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Contemporary Theatre Review Volume 22, 2012 - Issue 1: Live Art in the UK
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Come Closer: Confessions of Intimate Spectators in One to One Performance

Deirdre Heddon
,
Helen Iball
&
Rachel Zerihan
Pages 120-133 | Published online: 14 Mar 2012

Citations (25)

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Read on this site (5)

Natalia Esling. (2021) Tactile Attention in One-to-One Performance: The effects of touch on participant experience. Performance Research 26:3, pages 88-96.
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Teri Howson-Griffiths. (2020) Locating sensory labyrinth theatre within immersive theatres' history. Studies in Theatre and Performance 40:2, pages 190-205.
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Adam J. Ledger. (2018) Essais. Theatre, Dance and Performance Training 9:2, pages 282-286.
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Sarah Hogarth, Emma Bramley & Teri Howson-Griffiths. (2018) Immersive worlds: an exploration into how performers facilitate the three worlds in immersive performance. Theatre, Dance and Performance Training 9:2, pages 189-202.
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Caoimhe McAvinchey. (2013) Coming of age: arts practice with older people in private and domestic spaces. Research in Drama Education: The Journal of Applied Theatre and Performance 18:4, pages 359-373.
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Articles from other publishers (20)

Emma ColeEmma Cole. 2024. Punchdrunk on the Classics. Punchdrunk on the Classics 1 31 .
Emma Weitkamp & Carla Almeida. 2022. Science & Theatre: Communicating Science and Technology with Performing Arts. Science & Theatre: Communicating Science and Technology with Performing Arts 201 212 .
Jenn Stephenson. (2022) Autobiography in the Audience: Emergent Dramaturgies of Loss in Lost Together and Foreign Radical . Theatre Research in Canada 43:1, pages 81-95.
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Rachel ZerihanRachel Zerihan. 2022. The Cultural Politics of One-to-One Performance. The Cultural Politics of One-to-One Performance 35 64 .
Rachel ZerihanRachel Zerihan. 2022. The Cultural Politics of One-to-One Performance. The Cultural Politics of One-to-One Performance 1 33 .
Rose Turner & Hayley Kasperczyk. 2022. The Art of Serendipity. The Art of Serendipity 101 125 .
Laura Gemini. (2021) Antidoto liveness. La performance dal vivo durante il Covid-19. SOCIOLOGIA DELLA COMUNICAZIONE:60, pages 104-118.
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Sofia Lindström Sol, Cia Gustrén, Gustaf Nelhans, Johan Eklund, Jenny Johannisson & Roger Blomgren. (2022) Mapping research on the social impact of the arts: what characterises the field?. Open Research Europe 1, pages 124.
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Sofia Lindström Sol, Cia Gustrén, Gustaf Nelhans, Johan Eklund, Jenny Johannisson & Roger Blomgren. (2021) Mapping research on the social impact of the arts: what characterises the field?. Open Research Europe 1, pages 124.
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Sarah O’Brien. (2020) Playing the Zombie: Participation and Interpassivity in Gothic XR. Body, Space & Technology 19:1, pages 76.
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José de Jesús Flores Figueroa. (2018) Definición, funciones y papel del espectador frente a la obra creativa. Anagramas - Rumbos y sentidos de la comunicación 17:33, pages 129-151.
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Jocelyn Spence & Steve Benford. (2018) Sensibility, Narcissism and Affect: Using Immersive Practices in Design for Embodied Experience. Multimodal Technologies and Interaction 2:2, pages 15.
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Rose BigginRose Biggin. 2017. Immersive Theatre and Audience Experience. Immersive Theatre and Audience Experience 1 58 .
Kelly Jordan. (2016) On the Border of Participation: Spectatorship and the ‘Interactive Rituals’ of Guillermo Gómez-Peña and La Pocha Nostra. Journal of Contemporary Drama in English 4:1.
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Karen Quigley. (2016) Letting the Truth Get in the Way of a ‘Good’ Story: Spectating Solo and Blast Theory’s Rider Spoke. Journal of Contemporary Drama in English 4:1.
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Mireia Aragay & Enric Monforte. (2016) Introduction: Theatre and Spectatorship – Meditations on Participation, Agency and Trust. Journal of Contemporary Drama in English 4:1.
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Adam AlstonAdam Alston. 2016. Beyond Immersive Theatre. Beyond Immersive Theatre 1 33 .
Jocelyn SpenceJocelyn Spence. 2016. Performative Experience Design. Performative Experience Design 81 103 .
Jocelyn SpenceJocelyn Spence. 2016. Performative Experience Design. Performative Experience Design 45 79 .
Lian Loke & George Poonkhin Khut. 2014. Interactive Experience in the Digital Age. Interactive Experience in the Digital Age 91 108 .

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