Gisèle Vienne. Theatre Journal, 67(2), 319–320. https://doi.org/10.1353/tj.2015.0058
Giannachi, G., & Westerman, J. (Eds.). (2018a). Histories of performance documentation: museum, artistic, and scholarly practices. Routledge.
Giannachi, G., & Westerman, J. (Eds.). (2018b). Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. Routledge, Taylor & Francis Group. https://www.taylorfrancis.com/books/9781315645384
Gisèle Vienne: Disturbance in Representation - Dansens Hus. (n.d.). https://www.dansenshus.com/en/articles/om-forestillingen-crowd
Goldberg, R. (1998). Performance: Live Art Since the 60s. Thames & Hudson.
Goldberg, R. (2011a). Performance Art: From Futurism to the Present (3rd Edition). Thames & Hudson.
Goldberg, R. (2011b). Performance Art: From Futurism to the Present (3rd Edition). Thames & Hudson.
Grehan, H. (2009). Performance, Ethics and Spectatorship in a Global Age. 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), 135–139. https://doi.org/10.1080/13528165.2012.728455
Guy, G. (2016a). Theatre, Exhibition, and Curation: Displayed & Performed (Vol. 46). Routledge.
Guy, G. (2016b). Theatre, Exhibition, and Curation: Displayed & Performed (Vol. 46). Routledge. 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. Black Dog.
Heathfield, A., & Glendinning, H. (2004a). Live: Art and Performance. Tate.
Heathfield, A., & Glendinning, H. (2004b). Live: Art and Performance. Tate.
Heathfield, A., & Glendinning, H. (2004c). Live: Art and Performance. Tate.
Heathfield, A., & Hsieh, T. (2009a). Impress of Time. In Out of Now: The Lifeworks of Tehching Hsieh (pp. 10–61). Live Art Development Agency.
Heathfield, A., & Hsieh, T. (2009b). Out of Now: The Lifeworks of Tehching Hsieh. Live Art Development Agency.
Heddon, D., & Klein, J. (Eds.). (2012). Histories and Practices of Live Art. Palgrave Macmillan.
Hoffmann, J., & Jonas, J. (2005). Perform. Thames & Hudson.
Jaimangal-Jones, D., Pritchard, A., & Morgan, N. (2015). Exploring Dress, Identity and Performance in Contemporary Dance Music Culture. Leisure Studies, 34(5), 603–620. 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), 4–16. 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), 4–16. https://doi.org/10.1080/10486801.2012.651360
Johnson, D. (2012c). Theatre & the Visual. Palgrave Macmillan.
Johnson, D. (Ed.). (2014). Critical Live Art: Contemporary Histories of Performance in the UK. Routledge.
Jones, A. (1997a). ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal, 56(4). https://doi.org/10.2307/777715
Jones, A. (1997b). ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal, 56(4). https://doi.org/10.2307/777715
Jones, A. (1998a). Body Art/performing the Subject. University of Minnesota Press.
Jones, A. (1998b). Introduction. In Body Art/Performing the Subject (pp. 1–19). University of Minnesota Press.
Jones, A. (2011). "The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR/The Drama Review, 55(1), 16–45. https://doi.org/10.1162/DRAM_a_00046
Jones, A., & Heathfield, A. (2012). Perform, Repeat, Record: Live Art in History. Intellect.
Kaye, N. (2000a). Site-Specific Art: Performance, Place, and Documentation. Routledge.
Kaye, N. (2000b). Site-Specific Art: Performance, Place, and Documentation. Routledge.
Kelleher, J. (2015a). Everybody Acts (On Friendship). In The Illuminated Theatre: Studies on the Suffering of Images (pp. 126–145). Routledge.
Kelleher, J. (2015b). The Illuminated Theatre: Studies on the Suffering of Images. Routledge.
Leap into the Void. (n.d.). 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). (n.d.). 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), 27–34. https://doi.org/10.1080/13528165.1996.10871487
‘One Year Performance1980-1981’, Tehching Hsieh, 1980-1 | Tate. (n.d.). https://www.tate.org.uk/art/artworks/hsieh-one-year-performance1980-1981-t13875
Phelan, J., & Rabinowitz, P. J. (2005). A Companion to Narrative Theory. Blackwell. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554
Phelan, J., & Rabinowitz, P. J. (2008). A Companion to Narrative Theory. Blackwell.
Phelan, P. (1992). Unmarked: The Politics of Performance. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272
Phelan, P. (1993). Unmarked: The Politics of Performance. Routledge.
Phelan, P. (2004). Marina Abramovic: Witnessing Shadows. Theatre Journal, 56(4), 569–577. https://doi.org/10.1353/tj.2004.0178
Phelan, P. (2012). Live Art in LA: Performance in Southern California, 1970-1983 (1st Edition). Routledge.
Rancière, J. (2004). The Politics of Aesthetics: The Distribution of the Sensible. Continuum.
Read, A. (2014). Theatre in the Expanded Field. Bloomsbury Publishing. http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137
Read, A., & Robinson, B. (2013). Theatre in the Expanded Field: Seven Approaches to Performance. Bloomsbury.
Sayre, H. M. (1992). The Object of Performance: The American Avant-Garde Since 1970 (New ed). The University of Chicago Press.
Schmidt, T. (Ed.). (2019a). Bodies: Introduction. In AGENCY: A Partial History of Live Art. Intellect.
Schmidt, T. (Ed.). (2019b). Bodies: Introduction. In Agency: A Partial History of Live Art. Intellect. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5748642
Schneemann, C., & McPherson, B. R. (1997). More Than Meat Joy: Performance Works and Selected Writings (2nd ed). McPherson & Co.
Schneider, R. (1997a). The Explicit Body in Performance (1st ed). Taylor and Francis. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366
Schneider, R. (1997b). The Explicit Body in Performance. Routledge.
Schneider, R. (1997c). The Explicit Body in Performance (1st ed). Taylor and Francis. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366
Schneider, R. (1997d). The Explicit Body in Performance. Routledge.
Schneider, R. (2011a). Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge.
Schneider, R. (2011b). Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786
Shalson, L. (2012). On Duration and Multiplicity. Performance Research, 17(5), 98–106. https://doi.org/10.1080/13528165.2012.728448
Shalson, L. (2018). Chapter 3 Enduring Life. In Performing endurance: art and politics since 1960 (pp. 109–145). Cambridge University Press.
Solga, K. (2016a). Theatre & Feminism. Palgrave, an imprint of Macmillan Publishers.
Solga, K. (2016b). Theatre & Feminism. Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763280
Song Dong: A Pot of Boiling Water. (n.d.). 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), 5–22. https://doi.org/10.1080/10486800008568593
Study Room Guides - Live Art Development Agency. (n.d.). http://www.thisisliveart.co.uk/resources/study-room/study-room-guides
Wakefield, N. (2014). Time-Specificity of Performance. Choreographic Practices, 5(2), 183–197.
Ward, F. (2006). Alien Duration: Tehching Hsieh, 1978-99. Art Journal, 65(3), 6–19. https://doi.org/10.1080/00043249.2006.10791212
Wiles, D. (2014a). Theatre & Time. Palgrave Macmillan.
Wiles, D. (2014b). Theatre & Time. Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763677
