REFERENCES

Literature:

  • Abbate, C., ‘Music – Drastic or Gnostic?’, Critical Inquiry 30 (2004) 505-536.
  • Bertram, G. W., Art as Human Practice. An Aesthetics (Berlin 2014).
  • Brook, P., The Empty Space (New York 1968).
  • Fischer-Lichte, E., The Transformative Power of Performance. A new Aesthetics (Abingdon 2008).
  • Govan, E., Nicholson, H. and K. Normington, Making a Performance. Devising Histories and Contemporary Practices (Abingdon 2007).
  • Heidegger, M., De Oorsprong van het Kunstwerk (Frankfurt am Main 1950; 4th edition Amsterdam 2018).
  • LaBelle, B., ‘Auditory Relations’, in: Sterne, J. (ed.), The Sound Studies Reader (New York 2012), pp. 468-474.
  • Lehmann, H.-T., Postdramatic Theatre (Abingdon 2006).
  • Malzacher, F., ‘Empty Stages, Crowded Flats. Performative Curating Performing Arts, in: Graffer, S. and A. Sekkelsten (ed.), Scenekunsten og de Unge (Oslo 2014) 116-127.
  • Meineck, P., ‘The Embodied Space. Performance and Visual Cognition at the Fifth Century Athenian Theatre’, New England Classical Journal 39.1 (2012) 3-46.
  • Schechner, R., Brady, S. (ed.), Performance Studies. An Introduction (Abingdon, 2002; 3rd edition Abingdon, 2013).
  • Wilkie, F., ‘Out of Place. The Negotiation of Space in Site-Specific Performance’, Doctoral Thesis of Philosophy (Surrey, 2004). 

 

 

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