1.
Carlson, M. Performance: A Critical Introduction. (Routledge, 2004).
2.
Carlson, M. Performance: A Critical Introduction. (Routledge, 2004).
3.
Johnson, D. Introduction: The What, When and Where of Live Art. Contemporary Theatre Review 22, 4–16 (2012).
4.
Goldberg, R. Performance Art: From Futurism to the Present. (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. (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 10, 5–22 (2000).
10.
Friedman, A. Kindertotenlieder Created by Gisèle Vienne. Theatre Journal 67, 319–320 (2015).
11.
Jaimangal-Jones, D., Pritchard, A. & Morgan, N. Exploring Dress, Identity and Performance in Contemporary Dance Music Culture. Leisure Studies 34, 603–620 (2015).
12.
Gisèle Vienne: Disturbance in Representation - Dansens Hus. https://www.dansenshus.com/en/articles/om-forestillingen-crowd.
13.
Etchells, T. Introduction: Performing Questions, Producing Witnesses. in Certain Fragments: Contemporary Performance and Forced Entertainment 9–23 (Routledge, 1999).
14.
Etchells, T. Introduction: Performing Questions, Producing Witnesses. in Certain Fragments: Contemporary Performance and Forced Entertainment 9–23 (Routledge, 1999).
15.
Kelleher, J. Everybody Acts (On Friendship). in The Illuminated Theatre: Studies on the Suffering of Images 126–145 (Routledge, 2015).
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).
19.
Grehan, H. Performance, Ethics and Spectatorship in a Global Age. (Palgrave Macmillan, 2009).
20.
Jones, A. Introduction. in Body Art/Performing the Subject 1–19 (University of Minnesota Press, 1998).
21.
Schneider, R. The Explicit Body in Performance. (Taylor and Francis, 1997).
22.
Schneider, R. The Explicit Body in Performance. (Routledge, 1997).
23.
Schneemann, C. & McPherson, B. R. More Than Meat Joy: Performance Works and Selected Writings. (McPherson & Co, 1997).
24.
Solga, K. Theatre & Feminism. (Palgrave, an imprint of Macmillan Publishers, 2016).
25.
Solga, K. Theatre & Feminism. (Palgrave Macmillan, 2016).
26.
Heathfield, A. & Hsieh, T. Impress of Time. in Out of Now: The Lifeworks of Tehching Hsieh 10–61 (Live Art Development Agency, 2009).
27.
Shalson, L. Chapter 3 Enduring Life. in Performing endurance: art and politics since 1960 109–145 (Cambridge University Press, 2018).
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).
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.
33.
Catalogue - Live Art Development Agency. https://www.thisisliveart.co.uk/resources/search/.
34.
Bodies: Introduction. in AGENCY: A Partial History of Live Art (ed. Schmidt, T.) (Intellect, 2019).
35.
Bodies: Introduction. in Agency: A Partial History of Live Art (ed. Schmidt, T.) (Intellect, 2019).
36.
Thinking through theatre and performance. (Bloomsbury Methuen Drama, 2019).
37.
Thinking through theatre and performance. (Bloomsbury Methuen Drama, 2019).
38.
Auslander, P. The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art 28, 1–10 (2006).
39.
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 47, 291–299 (2018).
40.
Jones, A. ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal 56, (1997).
41.
Histories of performance documentation: museum, artistic, and scholarly practices. (Routledge, 2018).
42.
Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. (Routledge, Taylor & Francis Group, 2018).
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.
Black Performance Theory. (Duke University Press, 2014).
46.
DeFrantz, T. & Gonzalez, A. Black Performance Theory. (2014).
47.
Auslander, P. Liveness: Performance in a Mediatized Culture. (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 28, 1–10 (2006).
50.
Abramovic, M. & Biesenbach, K. P. Marina Abramovic: The Artist Is Present. (Museum of Modern Art, 2010).
51.
Bishop, C. Participation. (Whitechapel, 2006).
52.
Carlson, M. Performance: A Critical Introduction. (Routledge, 2004).
53.
Carlson, M. Performance: A Critical Introduction. (Routledge, 2004).
54.
Chrysochou, P. Performing Identity and Gender in Literature, Theatre and the Visual Arts. (Cambridge Scholars Publishing, 2017).
55.
Concannon, K. Yoko Ono’s Cut Piece : From Text to Performance and Back Again. Journal Of Performance And Art 30, 81–93 (2008).
56.
Banes, S. & Lepecki, A. The Senses in Performance. (Routledge, 2007).
57.
Goldberg, R. Performance Art: From Futurism to the Present. (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).
62.
Guy, G. ‘NOTES on a Return’ to a Not-Forgotten: Durations of the Missed and the Previously Unvisited. Performance Research 17, 135–139 (2012).
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.
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 22, 4–16 (2012).
70.
Johnson, D. Theatre & the Visual. (Palgrave Macmillan, 2012).
71.
Critical Live Art: Contemporary Histories of Performance in the UK. (Routledge, 2014).
72.
Jones, A. ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal 56, (1997).
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 55, 16–45 (2011).
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 1, 27–34 (1996).
79.
Phelan, P. Unmarked: The Politics of Performance. (Routledge, 1993).
80.
Phelan, P. Unmarked: The Politics of Performance. (Routledge, 1992).
81.
Phelan, P. Marina Abramovic: Witnessing Shadows. Theatre Journal 56, 569–577 (2004).
82.
Phelan, J. & Rabinowitz, P. J. A Companion to Narrative Theory. (Blackwell, 2008).
83.
Phelan, J. & Rabinowitz, P. J. A Companion to Narrative Theory. (Blackwell, 2005).
84.
Phelan, P. Live Art in LA: Performance in Southern California, 1970-1983. (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).
88.
Sayre, H. M. The Object of Performance: The American Avant-Garde Since 1970. (The University of Chicago Press, 1992).
89.
Schneider, R. The Explicit Body in Performance. (Taylor and Francis, 1997).
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).
93.
Shalson, L. On Duration and Multiplicity. Performance Research 17, 98–106 (2012).
94.
Wakefield, N. Time-Specificity of Performance. Choreographic Practices 5, 183–197 (2014).
95.
Ward, F. Alien Duration: Tehching Hsieh, 1978-99. Art Journal 65, 6–19 (2006).