REFERENCES
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- Bishop, Claire (2012) Artificial Hells: Participatory art and the politics of spectatorship, London: Verso Books.
- Butler, Judith (1993) Bodies that Matter: On the discursive limits of ‘sex’, Abingdon: Routledge.
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- Foucault, Michel (1970 [1966]) The Order of Things: An archaeology of the human sciences, New York (NY): Pantheon Books.
- Gibbs, Anna (2010) ‘After affect’, in Melissa Gregg and Gregory J. Seigworth (eds) The Affect Theory Reader, Durham (NC): Duke University Press, pp. 186–205.
- King, Stephen (1974) Carrie, New York (NY): Doubleday.
- Lehmann, Hans-Thies (1999) Postdramatisches Theater [Postdramatic Theatre], Frankfurt am Main: Verlag der Autoren.
- Massumi, Brian (2003) ‘The archive of experience’, in Joke Brouwer, Arjen Mulder, Susan Charlton and V2 (eds) Information is Alive, Rotterdam and New York (NY): V2/ NAi Publishers and D.A.P./Distributed Art Publishers, pp. 142–51.
- Miller, Lynn C. and Taylor, Jacqueline (2006) ‘The constructed self: Strategic and aesthetic choices in autobiographical performance’, in D. Soyini Madison and Judith Hamera (eds) The SAGE Handbook of Performance Studies, Thousand Oaks (CA) and London: Sage, pp. 169–87.
- Muñoz, José Esteban (1999) Disidentifications: Queers of color and the performance of politics, Minneapolis (MN): University of Minnesota Press.
- Wicht, Philippe (2015a) Prom (Swiss Performance Art Award 2015), video documentation, 6:10, https://vimeo.com/146394346, 20 November, accessed 4 April 2016.
- Wicht, Philippe (2015b) Prom, video documentation, 30:33, used by permission of the artist.
- Wicht, Philippe (2015c) ‘Statement’, in Arsenic Centre d’Art Scénique Contemporain (ed.) Plan Cul, Lausanne: Arsenic Centre d’Art Scénique Contemporain, p.2.