A

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

B

Bradbury, Janine (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 (2011) Peep. [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 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]

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

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 (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 (2009) The Last Performance [dot org]: an impossible collaboration. Journal of writing in creative practice, 2 (1). pp. 15-25.

Wilsmore, Robert (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 (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