[1]
M. Carlson, Performance: A Critical Introduction, 2nd ed. New York: Routledge, 2004.
[2]
M. Carlson, Performance: A Critical Introduction. New York: Routledge, 2004 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153
[3]
D. Johnson, ‘Introduction: The What, When and Where of Live Art’, Contemporary Theatre Review, vol. 22, no. 1, pp. 4–16, 2012, doi: 10.1080/10486801.2012.651360.
[4]
R. Goldberg, Performance Art: From Futurism to the Present, 3rd Edition. London: Thames & Hudson, 2011.
[5]
A. Heathfield and H. Glendinning, Live: Art and Performance. London: Tate, 2004.
[6]
‘Song Dong: A Pot of Boiling Water’. [Online]. Available: http://www.tate.org.uk/art/artworks/dong-a-pot-of-boiling-water-p80531
[7]
P. Auslander, Liveness: Performance in a Mediatized Culture, 2nd Edition. London: Routledge, 2008.
[8]
P. Auslander, Liveness: Performance in a Mediatized Culture. London: Routledge, 2008.
[9]
H. Spackman, ‘Minding the Matter of Representation: Staging the Body (Politic)’, Contemporary Theatre Review, vol. 10, no. 3, pp. 5–22, 2000, doi: 10.1080/10486800008568593.
[10]
A. Friedman, ‘Kindertotenlieder Created by Gisèle Vienne’, Theatre Journal, vol. 67, no. 2, pp. 319–320, 2015, doi: 10.1353/tj.2015.0058.
[11]
D. Jaimangal-Jones, A. Pritchard, and N. Morgan, ‘Exploring Dress, Identity and Performance in Contemporary Dance Music Culture’, Leisure Studies, vol. 34, no. 5, pp. 603–620, 2015, doi: 10.1080/02614367.2014.962580.
[12]
‘Gisèle Vienne: Disturbance in Representation - Dansens Hus’. [Online]. Available: https://www.dansenshus.com/en/articles/om-forestillingen-crowd
[13]
T. Etchells, ‘Introduction: Performing Questions, Producing Witnesses’, in Certain Fragments: Contemporary Performance and Forced Entertainment, London: Routledge, 1999, pp. 9–23.
[14]
T. Etchells, ‘Introduction: Performing Questions, Producing Witnesses’, in Certain Fragments: Contemporary Performance and Forced Entertainment, 1st ed., London: Routledge, 1999, pp. 9–23 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=166451
[15]
J. Kelleher, ‘Everybody Acts (On Friendship)’, in The Illuminated Theatre: Studies on the Suffering of Images, London: Routledge, 2015, pp. 126–145.
[16]
‘About Us | Forced Entertainment’. [Online]. Available: https://www.forcedentertainment.com/about/
[17]
M. Bleeker, Visuality in the Theatre: The Locus of Looking. Houndmills, Basingstoke: Palgrave Macmillan, 2008.
[18]
M. Bleeker, Visuality in the Theatre: The Locus of Looking. Basingstoke, Hampshire: Palgrave Macmillan, 2008 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230583368
[19]
H. Grehan, Performance, Ethics and Spectatorship in a Global Age. Basingstoke: Palgrave Macmillan, 2009.
[20]
A. Jones, ‘Introduction’, in Body Art/Performing the Subject, Minneapolis: University of Minnesota Press, 1998, pp. 1–19.
[21]
R. Schneider, The Explicit Body in Performance, 1st ed. London: Taylor and Francis, 1997 [Online]. Available: http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366
[22]
R. Schneider, The Explicit Body in Performance. London: Routledge, 1997.
[23]
C. Schneemann and B. R. McPherson, More Than Meat Joy: Performance Works and Selected Writings, 2nd ed. Kingston, NY: McPherson & Co, 1997.
[24]
K. Solga, Theatre & Feminism. London: Palgrave, an imprint of Macmillan Publishers, 2016.
[25]
K. Solga, Theatre & Feminism. Basingstoke, England: Palgrave Macmillan, 2016 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763280
[26]
A. Heathfield and T. Hsieh, ‘Impress of Time’, in Out of Now: The Lifeworks of Tehching Hsieh, London: Live Art Development Agency, 2009, pp. 10–61.
[27]
L. Shalson, ‘Chapter 3 Enduring Life’, in Performing endurance: art and politics since 1960, Cambridge: Cambridge University Press, 2018, pp. 109–145.
[28]
‘“One Year Performance1980-1981”, Tehching Hsieh, 1980-1 | Tate’. [Online]. Available: https://www.tate.org.uk/art/artworks/hsieh-one-year-performance1980-1981-t13875
[29]
D. Wiles, Theatre & Time. Basingstoke: Palgrave Macmillan, 2014.
[30]
D. Wiles, Theatre & Time. Basingstoke: Palgrave Macmillan, 2014 [Online]. Available: 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)’. [Online]. Available: http://www.thisisliveart.co.uk/blog/live-art-in-the-uk-lois-keidan-interview-with-british-library/
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‘Study Room Guides - Live Art Development Agency’. [Online]. Available: http://www.thisisliveart.co.uk/resources/study-room/study-room-guides
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‘Catalogue - Live Art Development Agency’. [Online]. Available: https://www.thisisliveart.co.uk/resources/search/
[34]
T. Schmidt, Ed., ‘Bodies: Introduction’, in AGENCY: A Partial History of Live Art, Bristol: Intellect, 2019.
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T. Schmidt, Ed., ‘Bodies: Introduction’, in Agency: A Partial History of Live Art, Bristol: Intellect, 2019 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5748642
[36]
M. Bleeker, A. Kear, J. Kelleher, and H. Roms, Eds., Thinking through theatre and performance. London: Bloomsbury Methuen Drama, 2019 [Online]. Available: https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
[37]
M. Bleeker, A. Kear, J. Kelleher, and H. Roms, Eds., Thinking through theatre and performance. London: Bloomsbury Methuen Drama, 2019 [Online]. Available: https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
[38]
P. Auslander, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, vol. 28, no. 3, pp. 1–10, 2006, doi: 10.1162/pajj.2006.28.3.1.
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A. Finbow, ‘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, vol. 47, no. 4, pp. 291–299, 2018, doi: 10.1080/09298215.2018.1486432.
[40]
A. Jones, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, vol. 56, no. 4, 1997, doi: 10.2307/777715.
[41]
G. Giannachi and J. Westerman, Eds., Histories of performance documentation: museum, artistic, and scholarly practices. London: Routledge, 2018.
[42]
G. Giannachi and J. Westerman, Eds., Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London: Routledge, Taylor & Francis Group, 2018 [Online]. Available: https://www.taylorfrancis.com/books/9781315645384
[43]
C. Burden, ‘Shoot | Media Art Net’. [Online]. Available: http://www.medienkunstnetz.de/works/shoot/
[44]
‘Leap into the Void’. [Online]. Available: https://www.metmuseum.org/toah/works-of-art/1992.5112/
[45]
T. DeFrantz and A. Gonzalez, Eds., Black Performance Theory. Durham: Duke University Press, 2014.
[46]
T. DeFrantz and A. Gonzalez, Black Performance Theory. 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1666607
[47]
P. Auslander, Liveness: Performance in a Mediatized Culture, 2nd Edition. London: Routledge, 2008.
[48]
P. Auslander, Liveness: Performance in a Mediatized Culture. London: Routledge, 2008.
[49]
P. Auslander, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, vol. 28, no. 3, pp. 1–10, 2006, doi: 10.1162/pajj.2006.28.3.1.
[50]
M. Abramovic and K. P. Biesenbach, Marina Abramovic: The Artist Is Present. New York: Museum of Modern Art, 2010.
[51]
C. Bishop, Participation. London: Whitechapel, 2006.
[52]
M. Carlson, Performance: A Critical Introduction, 2nd ed. New York: Routledge, 2004.
[53]
M. Carlson, Performance: A Critical Introduction. New York: Routledge, 2004 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153
[54]
P. Chrysochou, Performing Identity and Gender in Literature, Theatre and the Visual Arts. Newcastle upon Tyne: Cambridge Scholars Publishing, 2017 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4820227
[55]
K. Concannon, ‘Yoko Ono’s Cut Piece : From Text to Performance and Back Again’, Journal Of Performance And Art, vol. 30, no. 3, pp. 81–93, 2008 [Online]. Available: https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150
[56]
S. Banes and A. Lepecki, The Senses in Performance. New York: Routledge, 2007.
[57]
R. Goldberg, Performance Art: From Futurism to the Present, 3rd Edition. London: Thames & Hudson, 2011.
[58]
R. Goldberg, Performance: Live Art Since the 60s. London: Thames & Hudson, 1998.
[59]
A. Heathfield and H. Glendinning, Live: Art and Performance. London: Tate, 2004.
[60]
G. Guy, Theatre, Exhibition, and Curation: Displayed & Performed, vol. 46. New York: Routledge, 2016.
[61]
G. Guy, Theatre, Exhibition, and Curation: Displayed & Performed, vol. 46. New York: Routledge, 2016 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719
[62]
G. Guy, ‘“NOTES on a Return” to a Not-Forgotten: Durations of the Missed and the Previously Unvisited’, Performance Research, vol. 17, no. 5, pp. 135–139, 2012, doi: 10.1080/13528165.2012.728455.
[63]
A. Heathfield, Small Acts: Performance, the Millennium and the Marking of Time. London: Black Dog, 2000.
[64]
A. Heathfield and H. Glendinning, Live: Art and Performance. London: Tate, 2004.
[65]
A. Heathfield and T. Hsieh, Out of Now: The Lifeworks of Tehching Hsieh. London: Live Art Development Agency, 2009.
[66]
A. Jones and A. Heathfield, Perform, Repeat, Record: Live Art in History. Bristol: Intellect, 2012.
[67]
D. Heddon and J. Klein, Eds., Histories and Practices of Live Art. Basingstoke, Hampshire: Palgrave Macmillan, 2012.
[68]
J. Hoffmann and J. Jonas, Perform. New York: Thames & Hudson, 2005.
[69]
D. Johnson, ‘Introduction: The What, When and Where of Live Art’, Contemporary Theatre Review, vol. 22, no. 1, pp. 4–16, 2012, doi: 10.1080/10486801.2012.651360.
[70]
D. Johnson, Theatre & the Visual. Basingstoke: Palgrave Macmillan, 2012.
[71]
D. Johnson, Ed., Critical Live Art: Contemporary Histories of Performance in the UK. London: Routledge, 2014.
[72]
A. Jones, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, vol. 56, no. 4, 1997, doi: 10.2307/777715.
[73]
A. Jones, Body Art/performing the Subject. Minneapolis: University of Minnesota Press, 1998.
[74]
A. Jones, ‘"The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence’, TDR/The Drama Review, vol. 55, no. 1, pp. 16–45, 2011, doi: 10.1162/DRAM_a_00046.
[75]
N. Kaye, Site-Specific Art: Performance, Place, and Documentation. New York: Routledge, 2000.
[76]
N. Kaye, Site-Specific Art: Performance, Place, and Documentation. London: Routledge, 2000.
[77]
J. Kelleher, The Illuminated Theatre: Studies on the Suffering of Images. London: Routledge, 2015.
[78]
L. MacRitchie, ‘Marina Abramovic: Exchanging Energies’, Performance Research, vol. 1, no. 2, pp. 27–34, 1996, doi: 10.1080/13528165.1996.10871487.
[79]
P. Phelan, Unmarked: The Politics of Performance. London: Routledge, 1993.
[80]
P. Phelan, Unmarked: The Politics of Performance. London: Routledge, 1992 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272
[81]
P. Phelan, ‘Marina Abramovic: Witnessing Shadows’, Theatre Journal, vol. 56, no. 4, pp. 569–577, 2004, doi: 10.1353/tj.2004.0178.
[82]
J. Phelan and P. J. Rabinowitz, A Companion to Narrative Theory. Malden, Mass: Blackwell, 2008.
[83]
J. Phelan and P. J. Rabinowitz, A Companion to Narrative Theory. Oxford: Blackwell, 2005 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554
[84]
P. Phelan, Live Art in LA: Performance in Southern California, 1970-1983, 1st Edition. New York: Routledge, 2012.
[85]
J. Rancière, The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2004.
[86]
A. Read and B. Robinson, Theatre in the Expanded Field: Seven Approaches to Performance. London: Bloomsbury, 2013.
[87]
A. Read, Theatre in the Expanded Field. Bloomsbury Publishing, 2014 [Online]. Available: http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137
[88]
H. M. Sayre, The Object of Performance: The American Avant-Garde Since 1970, New ed. Chicago, IL: The University of Chicago Press, 1992.
[89]
R. Schneider, The Explicit Body in Performance, 1st ed. London: Taylor and Francis, 1997 [Online]. Available: http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366
[90]
R. Schneider, The Explicit Body in Performance. London: Routledge, 1997.
[91]
R. Schneider, Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, 2011.
[92]
R. Schneider, Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786
[93]
L. Shalson, ‘On Duration and Multiplicity’, Performance Research, vol. 17, no. 5, pp. 98–106, 2012, doi: 10.1080/13528165.2012.728448.
[94]
N. Wakefield, ‘Time-Specificity of Performance’, Choreographic Practices, vol. 5, no. 2, pp. 183–197, 2014.
[95]
F. Ward, ‘Alien Duration: Tehching Hsieh, 1978-99’, Art Journal, vol. 65, no. 3, pp. 6–19, 2006, doi: 10.1080/00043249.2006.10791212.
