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Live Art and Performance Reading List 2013-14

Core Reading

Auslander, Philip (1997) From Acting to Performance: essays in modernism and postmodernism, London: Routledge.

Bailes, Sara Jane (2011) Performance Theatre and the Poetics of Failure: Forced Entertainment, Goat Island, Elevator Repair Service, London and New York: Routledge.

Beckett, Samuel (1984) Collected Shorter Plays, London: Faber.

Bishop, Claire (ed) (2007) Participation, London: Whitechapel and Cambridge, MA: MIT Press.

Cairns, Jon (2012) ‘Ambivalent Intimacies: Performance and Domestic Photography in the Work of Adrian Howells’, Contemporary Theatre Review, 22:3, pp.355-371

Calle, Sophie (2003) M’ as-tu Vue, Munich, London and New York: Prestel Verlag.

Callens, Johan (ed) (2004) The Wooster Group and its Traditions, Bern: Peter Lang.

Climenhaga, Royd (2009) Pina Bausch, London and New York: Routledge.

Climenhaga, Royd (ed) (2013) The Pina Bausch Sourcebook: the Making of Tanztheater, London and New York: Routledge.

Doherty, Claire (2009) Situation, London: Whitechapel Gallery and Cambridge, MA: MIT Press.

Etchells, Tim (1999) Certain Fragments, London: Routledge.

Goldberg, Rosie (2001) Performance Art: From Futurism to the Present, London: Thames and Hudson.

Gormley, Antony (2010) One and Other/Antony Gormley, London: Jonathan Cape.

Handke, Peter (1997) Plays: 1, London: Methuen.

Heathfield, Adrian (2004) Live: Art and Performance, London: Tate Publishing.

Heathfield, Adrian and Tehching Hsieh (eds) (2009) Out of Now: the Lifeworks of Tehching Hsieh, London: Live Art Development Agency and Cambridge, MA: MIT Press.

Heathfield, Adrian and Amelia Jones (2012) Perform, Repeat, Record: Live Art in History, Bristol and Chicago: Intellect.

Heddon, Dee and Adrian Howells (eds) (2011) ‘From Talking to Silence: a Confessional Journey’, PAJ, 33(1), pp.1-12.

Heddon, Dee and Jennie Klein (eds) (2013) Histories and Practices of Live Art, Basingstoke: Palgrave Macmillan.

Helmer, Judith and Florian Malzacher (eds) (2004), ‘Not Even a Game Anymore’: The Theatre of Forced Entertainment, Berlin: Alexander Verlag.

Iverson, Margaret (ed) (2010) Chance, London: Whitechapel and Cambridge, MA: MIT Press.

Johnson, Dominic (ed) (2013) Critical Live Art: Contemporary Histories of Performance in the UK, London and New York: Routledge.

Johnstone, Stephen (ed) (2008) The Everyday, London: Whitechapel and Cambridge, MA: MIT Press.

Lavery, Carl and David Williams (eds) (2011) Good Luck Everybody: Lone Twin Journeys, Peformances, Conversations, Aberystwyth: Peformance Research Books.

Le Feuvre, Lisa (ed) (2010) Failure, London: Whitechapel and Cambridge, MA: MIT Press.

Live Art Development Agency (2008-13) The Live Art Almanac, vols. 1, 2 and 3, London: Live Art Development Agency.

Pearson, Mike (2010) Site-Specific Performance, Basingstoke: Palgrave Macmillan.

Quick, Andrew (ed) (2007) The Wooster Group Work Book, London and New York: Routledge.

Savran, David (1988) Breaking the Rules: the Wooster Group, New York: Theatre Communicatons Group.

Schimmel, Paul (ed) (1998) Out of Actions: Between Performance and the Object 1949-1979 (exhibition catalogue), London: Thames and Hudson.

White, Gareth (2013) Audience Participation: Aesthetics of the Invitation, Basingstoke: Palgrave Macmillan.

Whybrow, Nicolas (2007) ‘One Thing and Another: Tomoko Takahashi’s Crash Course@The University of Warwick”, Body, Space and Technology, 6 (2), online:

Zerihan, Rachel (2006) ‘Intimate Inter-actions: Returning to the Body in One to One Performance’, Body, Space and Technology, 6 (1), online:

Further reading

Alÿs, Francis, Catherine Lampert and James Lingwood (eds) (2005) Francis Alÿs Seven Walks, London, 2004-5, London: Artangel.

Auslander, Philip (1994) Presence and Resistance, Ann Arbor: University of Michigan Press.

Barton, Bruce (2009) ‘Paradox as Process: Intermedial Anxiety and the Betrayals of Intimacy’, Theater Journal, 61(4), pp.575-601.

Birringer, Johannes (1991) Theatre, Theory, Postmodernism, Bloomington: Indiana University Press.

Bishop, Claire (2012) Artificial Hells: Participatory Art and the Politics of Spectatorship, London and New York: Verso.

Bottoms, Steve and Matthew Goulish (2007) Small Acts of Repair: Performance, Ecology and Goat Island, London and New York: Routledge.

Brine, Daniel Adrian Heathfield and Lois Keidan (eds) (2003) Live Culture (event publication), London: Live Art Development Agency and Tate Modern.

Butt, Gavin (ed) (2005) After Criticism: New Responses to Art and Performance, Oxford: Blackwell.

Cage, John (1978) Silence, London: Marion Boyars.

Childs, Nicky and Jenny Walwin (eds) (1998) A Split Second of Paradise: live art, installation and performance, London: Rivers Oram Press.

Cody, G. and Rebecca Schneider (2002) Re: Direction, London: Routledge.

Doherty, Claire (ed) (2004) Contemporary Art: From Studio to Situation, London: Black Dog Publishing.

Ferguson, Russell (2007) Francis Alÿs: Politics of Rehearsal, Los Angeles: Hammer Museum and Göttingen: Steidel.

Fernandes, Ciane (2001) Pina Bausch and the Wuppertal Dance Theatre, Bern: Peter Lang.

Franko B (1999) Franko B, London: Black Dog Publishing.

Franko B (2001) Oh Lover Boy, London: Black Dog Publishing.

Giannachi, Gabriella, Nick Kaye and Michael Shanks (eds) (2012) Archaeologies of Presence: Art, Performance and the Persistence of Being, London and New York: Routledge.

Godfrey, Mark (ed) (2010) Francis Alÿs: A Story of Deception, London: Tate Publishing.

Goulish, Matthew (2000) 39 Micro Lectures, London: Routledge.

Heathfield, Adrian, Fiona Templeton and Andrew Quick (eds) (1997) Shattered Anatomies: Traces of the Body in Performance, Bristol: Arnolfini Live.

Heathfield, Adrian (ed) (2000) Small Acts: the Millennium and the Marking of Time, London: Black Dog Publishing.

Henri, Adrian (1974) Total Art: Environments, Happenings and Performance, London: Thames and Hudson.

Hill, Leslie and Helen Paris (2001) Guerilla Performance and Multimedia, London: Continuum.

Hill, Leslie and Helen Paris (eds) (2006) Performance and Place, Basingstoke: Palgrave Macmillan.

Hoffman, Jens and Joan Jonas (2005) Perform, London: Thames and Hudson.

Howell, Anthony (1999) The Analysis of Performance Art: a Guide to its Theory and Practice, Amsterdam: Harwood Academic Publishers.

Johnson, Dominic (2007) ‘”It Only Hurts Because it’s True”: Recent Live Art and Performance in the UK’, Western European Stages, 19 (1), pp.9-14.

Jones, Amelia (1998) Body Art: Performing the Subject, Minneapolis: University of Minnesota Press.

Kaye, Nick (1994) ‘British Live Art’ (introduction), Contemporary Theatre Review, 2(2), pp.1-7.

Kaye, Nick (1996) Art into Theatre, Amsterdam: Harwood.

Kaye, Nick (2000) Site-specific Art: Performance, Place and Documentation, London: Routledge.

Kwon, Miwon (2002) One Place After Another: Site-specific and Locational Identity, Cambridge, MA: MIT.

Lehmann, Hans-Thies (2006) Postdramatic Theatre, London and New York: Routledge.

Lepecki, Andre (2005) Exhausting Dance: Performance and the Politics of Movement, London and New York: Routledge.

Nibbelink, Liesbeth Groot (2012) ‘Radical Intimacy: Ontroerend Goed Meets The Emancipated Spectator’, Contemporary Theatre Review, 22:3, pp.412-420

Orrel, Paula (ed) (2010) Marina Abramovic + the Future of Performance Art, Munich: Prestel.

Pearson, Mike and Michael Shanks (2001) Theatre/Archaeology, London: Routledge.

Phelan, Peggy (1993) Unmarked: the politics of performance, London: Routledge.

Phelan, Peggy (ed) (2012) Live Art in LA: Performance Art in Southern California 1970-1983, London and New York: Routledge.

Sandford, Mariellen (ed) (1995) Happenings and Other Acts, London and New York: Routledge.

Sayre, Henry (1989) The Object of Performance, Chicago: University Press.

Schneider, Rebecca (1997) The Explicit Body in Performance, London: Routledge.

Suderberg, Erika (ed) (2000) Space, Site, Intervention: Situating Installation Art, Minneapolis: University of Minnesota.

Tarsia, Andrea (ed) (2010) Sophie Calle: the Reader, London: Whitechapel Gallery.

Van Noord, Gerrie (ed) (2002), Off Limits: 40 Artangel Projects, London: Merrell.

Virgine, Lea (2000) Body Art and Performance: the Body as Language, Milan: Skira.

Warr, Tracey and Amelia Jones (eds) (2000) The Artist’s Body, London: Phaidon.

Relevant journals

Dance Theatre Journal

Performance Research

Performance and Art Journal (PAJ)

Body, Space, Technology (online)

The Drama Review (TDR)

Contemporary Theatre Review (CTR): Live Art Issue, 22 (1), Feb 2012

Theatre Research International

DVDs (in library)

Live Art Work DVDs 1-8 (Ref. 705A-H)

Forced Entertainment (several)

Complete Beckett (Channel 4 collection of four DVDS)

The Wooster Group’s House/Lights

Pina Bausch’s Dancing Dreams and Pina

Websites (Live Art Development Agency) (Natasha Davis) (Gormley’s One and Other)

Venues/resources/festivals (sample)

Tate Tanks and Turbine Hall at Tate Modern, London

Live Art Development Agency, London

Home Live Art, London

Toynbee Studios, London

Institute of Live Art (ICA), London

Fourth Plinth, Trafalgar Square, London

Fierce Festival, Birmingham

Frieze Festival, London

Spill Festival, Ipswich

Chisenhale Dance Studio, London

National Review of Live Art, Glasgow

Ikon Gallery, Birmingham

VIVID, Birmingham