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Carlson M. Performance: A Critical Introduction. 2nd ed. New York: Routledge; 2004.
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Carlson M. Performance: A Critical Introduction [Internet]. New York: Routledge; 2004. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153
3.
Johnson D. Introduction: The What, When and Where of Live Art. Contemporary Theatre Review. 2012;22(1):4–16.
4.
Goldberg R. Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson; 2011.
5.
Heathfield A, Glendinning H. Live: Art and Performance. London: Tate; 2004.
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Song Dong: A Pot of Boiling Water [Internet]. Available from: http://www.tate.org.uk/art/artworks/dong-a-pot-of-boiling-water-p80531
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Auslander P. Liveness: Performance in a Mediatized Culture. 2nd Edition. London: Routledge; 2008.
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Auslander P. Liveness: Performance in a Mediatized Culture. London: Routledge; 2008.
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Spackman H. Minding the Matter of Representation: Staging the Body (Politic). Contemporary Theatre Review. 2000;10(3):5–22.
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Friedman A. Kindertotenlieder Created by Gisèle Vienne. Theatre Journal. 2015;67(2):319–20.
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Jaimangal-Jones D, Pritchard A, Morgan N. Exploring Dress, Identity and Performance in Contemporary Dance Music Culture. Leisure Studies. 2015;34(5):603–20.
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Gisèle Vienne: Disturbance in Representation - Dansens Hus [Internet]. Available from: https://www.dansenshus.com/en/articles/om-forestillingen-crowd
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Etchells T. Introduction: Performing Questions, Producing Witnesses. In: Certain Fragments: Contemporary Performance and Forced Entertainment. London: Routledge; 1999. p. 9–23.
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Etchells T. Introduction: Performing Questions, Producing Witnesses. In: Certain Fragments: Contemporary Performance and Forced Entertainment [Internet]. 1st ed. London: Routledge; 1999. p. 9–23. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=166451
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Kelleher J. Everybody Acts (On Friendship). In: The Illuminated Theatre: Studies on the Suffering of Images. London: Routledge; 2015. p. 126–45.
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About Us | Forced Entertainment [Internet]. Available from: https://www.forcedentertainment.com/about/
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Bleeker M. Visuality in the Theatre: The Locus of Looking. Houndmills, Basingstoke: Palgrave Macmillan; 2008.
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Bleeker M. Visuality in the Theatre: The Locus of Looking [Internet]. Basingstoke, Hampshire: Palgrave Macmillan; 2008. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230583368
19.
Grehan H. Performance, Ethics and Spectatorship in a Global Age. Basingstoke: Palgrave Macmillan; 2009.
20.
Jones A. Introduction. In: Body Art/Performing the Subject. Minneapolis: University of Minnesota Press; 1998. p. 1–19.
21.
Schneider R. The Explicit Body in Performance [Internet]. 1st ed. London: Taylor and Francis; 1997. Available from: http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366
22.
Schneider R. The Explicit Body in Performance. London: Routledge; 1997.
23.
Schneemann C, McPherson BR. More Than Meat Joy: Performance Works and Selected Writings. 2nd ed. Kingston, NY: McPherson & Co; 1997.
24.
Solga K. Theatre & Feminism. London: Palgrave, an imprint of Macmillan Publishers; 2016.
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Solga K. Theatre & Feminism [Internet]. Basingstoke, England: Palgrave Macmillan; 2016. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763280
26.
Heathfield A, Hsieh T. Impress of Time. In: Out of Now: The Lifeworks of Tehching Hsieh. London: Live Art Development Agency; 2009. p. 10–61.
27.
Shalson L. Chapter 3 Enduring Life. In: Performing endurance: art and politics since 1960. Cambridge: Cambridge University Press; 2018. p. 109–45.
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‘One Year Performance1980-1981’, Tehching Hsieh, 1980-1 | Tate [Internet]. Available from: https://www.tate.org.uk/art/artworks/hsieh-one-year-performance1980-1981-t13875
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Wiles D. Theatre & Time. Basingstoke: Palgrave Macmillan; 2014.
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Wiles D. Theatre & Time [Internet]. Basingstoke: Palgrave Macmillan; 2014. Available from: 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) [Internet]. Available from: 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 [Internet]. Available from: http://www.thisisliveart.co.uk/resources/study-room/study-room-guides
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Schmidt T, editor. Bodies: Introduction. In: AGENCY: A Partial History of Live Art. Bristol: Intellect; 2019.
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Schmidt T, editor. Bodies: Introduction. In: Agency: A Partial History of Live Art [Internet]. Bristol: Intellect; 2019. Available from: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5748642
36.
Bleeker M, Kear A, Kelleher J, Roms H, editors. Thinking through theatre and performance [Internet]. London: Bloomsbury Methuen Drama; 2019. Available from: https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
37.
Bleeker M, Kear A, Kelleher J, Roms H, editors. Thinking through theatre and performance [Internet]. London: Bloomsbury Methuen Drama; 2019. Available from: https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u
38.
Auslander P. The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art. 2006;28(3):1–10.
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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. 2018;47(4):291–9.
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Jones A. ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal. 1997;56(4).
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Giannachi G, Westerman J, editors. Histories of performance documentation: museum, artistic, and scholarly practices. London: Routledge; 2018.
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Giannachi G, Westerman J, editors. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices [Internet]. London: Routledge, Taylor & Francis Group; 2018. Available from: https://www.taylorfrancis.com/books/9781315645384
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Burden C. Shoot | Media Art Net [Internet]. Available from: http://www.medienkunstnetz.de/works/shoot/
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Leap into the Void [Internet]. Available from: https://www.metmuseum.org/toah/works-of-art/1992.5112/
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DeFrantz T, Gonzalez A, editors. Black Performance Theory. Durham: Duke University Press; 2014.
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DeFrantz T, Gonzalez A. Black Performance Theory [Internet]. 2014. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1666607
47.
Auslander P. Liveness: Performance in a Mediatized Culture. 2nd Edition. London: Routledge; 2008.
48.
Auslander P. Liveness: Performance in a Mediatized Culture. London: Routledge; 2008.
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Auslander P. The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art. 2006;28(3):1–10.
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Abramovic M, Biesenbach KP. Marina Abramovic: The Artist Is Present. New York: Museum of Modern Art; 2010.
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Bishop C. Participation. London: Whitechapel; 2006.
52.
Carlson M. Performance: A Critical Introduction. 2nd ed. New York: Routledge; 2004.
53.
Carlson M. Performance: A Critical Introduction [Internet]. New York: Routledge; 2004. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153
54.
Chrysochou P. Performing Identity and Gender in Literature, Theatre and the Visual Arts [Internet]. Newcastle upon Tyne: Cambridge Scholars Publishing; 2017. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4820227
55.
Concannon K. Yoko Ono’s Cut Piece : From Text to Performance and Back Again. Journal Of Performance And Art [Internet]. 2008;30(3):81–93. Available from: https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150
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Banes S, Lepecki A. The Senses in Performance. New York: Routledge; 2007.
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Goldberg R. Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson; 2011.
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Goldberg R. Performance: Live Art Since the 60s. London: Thames & Hudson; 1998.
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Heathfield A, Glendinning H. Live: Art and Performance. London: Tate; 2004.
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Guy G. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. New York: Routledge; 2016.
61.
Guy G. Theatre, Exhibition, and Curation: Displayed & Performed [Internet]. Vol. 46. New York: Routledge; 2016. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719
62.
Guy G. ‘NOTES on a Return’ to a Not-Forgotten: Durations of the Missed and the Previously Unvisited. Performance Research. 2012;17(5):135–9.
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Heathfield A. Small Acts: Performance, the Millennium and the Marking of Time. London: Black Dog; 2000.
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Heathfield A, Glendinning H. Live: Art and Performance. London: Tate; 2004.
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Heathfield A, Hsieh T. Out of Now: The Lifeworks of Tehching Hsieh. London: Live Art Development Agency; 2009.
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Jones A, Heathfield A. Perform, Repeat, Record: Live Art in History. Bristol: Intellect; 2012.
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Heddon D, Klein J, editors. Histories and Practices of Live Art. Basingstoke, Hampshire: Palgrave Macmillan; 2012.
68.
Hoffmann J, Jonas J. Perform. New York: Thames & Hudson; 2005.
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Johnson D. Introduction: The What, When and Where of Live Art. Contemporary Theatre Review. 2012;22(1):4–16.
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Johnson D. Theatre & the Visual. Basingstoke: Palgrave Macmillan; 2012.
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Johnson D, editor. Critical Live Art: Contemporary Histories of Performance in the UK. London: Routledge; 2014.
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Jones A. ‘Presence’ in Absentia: Experiencing Performance as Documentation. Art Journal. 1997;56(4).
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Jones A. Body Art/performing the Subject. Minneapolis: University of Minnesota Press; 1998.
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Jones A. "The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR/The Drama Review. 2011;55(1):16–45.
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Kaye N. Site-Specific Art: Performance, Place, and Documentation. New York: Routledge; 2000.
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Kaye N. Site-Specific Art: Performance, Place, and Documentation. London: Routledge; 2000.
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Kelleher J. The Illuminated Theatre: Studies on the Suffering of Images. London: Routledge; 2015.
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MacRitchie L. Marina Abramovic: Exchanging Energies. Performance Research. 1996;1(2):27–34.
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Phelan P. Unmarked: The Politics of Performance. London: Routledge; 1993.
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Phelan P. Unmarked: The Politics of Performance [Internet]. London: Routledge; 1992. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272
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Phelan P. Marina Abramovic: Witnessing Shadows. Theatre Journal. 2004;56(4):569–77.
82.
Phelan J, Rabinowitz PJ. A Companion to Narrative Theory. Malden, Mass: Blackwell; 2008.
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Phelan J, Rabinowitz PJ. A Companion to Narrative Theory [Internet]. Oxford: Blackwell; 2005. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554
84.
Phelan P. Live Art in LA: Performance in Southern California, 1970-1983. 1st Edition. New York: Routledge; 2012.
85.
Rancière J. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum; 2004.
86.
Read A, Robinson B. Theatre in the Expanded Field: Seven Approaches to Performance. London: Bloomsbury; 2013.
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Read A. Theatre in the Expanded Field [Internet]. Bloomsbury Publishing; 2014. Available from: http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137
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Sayre HM. The Object of Performance: The American Avant-Garde Since 1970. New ed. Chicago, IL: The University of Chicago Press; 1992.
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Schneider R. The Explicit Body in Performance [Internet]. 1st ed. London: Taylor and Francis; 1997. Available from: http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366
90.
Schneider R. The Explicit Body in Performance. London: Routledge; 1997.
91.
Schneider R. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge; 2011.
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Schneider R. Performing Remains: Art and War in Times of Theatrical Reenactment [Internet]. London: Routledge; 2011. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786
93.
Shalson L. On Duration and Multiplicity. Performance Research. 2012;17(5):98–106.
94.
Wakefield N. Time-Specificity of Performance. Choreographic Practices. 2014;5(2):183–97.
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Ward F. Alien Duration: Tehching Hsieh, 1978-99. Art Journal. 2006;65(3):6–19.