Archives, Liveness, Documentation and Re-enactments

Abbott, D. Jones, S. and Ross, S (2009) ‘Re-Defining the Performing Arts Archive’, Archivarial Science, 8 (3), pp. 165-171

Anderson, J. (2008) ‘Theatrical Photography, Photographic Theatre and the Still: The Photography of Sophie Moscoso at the Theatre du Soleil’, About Performance, (8), pp. 163-178

Argelander, R. (1974) ‘Photo-Documentation (and Interview with Patrick Moore)’, TDR: The Drama Review, 188 (3), pp. 51-58

Auslander, P. (2006) ‘The Performativity of Performance Documentation’. PAJ: A Journal of Performance and Art, 28, (3), pp.1-10

___________ (2008) Liveness: Performance in a Mediatized Culture. 2ndedn. New York: Routledge

Barba, E. and Delconte, S. (1992) ‘Eftermaele: “That Which Will be Said Afterwards”’. TDR:The Drama Review, 36, (2), pp. 77-80

Benjamin, W. (1999) ‘The Work of Art in the Age of Mechanical Reproduction’ in ___________Illuminations, pp. 211-245. New York: Schoken Books

Birringer, J. (1999) ‘Contemporary Performance/Technology’, Theatre Journal 51, (4), pp. 361-381.

Bishop, C.(2012a) Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso

Christie, J., Gough, R. and Walt, D. (eds.) (2006) A Performance Cosmology: Testimony from the Future, Evidence of the Past. NewYork: Routledge

Cook, T. (1997) ‘Whatis Past is Prologue: A History of Archival Ideas since 1898, and the Future Paradigm Shift’, Archivaria, 43, pp. 17-63

_______ (2001) ‘Fashionable Nonsense or Professional Rebirth: Postmodernism and the Practice of Archives’, Archivaria, 51, pp. 14-35

Coventry University and Siobhan Davies Dance (2009) The Archive of Siobhan Davies Dance(online). Available at:

Critical Art Ensemble (2000) ‘Recombinant Theatre and the Digital Resistance’, The Drama Review, 44 (4), pp. 74-102

Cronin, B. (2008) ‘Post-Memory and the Holocaust: A Project Against Forgetting’, Contemporary Theatre Review, 18, (2), pp. 208-218

Davis, P. (1995) ‘The Work of Art in the Age of Digital Reproduction (an Evolving Thesis: 1991-1995)’, Leonardo, 28, (5), pp.381-386

Deller, J. (no date) The Battle of Orgreave, 2001. Available at:

Derrida, J. (1996) Archive Fever.Chicago: The University of Chicago Press

Dillon, B. (ed.) (2011) Ruins (Documents of Contemporary Art). London: MIT and Whitechapel Gallery Press

Dixon, S. (1999) ‘Digits,Discourse and Documentation: Performance Research and Hypermedia’, TDR:The Drama Review, 43 (1), 152-175

Dunkelberg, K. (2005) ‘Confrontation, Simulation, Admiration: The Wooster Group’s Theatre’, TDR:The Drama Review, 49 (3), pp.43-57

Ellis, S.K., Ledger, A., and Wright, F. (2010) ‘The Question of Documentation: Creative Strategies in Performance Research’ in Kershaw, B. and Nicholson, H. (eds.) Research Methods in Theatre and Performance, pp. 162-186. Edinburgh: Edinburgh University Press

Etchells, T. and Lowdon, R. (1996) ‘Forced Entertainment Theatre Co-Operative’ in Kaye, N. (ed.) Art into Theatre. Amsterdam: Harwood Academic Press, pp.235-253

Enwezor, O. (2009) Archive Fever: Photography Between History and the Monument. New York: Steidl

Foucault, M. (2007) The Archaeology of Knowledge. London: Routledge

Freeman, J. (2003) Tracing the Footprints: Documenting the Process of Performance. Maryland: University Press of America

Freshwater, H. (2003) ‘The Allure of the Archive: Performance and Censorship’. Poetics Today, 24, (4), pp. 729-759

Gale, M.B.and Featherstone, A.(2011) ‘The Imperative of the Archive: Creative Archive Research’ in Kershaw, B. and Nicholson, H. (eds.) Research Methods in Theatre and Performance. Edinburgh: Edinburgh University Press

Gianacchi, G., Rowland, D., Benford, S., Foster, J., Adams, M., Chamberlain, A. (2010) ‘Blast Theory’s Rider Spoke, it’s Documentation and the Making of its Replay Archive’, Contemporary Theatre Review, 20, (3), pp. 353-368

Gianacchi, G.,Kaye, N. and Shanks, M. (eds.) (2012) Archaeologies of Presence: Art, Performance and the Persistence of Being. London: Routledge

Gibbons, J. (2008) Contemporary Art and Memory: Images of Recollection and Remembrance. London: IB Tauris & Co. Ltd!

Goldsmith, N. F. B. (2007) ‘Filming Theatre: The Audiovisual Documentation as a Substitute for Performance’. PhD Thesis. Brigham Young University. Available at:

Grotowski, J. (1987) ‘You Are Someone’s Son’, TDR: The Drama Review, 31 (3), pp.30-41

Heathfield, A. and Jones, A. (2012) Live, Repeat, Record: Live Art in History. Bristol: Intellect Books

Heddon, D.(2002) ‘Performing the Archive: Following in the Footsteps’, Performance Research, 7, (4), pp. 64-77

Imaginary Evidence (2003) Tim Etchells and Forced Entertainment [CD-ROM]. Available: Forced Entertainment

Jackson, A. and Kidd, J. (eds.) (2010) Performing Heritage: Research, Practice and Innovation in Museum Theatreand Live Interpretation. Manchester: University of Manchester Press

Jones, A. (2010) “‘The “Artist is Present’”: Artistic Re-enactments and the Impossibility of Capturing Presence’ in TDR: The Drama Review, 55, (1), pp. 16-45

_________(2011) ‘Notes on an (Impossible/Eternal) Return: A Foreword’, in Yadong-Hao, S. and Hearn, M. (eds.) Notes on a Return. Sunderland: Arts Edition North, pp. 7-12

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

Kershaw, B. (2007) Theatre Ecology: Environments and Performance Events. Cambridge: Cambridge University Press

___________ (2009) ‘Performance as Research: Live Events and Documents’, The Cambridge Companion to Performance Studies. Cambridge: Cambridge University Press

Ketelar, E. (2001) ‘Tacit Narratives: “The Meaning of Archives”’, Archival Science, 1, (2), pp.131-141

Marini, F. (2008) ‘Performing Arts Archives: Dynamic Entities Complementing and Supporting Scholarship and Creativity’, Theatre History Studies, 28, pp. 27-35

McGillivray, G. (2011) Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance. Oxford: Peter Lang

Millar, L. (2006) ‘Touchstones: Considering the Relationship Between Memory and Archives’, Archivaria, 61, pp. 105-126

Nicholson, H. (2012) ‘On Archives and Legacies’, Research in Drama Education, 17, (1), pp. 1-5

Osthoff, S. (2009) Performing the Archive: The Transformation of the Archive in Contemporary Art from Repository of Documents to Art Medium. Edited by Wolfgang Schirmacher. New York: Atropos Press

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

Phelan, P. (1993) Unmarked: The Politics of Performance. London: Routledge

Putnam, J. (2001) 2ndedn. Art and Artifact: The Museum as Medium. London: Thames and Hudson Ltd

Reason, M. (2003) ‘Archive or Memory? The Detritus of Live Performance’, New Theatre Quarterly, 29, pp. 82-89

__________ (2006) Documentation, Disappearance and the Representation of Live Performance. Basingstoke: Palgrave Macmillan

Roach, J. (1996) Cities of the Dead: Circum-Atlantic Performance. New York: Columbia University Press

Rye, C. (2003) ‘Incorporating Practice: A Multi-Viewpoint Approach to Performance Documentation’, Journals of Media Practice, 3, pp. 115-123

Sant, T. (ed.) (2017) Documenting Performance: The Context and Processes of Digital Curation and Archiving. London: Bloomsbury

Santone, J. (2008) ‘Marina Abramović’s “Seven Easy Pieces”:Critical Documentation Strategies for Preserving Art’s History’, Leonardo, 41, (2), pp. 147-152

Schmitt, N. (1976) ‘Recording the Theatre in Photographs’, EducationalTheatre Journal, 28, (3), pp. 376-388

Schneider, R. (2001) ‘Performance Remains’. Performance Research, 6, (2), pp.100-108

__________ (2011) Performing remains: Art and War in Times of Theatrical Re-enactment. London: Routledge

Stapleton, P. (2007) ‘Dialogic Evidence: Documentation of Ephemeral Events’, Body, Space & Technology, 7, pp.1-13

Taylor, D. (2003) The Archive and the Repertoire: Cultural Memory and Performance in the Americas. North Carolina: Duke University Press

________ (2006) ‘Performance and/as History’, TDR: The Drama Review, 50, (1), 67-86