References
- Alston, A., 2013. Audience Participation and Neoliberal Value: Risk, Agency and Responsibility in Immersive Theatre. Performance Research, 18 (2), 128–138.
- Alston, A., 2016. Beyond Immersive Theatre. London: Palgrave Macmillan.
- Amsden, L., 2016. ‘When they laugh your clown is coming’: Learning to be Ridiculous in Philippe Gaulier’s Pedagogy of Spectatorship. Theatre, Dance and Performance Training, 7 (1), 4–16.
- Amsden, L., 2017. Monsieur Marcel and Monsieur Flop: Failure in Clown Training at Ecole Philippe Gaulier. Theatre, Dance and Performance Training, 8 (2), 129–142.
- Barrett, F., 2007. Felix Barrett in Discussion with Josephine Machon. Body, Space & Technology, 7 (1), n.p. Available from: http://people.brunel.ac.uk/bst/vol0701/home.html [Accessed 3 Mar 2018].
- Beckett, S., 1983. Worstward Ho. New York: Grove Press.
- Bishop, C., 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.
- Bogart, A. and Landau, T., 2005. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group.
- Bourriaud, N., [1998] 2006. Relational Aesthetics. In: C. Bishop, ed. Participation. London and Cambridge, MA: Whitechapel and The MIT Press, 160–171.
- Britton, J., 2013. ‘Self-With-Others’: A Psychophysical Approach to Training the Individual in Ensemble. In: J. Britton, ed. Encountering Ensemble. London: Bloomsbury, 313–362.
- Freshwater, H., 2009. Theatre and aUdience. Basingstoke: Palgrave Macmillan.
- Gardner, L., 2014. Immersive Theatre: Living Up to its Name, or Just an Overused Gimmick? The Guardian Theatre Blog, 19 Sep. Available from: https://www.theguardian.com/stage/theatreblog/2014/sep/19/immersive-theatre-overused-marketing-gimmick [Accessed 9 Jun 2017].
- Harvie, J., 2013. Fair Play: Art, Performance and Neoliberalism. Basingstoke: Palgrave Macmillan.
- Jenkins, H., 2006. Convergence Culture: Where Old and New Media Collide. New York: NYU Press.
- Kaleider, 2013. The Money [performance], directed by S. Honnor. Available from: http://kaleider.com/projects/the-money/ [Accessed 4 Aug 2017].
- Lecoq, J., [1997] 2000. The Moving Body (Le Corps poétique): Teaching Creative Theatre. Trans. D. Bradby. New York: Routledge.
- Lecoq, J., [1987] 2006. Theatre of Movement and Gesture. Ed. D. Bradbury. London: Routledge.
- Machon, J., 2013. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. Basingstoke: Palgrave Macmillan.
- Murray, S., 2003. Jacques Lecoq. London: Routledge.
- O’Grady, A., 2011. Interactivity. In: J. Pitches and S. Popat, eds. Performance Perspectives: A Critical Introduction. Basingstoke: Palgrave Macmillan.
- Goed, Ontroerend, 2014. Internal. All Work and No Plays: Blueprints for 9 Theatre Performances by Ontroerend Goed. London: Oberon, 63–125.
- Phelan, P., 2003. Performance, Live Culture and Things of the Heart. Journal of Visual Culture, 2 (3), 291–302.
- Shelley, M., [1918] 1993. Frankenstein: Or, the Modern Prometheus. London: Wordsworth Classics.
- Student focus group, 2017. Minutes of the Interactivity Lab focus group, 23 March. Research and Performance student focus group with the author. Exeter: University of Exeter.
- Trueman, M., 2009. Going Back Inside: Internal Revisited. Matt Trueman Blog, 6 Sep. Available from: http://matttrueman.co.uk/2009/09/going-back-inside-internal-revisited.html [Accessed 4 Aug 2017].
- White, G., 2013. Audience Participation in Theatre: Aesthetics of the Invitation. Basingstoke: Palgrave Macmillan.
- White, G., 2016. Theatre in the ‘Forest of Things and Signs’. Journal of Contemporary Drama in English, 4 (1), 21–33.