A

Adair, Christy (2013) British dance: Black routes. [Show/Exhibition]

B

Bradbury, Janine ORCID: https://orcid.org/0000-0001-6904-3592 (2016) Grappling and ga(y)zing: gender, sexuality, and performance in the WWE debut of Goldust and Marlena. In: Chow, Broderick, Laine, Eero and Warden, Claire, (eds.) Performance and professional wrestling. Routledge, pp. 107-117

C

Chatzichristodoulou, Maria, Lavender, Andy and Nedelkopoulou, Eirini (2017) Preamble Encountering the Digital in Performance: Deployment |Engagement |Trace. Contemporary Theatre Review, 27 (3). pp. 309-310.

Cologni, Elena (2006) Experiential. [Show/Exhibition]

Cologni, Elena (2005) Mnemonic Present, Un-Folding (series). [Performance]

Cologni, Elena (2001) Public Private Perceptions. [Show/Exhibition]

Cologni, Elena (2003) Tracing. [Show/Exhibition]

Conlon, Rachel (2020) The Meeting Place: Collaborative Learning in a University-Prison Partnership. In: McAvinchey, Caoimhe, (ed.) Women and the Criminal Justice System. Applied Theatre . Methuen Drama (Bloomsbury), pp. 173-186

H

Hind, Claire (2008) Hotel Two Rooms; the practice of adaptation, projection and play in performance. [Performance]

Hind, Claire (2005) Screen test. [Performance]

Hind, Claire and Jeffery, Mark (2017) Queering Ritual. In: Queering Ritual: International Conference, 3-4 November 2017, York St John University.

Hind, Claire and Qualmann, Clare (2022) Wander, Score. [Performance]

Hind, Claire and Winters, Gary (2011) Ghost Track and Kong Lear. [Show/Exhibition]

Hind, Claire and Winters, Gary (2017) Lost in a Sea of Glass and Tin. An international performance in Chicago at the Defibrillator Gallery, Chicago. [Performance]

L

Lawson Welsh, Sarah ORCID: https://orcid.org/0000-0003-2270-057X (2022) 'Reading Against the Grain: Reading The Long Song intertextually'. ARIEL: An international Review of English, 53 (1-2). pp. 193-197.

M

Marcalo, R A C A (2004) Crooked Angels. [Performance]

Marcalo, R A C A (2007) White out conditions. [Show/Exhibition]

N

Nash, Steve and Rowe, Nick (2000) Safety, Danger and Playback Theatre. Dramatherapy, 22 (3). pp. 18-20.

Nedelkopoulou, Eirini (2017) Attention Please! Changing Modes of Engagement in Device-enabled One-to-one Performance Encounters. Contemporary Theatre Review, 27 (3). pp. 353-365.

Nedelkopoulou, Eirini (2011) Walking out on our bodies. Participation as ecstasis in Janet Cardiff's walks. Performance Research, 16 (4). pp. 117-123.

P

Pendle, Andrew and Rowe, Nick (2010) Beyond dramatic truth: theatre within the therapeutic encounter. Research in Drama Education: The Journal of Applied Theatre and Performance, 15 (1). pp. 89-102.

R

Raby, Julie (2015) Review of Shakespeare's Henry IV Parts One and Two (directed by Gregory Doran for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 23 August 2014, Theatre Royal Newcastle, 1 October 2014 and Lowry, Manchester, 22 October 2014. Shakespeare, 11 (3). pp. 325-327.

Reason, Matthew ORCID: https://orcid.org/0000-0003-0536-4236 (2006) Audience. Performance Research, 11 (3). pp. 7-10.

Reason, Matthew ORCID: https://orcid.org/0000-0003-0536-4236 (2019) Participatory audiencing and the committed return. In: Kolesch, Doris, Schütz, Theresa and Nikoleit, Sophie, (eds.) Staging spectators in immersive performances: commit yourself! Taylor & Francis

Reason, Matthew ORCID: https://orcid.org/0000-0003-0536-4236 (2017) Representing Soldiers to Soldiers through Dance: Authenticity, Theatricality and Witnessing the Pain of Others. Dance Research Journal, 49 (2). pp. 79-95.

Reason, Matthew ORCID: https://orcid.org/0000-0003-0536-4236 (2008) Thinking Theatre: Enhancing Children’s Theatrical Experiences Through Philosophical Enquiry. Childhood and Philosophy, 4 (7). pp. 115-145.

Reason, Matthew ORCID: https://orcid.org/0000-0003-0536-4236 (2018) What Makes a Theatre Goer? Habitus, Identity and Interest Development in Adolescent Audiences to Shakespeare. In: Banks, Fiona, (ed.) Shakespeare: Actors and Audience. Bloomsbury

Reason, Matthew ORCID: https://orcid.org/0000-0003-0536-4236 (2006) Young audiences and live theatre, Part 1: methods, participation and memory in audience research. Studies in Theatre and Performance, 26 (2). pp. 129-145.

Reason, Matthew ORCID: https://orcid.org/0000-0003-0536-4236 (2010) The young audience: exploring and enhancing children’s experiences of theatre. Trentham Books

Reason, Matthew ORCID: https://orcid.org/0000-0003-0536-4236 and Heinemeyer, Catherine ORCID: https://orcid.org/0000-0001-6300-5544 (2016) Storytelling, story-retelling, storyknowing: towards a participatory practice of storytelling. Research in Drama Education: The Journal of Applied Theatre and Performance, 21 (4). pp. 558-573.

Rowe, Nick (2010) Playing the Other: Dramatizing personal narratives in playback theatre [Arabic version]. Cairo, National Centre for Translation

Rowe, Nick (2008) 당신의 이야기로 놀아드립니다 플레이백 시어터의 세계 [Playing the Other: Dramatizing personal narratives in playback theatre]. Jessica Kingsley

Rowe, Nick (2007) Playing the other: dramatizing personal narratives in playback theatre. Jessica Kingsley

S

Sanjeewa, Winojith ORCID: https://orcid.org/0000-0001-7880-1500 (2021) Performing arts & Ethnicity: Sinhalese and Tamil ethnicity influences the performing arts and the artiste’s practice in SriLanka. Technium Social Sciences Journal, 22 (1). pp. 819-831.

Sanjeewa, Winojith ORCID: https://orcid.org/0000-0001-7880-1500 (2018) The performing artistes in Sri Lanka: the contribution to ethno-religious cohesion through their shaping and challenging of socio-cultural norms. Doctoral thesis, The University of Leeds.

Saroukhani, Henghameh, Lawson Welsh, Sarah ORCID: https://orcid.org/0000-0003-2270-057X and Perfect, Michael (2022) Afterlives, Aftermaths: Levy Studies in the Twenty-First Century. ARIEL, 53 (1-2). pp. 7-24.

Skinner, Amy ORCID: https://orcid.org/0000-0002-0790-741X (2017) Performance Translation: Digitization, desire, intention and interpretation in photographic documentation. In: Documenting Performance: The context and processes of digital curation and archiving. Bloomsbury

Skinner, Amy ORCID: https://orcid.org/0000-0002-0790-741X and Paxton, Naomi (2017) Recoveries: Nikolai Evreinov, V kulisakh dushi (1921). Keywords: A Journal of Cultural Materialism.

Stripe, Adelle (2017) Why the Royal Court is right to reinstate Rita, Sue and Bob Too. New Statesman.

Stripe, Adelle and Holdsworth, Lisa (2019) Black Teeth and a Brilliant Smile (Modern Plays). 1st ed. Modern Plays . London, Methuen Drama (Bloomsbury)

W

Walker, Nathan ORCID: https://orcid.org/0000-0001-8419-9018 (2016) Condensations. Uniformagazine, 7.

Walker, Nathan ORCID: https://orcid.org/0000-0001-8419-9018 (2014) Permutation and Randomness in the Action Score Generator. Journal of writing in creative practice, 7 (1). pp. 213-221.

Walkling, Saffron (2018) Denmark’s a Prison: Appropriating Modern Myths of Hamlet After 1989 in Lin Zhaohua’s Hamulaite and Jan Klata’s H. In: Mancewicz, Aneta and Joubin, Alexa Alice, (eds.) Local and Global Myths in Shakespearean Performance. Reproducing Shakespeare . Springer, pp. 155-171

Wall, Tony, Fries, J., Rowe, Nick, Malone, E. and Osterlind, E. (2020) Drama and Theatre for Health and Wellbeing. In: Filho, Walter Leal, Wall, Tony, Azul, Anabela Marisa, Brandli, Luciana and Özuyar, Pinar Gökcin, (eds.) Good Health and Well-Being. Encyclopedia of the UN Sustainable Development Goals . Springer

Williams, Gweno (2013) Creative approaches to drama in the English classroom. In: Birketveit, Anna and Williams, Gweno, (eds.) Literature for the English classroom: theory into practice. Fagbokforlaget

Williams, Gweno (2004) Margaret Cavendish: plays in performance. [Video]

Williams, Gweno, Findlay, A. and Hodgson-Wright, S. (2005) Payments, Permits and Punishments: Women Performers and the Politics of Place. In: Brown, P. A. and Parolin, P., (eds.) Women Players in England, 1500-1660: Beyond the All-Male Stage. Ashgate, pp. 45-67

Williams, Gweno, Merrylees, John and Richmond, David (2011) Producing The Creation and Fall of Man in twenty-first century York: Thys werke is wroght now. In: Rogerson, Margaret, (ed.) The York Mystery Plays: performance in the City. Boydell and Brewer Limited, York Medieval Press imprint, pp. 145-156

Wilsmore, Robert ORCID: https://orcid.org/0000-0003-1584-6239 (2009) The Last Performance [dot org]: an impossible collaboration. Journal of writing in creative practice, 2 (1). pp. 15-25.

Wilsmore, Robert ORCID: https://orcid.org/0000-0003-1584-6239 (2004) Selection 44: The ancient art of Remixing: Exploration of the use of existing music in new compositions and developing new compositional techniques through practice and reflection. [Composition]

Wilsmore, Robert ORCID: https://orcid.org/0000-0003-1584-6239 (2005) The music before the music: Exploring the liminal spaces in sound as music for dance installation and dance theatre: i) Threshold:Fleshfold; and ii) Myths and Stories about her. [Performance]

Y

Yore, Sue (2015) 'Seeing Paradise in the Dust of the Streets': A Reflection on Student's Art Projects. In: Kim, Sebastian, Kollontai, Pauline and Yore, Sue, (eds.) Mediating Peace: Reconciliation Through Art, Music and Film. Cambridge Scholars, pp. 74-98