‘About Us | Forced Entertainment’, n.d. <https://www.forcedentertainment.com/about/>
Abramovic, Marina, and Klaus Peter Biesenbach, Marina Abramovic: The Artist Is Present (Museum of Modern Art, 2010)
Auslander, Philip, Liveness: Performance in a Mediatized Culture, 2nd Edition (Routledge, 2008)
——, Liveness: Performance in a Mediatized Culture, 2nd Edition (Routledge, 2008)
——, Liveness: Performance in a Mediatized Culture (Routledge, 2008)
——, Liveness: Performance in a Mediatized Culture (Routledge, 2008)
——, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28.3 (2006), pp. 1–10, doi:10.1162/pajj.2006.28.3.1
——, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28.3 (2006), pp. 1–10, doi:10.1162/pajj.2006.28.3.1
Banes, Sally, and Andre Lepecki, The Senses in Performance (Routledge, 2007)
Bishop, Claire, Participation (Whitechapel, 2006)
Bleeker, Maaike, and others (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>
——, and others (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>
——, Visuality in the Theatre: The Locus of Looking (Palgrave Macmillan, 2008)
——, 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>
Burden, Chris, ‘Shoot | Media Art Net’, n.d. <https://web.archive.org/web/20250514210034/http://www.medienkunstnetz.de/works/shoot/>
Carlson, Marvin, Performance: A Critical Introduction, 2nd ed (Routledge, 2004)
——, Performance: A Critical Introduction, 2nd ed (Routledge, 2004)
——, Performance: A Critical Introduction (Routledge, 2004) <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153>
——, Performance: A Critical Introduction (Routledge, 2004) <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, Panayiota, 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>
Concannon, Kevin, ‘Yoko Ono’s Cut Piece : From Text to Performance and Back Again’, Journal Of Performance And Art, 30.3 (2008), pp. 81–93 <https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150>
DeFrantz, Thomas, and Anita Gonzalez, Black Performance Theory (2014) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1666607>
——, and Anita Gonzalez (eds), Black Performance Theory (Duke University Press, 2014)
Etchells, Tim, ‘Introduction: Performing Questions, Producing Witnesses’, in Certain Fragments: Contemporary Performance and Forced Entertainment (Routledge, 1999), pp. 9–23
——, ‘Introduction: Performing Questions, Producing Witnesses’, in Certain Fragments: Contemporary Performance and Forced Entertainment, 1st ed (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), pp. 291–99, doi:10.1080/09298215.2018.1486432
Friedman, Andrew, ‘Kindertotenlieder Created by Gisèle Vienne’, Theatre Journal, 67.2 (2015), pp. 319–20, doi:10.1353/tj.2015.0058
Giannachi, Gabriella, and Jonah Westerman (eds), Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices (Routledge, 2018)
——, and Jonah Westerman (eds), Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices (Routledge, Taylor & Francis Group, 2018) <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, RoseLee, Performance Art: From Futurism to the Present, 3rd Edition (Thames & Hudson, 2011)
——, Performance Art: From Futurism to the Present, 3rd Edition (Thames & Hudson, 2011)
——, Performance: Live Art Since the 60s (Thames & Hudson, 1998)
Grehan, Helena, Performance, Ethics and Spectatorship in a Global Age (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), pp. 135–39, doi:10.1080/13528165.2012.728455
——, Theatre, Exhibition, and Curation: Displayed & Performed (Routledge, 2016), xlvi
——, Theatre, Exhibition, and Curation: Displayed & Performed (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 (Black Dog, 2000)
——, and Hugo Glendinning, Live: Art and Performance (Tate, 2004)
——, and Hugo Glendinning, Live: Art and Performance (Tate, 2004)
——, and Hugo Glendinning, Live: Art and Performance (Tate, 2004)
——, and Tehching Hsieh, ‘Impress of Time’, in Out of Now: The Lifeworks of Tehching Hsieh (Live Art Development Agency, 2009), pp. 10–61
——, and Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh (Live Art Development Agency, 2009)
Heddon, Deirdre, and Jennie Klein (eds), Histories and Practices of Live Art (Palgrave Macmillan, 2012)
Hoffmann, Jens, and Joan Jonas, Perform (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), pp. 603–20, doi:10.1080/02614367.2014.962580
Johnson, Dominic (ed.), Critical Live Art: Contemporary Histories of Performance in the UK (Routledge, 2014)
——, ‘Introduction: The What, When and Where of Live Art’, Contemporary Theatre Review, 22.1 (2012), pp. 4–16, doi:10.1080/10486801.2012.651360
——, ‘Introduction: The What, When and Where of Live Art’, Contemporary Theatre Review, 22.1 (2012), pp. 4–16, doi:10.1080/10486801.2012.651360
——, Theatre & The Visual (Palgrave Macmillan, 2012)
Jones, Amelia, Body Art/Performing the Subject (University of Minnesota Press, 1998)
——, ‘Introduction’, in Body Art/Performing the Subject (University of Minnesota Press, 1998), pp. 1–19
——, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (1997), doi:10.2307/777715
——, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (1997), doi:10.2307/777715
——, ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’, TDR/The Drama Review, 55.1 (2011), pp. 16–45, doi:10.1162/DRAM_a_00046
——, and Adrian Heathfield, Perform, Repeat, Record: Live Art in History (Intellect, 2012)
Kaye, Nick, Site-Specific Art: Performance, Place, and Documentation (Routledge, 2000)
——, Site-Specific Art: Performance, Place, and Documentation (Routledge, 2000)
Kelleher, Joe, ‘Everybody Acts (On Friendship)’, in The Illuminated Theatre: Studies on the Suffering of Images (Routledge, 2015), pp. 126–45
——, The Illuminated Theatre: Studies on the Suffering of Images (Routledge, 2015)
‘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, Lynn, ‘Marina Abramovic: Exchanging Energies’, Performance Research, 1.2 (1996), pp. 27–34, doi: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, James, and Peter J. Rabinowitz, A Companion to Narrative Theory (Blackwell, 2005) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554>
——, and Peter J. Rabinowitz, A Companion to Narrative Theory (Blackwell, 2008)
Phelan, Peggy, Live Art in LA: Performance in Southern California, 1970-1983, 1st Edition (Routledge, 2012)
——, ‘Marina Abramovic: Witnessing Shadows’, Theatre Journal, 56.4 (2004), pp. 569–77, doi:10.1353/tj.2004.0178
——, Unmarked: The Politics of Performance (Routledge, 1992) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272>
——, Unmarked: The Politics of Performance (Routledge, 1993)
Rancière, Jacques, The Politics of Aesthetics: The Distribution of the Sensible (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>
——, and Beryl Robinson, Theatre in the Expanded Field: Seven Approaches to Performance (Bloomsbury, 2013)
Sayre, Henry M., The Object of Performance: The American Avant-Garde Since 1970, New ed (The University of Chicago Press, 1992)
Schmidt, Theron (ed.), ‘Bodies: Introduction’, in AGENCY: A Partial History of Live Art (Intellect, 2019)
—— (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>
Schneemann, Carolee, and Bruce R. McPherson, More Than Meat Joy: Performance Works and Selected Writings, 2nd ed (McPherson & Co, 1997)
Schneider, Rebecca, Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge, 2011)
——, Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge, 2011) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786>
——, The Explicit Body in Performance, 1st ed (Taylor and Francis, 1997) <http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366>
——, The Explicit Body in Performance, 1st ed (Taylor and Francis, 1997) <http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366>
——, The Explicit Body in Performance (Routledge, 1997)
——, The Explicit Body in Performance (Routledge, 1997)
Shalson, Lara, ‘Chapter 3 Enduring Life’, in Performing Endurance: Art and Politics since 1960 (Cambridge University Press, 2018), pp. 109–45
——, ‘On Duration and Multiplicity’, Performance Research, 17.5 (2012), pp. 98–106, doi:10.1080/13528165.2012.728448
Solga, Kim, Theatre & Feminism (Palgrave, an imprint of Macmillan Publishers, 2016)
——, Theatre & Feminism (Palgrave Macmillan, 2016) <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, Helen, ‘Minding the Matter of Representation: Staging the Body (Politic)’, Contemporary Theatre Review, 10.3 (2000), pp. 5–22, doi:10.1080/10486800008568593
‘Study Room Guides - Live Art Development Agency’, n.d. <http://www.thisisliveart.co.uk/resources/study-room/study-room-guides>
Wakefield, Nik, ‘Time-Specificity of Performance’, Choreographic Practices, 5.2 (2014), pp. 183–97
Ward, Frazer, ‘Alien Duration: Tehching Hsieh, 1978-99’, Art Journal, 65.3 (2006), pp. 6–19, doi:10.1080/00043249.2006.10791212
Wiles, David, Theatre & Time (Palgrave Macmillan, 2014)
——, Theatre & Time (Palgrave Macmillan, 2014) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763677>
