‘About Us | Forced Entertainment’ <https://www.forcedentertainment.com/about/>
Abramovic, Marina, and Klaus Peter Biesenbach, Marina Abramovic: The Artist Is Present (New York: Museum of Modern Art, 2010)
Auslander, Philip, Liveness: Performance in a Mediatized Culture, 2nd Edition (London: Routledge, 2008)
———, Liveness: Performance in a Mediatized Culture (London: Routledge, 2008)
———, Liveness: Performance in a Mediatized Culture, 2nd Edition (London: Routledge, 2008)
———, Liveness: Performance in a Mediatized Culture (London: Routledge, 2008)
———, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28.3 (2006), 1–10 <https://doi.org/10.1162/pajj.2006.28.3.1>
———, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28.3 (2006), 1–10 <https://doi.org/10.1162/pajj.2006.28.3.1>
Banes, Sally, and Andre Lepecki, The Senses in Performance (New York: Routledge, 2007)
Bishop, Claire, Participation (London: Whitechapel, 2006)
Bleeker, Maaike, Visuality in the Theatre: The Locus of Looking (Houndmills, Basingstoke: Palgrave Macmillan, 2008)
———, Visuality in the Theatre: The Locus of Looking (Basingstoke, Hampshire: Palgrave Macmillan, 2008) <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230583368>
Bleeker, Maaike, Adrian Kear, Joe Kelleher, and Heike Roms, eds., Thinking through Theatre and Performance (London: Bloomsbury Methuen Drama, 2019) <https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u>
———, eds., Thinking through Theatre and Performance (London: Bloomsbury Methuen Drama, 2019) <https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u>
Burden, Chris, ‘Shoot | Media Art Net’ <http://www.medienkunstnetz.de/works/shoot/>
Carlson, Marvin, Performance: A Critical Introduction, 2nd ed (New York: Routledge, 2004)
———, Performance: A Critical Introduction (New York: Routledge, 2004) <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153>
———, Performance: A Critical Introduction, 2nd ed (New York: Routledge, 2004)
———, Performance: A Critical Introduction (New York: Routledge, 2004) <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153>
‘Catalogue - Live Art Development Agency’ <https://www.thisisliveart.co.uk/resources/search/>
Chrysochou, Panayiota, Performing Identity and Gender in Literature, Theatre and the Visual Arts (Newcastle upon Tyne: Cambridge Scholars Publishing, 2017) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4820227>
Concannon, Kevin, ‘Yoko Ono’s Cut Piece : From Text to Performance and Back Again’, Journal Of Performance And Art, 30.3 (2008), 81–93 <https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150>
DeFrantz, Thomas, and Anita Gonzalez, eds., Black Performance Theory (Durham: Duke University Press, 2014)
———, Black Performance Theory, 2014 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1666607>
Etchells, Tim, ‘Introduction: Performing Questions, Producing Witnesses’, in Certain Fragments: Contemporary Performance and Forced Entertainment (London: Routledge, 1999), pp. 9–23
———, ‘Introduction: Performing Questions, Producing Witnesses’, in Certain Fragments: Contemporary Performance and Forced Entertainment, 1st ed (London: Routledge, 1999), pp. 9–23 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=166451>
Finbow, Acatia, ‘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 (2018), 291–99 <https://doi.org/10.1080/09298215.2018.1486432>
Friedman, Andrew, ‘Kindertotenlieder Created by Gisèle Vienne’, Theatre Journal, 67.2 (2015), 319–20 <https://doi.org/10.1353/tj.2015.0058>
Giannachi, Gabriella, and Jonah Westerman, eds., Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices (London: Routledge, 2018)
———, eds., Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices (London: Routledge, Taylor & Francis Group, 2018) <https://www.taylorfrancis.com/books/9781315645384>
‘Gisèle Vienne: Disturbance in Representation - Dansens Hus’ <https://www.dansenshus.com/en/articles/om-forestillingen-crowd>
Goldberg, RoseLee, Performance Art: From Futurism to the Present, 3rd Edition (London: Thames & Hudson, 2011)
———, Performance Art: From Futurism to the Present, 3rd Edition (London: Thames & Hudson, 2011)
———, Performance: Live Art Since the 60s (London: Thames & Hudson, 1998)
Grehan, Helena, Performance, Ethics and Spectatorship in a Global Age (Basingstoke: Palgrave Macmillan, 2009)
Guy, Georgina, ‘“NOTES on a Return” to a Not-Forgotten: Durations of the Missed and the Previously Unvisited’, Performance Research, 17.5 (2012), 135–39 <https://doi.org/10.1080/13528165.2012.728455>
———, Theatre, Exhibition, and Curation: Displayed & Performed (New York: Routledge, 2016), xlvi
———, Theatre, Exhibition, and Curation: Displayed & Performed (New York: Routledge, 2016), xlvi <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719>
Heathfield, Adrian, Small Acts: Performance, the Millennium and the Marking of Time (London: Black Dog, 2000)
Heathfield, Adrian, and Hugo Glendinning, Live: Art and Performance (London: Tate, 2004)
———, Live: Art and Performance (London: Tate, 2004)
———, Live: Art and Performance (London: Tate, 2004)
Heathfield, Adrian, and Tehching Hsieh, ‘Impress of Time’, in Out of Now: The Lifeworks of Tehching Hsieh (London: Live Art Development Agency, 2009), pp. 10–61
———, Out of Now: The Lifeworks of Tehching Hsieh (London: Live Art Development Agency, 2009)
Heddon, Deirdre, and Jennie Klein, eds., Histories and Practices of Live Art (Basingstoke, Hampshire: Palgrave Macmillan, 2012)
Hoffmann, Jens, and Joan Jonas, Perform (New York: Thames & Hudson, 2005)
Jaimangal-Jones, Dewi, Annette Pritchard, and Nigel Morgan, ‘Exploring Dress, Identity and Performance in Contemporary Dance Music Culture’, Leisure Studies, 34.5 (2015), 603–20 <https://doi.org/10.1080/02614367.2014.962580>
Johnson, Dominic, ed., Critical Live Art: Contemporary Histories of Performance in the UK (London: Routledge, 2014)
———, ‘Introduction: The What, When and Where of Live Art’, Contemporary Theatre Review, 22.1 (2012), 4–16 <https://doi.org/10.1080/10486801.2012.651360>
———, ‘Introduction: The What, When and Where of Live Art’, Contemporary Theatre Review, 22.1 (2012), 4–16 <https://doi.org/10.1080/10486801.2012.651360>
———, Theatre & the Visual (Basingstoke: Palgrave Macmillan, 2012)
Jones, Amelia, Body Art/Performing the Subject (Minneapolis: University of Minnesota Press, 1998)
———, ‘Introduction’, in Body Art/Performing the Subject (Minneapolis: University of Minnesota Press, 1998), pp. 1–19
———, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (1997) <https://doi.org/10.2307/777715>
———, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (1997) <https://doi.org/10.2307/777715>
———, ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’, TDR/The Drama Review, 55.1 (2011), 16–45 <https://doi.org/10.1162/DRAM_a_00046>
Jones, Amelia, and Adrian Heathfield, Perform, Repeat, Record: Live Art in History (Bristol: Intellect, 2012)
Kaye, Nick, Site-Specific Art: Performance, Place, and Documentation (New York: Routledge, 2000)
———, Site-Specific Art: Performance, Place, and Documentation (London: Routledge, 2000)
Kelleher, Joe, ‘Everybody Acts (On Friendship)’, in The Illuminated Theatre: Studies on the Suffering of Images (London: Routledge, 2015), pp. 126–45
———, The Illuminated Theatre: Studies on the Suffering of Images (London: Routledge, 2015)
‘Leap into the Void’ <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)’ <http://www.thisisliveart.co.uk/blog/live-art-in-the-uk-lois-keidan-interview-with-british-library/>
MacRitchie, Lynn, ‘Marina Abramovic: Exchanging Energies’, Performance Research, 1.2 (1996), 27–34 <https://doi.org/10.1080/13528165.1996.10871487>
‘“One Year Performance1980-1981”, Tehching Hsieh, 1980-1 | Tate’ <https://www.tate.org.uk/art/artworks/hsieh-one-year-performance1980-1981-t13875>
Phelan, James, and Peter J. Rabinowitz, A Companion to Narrative Theory (Malden, Mass: Blackwell, 2008)
———, A Companion to Narrative Theory (Oxford: Blackwell, 2005) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554>
Phelan, Peggy, Live Art in LA: Performance in Southern California, 1970-1983, 1st Edition (New York: Routledge, 2012)
———, ‘Marina Abramovic: Witnessing Shadows’, Theatre Journal, 56.4 (2004), 569–77 <https://doi.org/10.1353/tj.2004.0178>
———, Unmarked: The Politics of Performance (London: Routledge, 1993)
———, Unmarked: The Politics of Performance (London: Routledge, 1992) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272>
Rancière, Jacques, The Politics of Aesthetics: The Distribution of the Sensible (London: Continuum, 2004)
Read, Alan, Theatre in the Expanded Field (Bloomsbury Publishing, 2014) <http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137>
Read, Alan, and Beryl Robinson, Theatre in the Expanded Field: Seven Approaches to Performance (London: Bloomsbury, 2013)
Sayre, Henry M., The Object of Performance: The American Avant-Garde Since 1970, New ed (Chicago, IL: The University of Chicago Press, 1992)
Schmidt, Theron, ed., ‘Bodies: Introduction’, in AGENCY: A Partial History of Live Art (Bristol: Intellect, 2019)
———, ed., ‘Bodies: Introduction’, in Agency: A Partial History of Live Art (Bristol: Intellect, 2019) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5748642>
Schneemann, Carolee, and Bruce R. McPherson, More Than Meat Joy: Performance Works and Selected Writings, 2nd ed (Kingston, NY: McPherson & Co, 1997)
Schneider, Rebecca, Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011)
———, Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786>
———, The Explicit Body in Performance, 1st ed (London: Taylor and Francis, 1997) <http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366>
———, The Explicit Body in Performance (London: Routledge, 1997)
———, The Explicit Body in Performance, 1st ed (London: Taylor and Francis, 1997) <http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366>
———, The Explicit Body in Performance (London: Routledge, 1997)
Shalson, Lara, ‘Chapter 3 Enduring Life’, in Performing Endurance: Art and Politics since 1960 (Cambridge: Cambridge University Press, 2018), pp. 109–45
———, ‘On Duration and Multiplicity’, Performance Research, 17.5 (2012), 98–106 <https://doi.org/10.1080/13528165.2012.728448>
Solga, Kim, Theatre & Feminism (London: Palgrave, an imprint of Macmillan Publishers, 2016)
———, Theatre & Feminism (Basingstoke, England: Palgrave Macmillan, 2016) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763280>
‘Song Dong: A Pot of Boiling Water’ <http://www.tate.org.uk/art/artworks/dong-a-pot-of-boiling-water-p80531>
Spackman, Helen, ‘Minding the Matter of Representation: Staging the Body (Politic)’, Contemporary Theatre Review, 10.3 (2000), 5–22 <https://doi.org/10.1080/10486800008568593>
‘Study Room Guides - Live Art Development Agency’ <http://www.thisisliveart.co.uk/resources/study-room/study-room-guides>
Wakefield, Nik, ‘Time-Specificity of Performance’, Choreographic Practices, 5.2 (2014), 183–97
Ward, Frazer, ‘Alien Duration: Tehching Hsieh, 1978-99’, Art Journal, 65.3 (2006), 6–19 <https://doi.org/10.1080/00043249.2006.10791212>
Wiles, David, Theatre & Time (Basingstoke: Palgrave Macmillan, 2014)
———, Theatre & Time (Basingstoke: Palgrave Macmillan, 2014) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763677>