[1]
Burrows, Jonathan, A choreographer’s handbook. London: Routledge, 2010 [Online]. Available: http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203852163
[2]
J. Hamilton, ‘Dance improvisation (1994)’, vol. Arts archives. Arts Documentation Unit, Exeter, 2006.
[3]
J. Peeters and Damaged Goods (Dance company), Are we here yet ?: Damaged Goods, Meg Stuart. Dijon, Belgium: Presses Du Reel, 2010.
[4]
S. Rethorst, A choreographic mind: autobodygraphical writings. Helsinki: Theatre Academy, 2013.
[5]
Goulish, Matthew and ebrary, Inc, 39 microlectures: in proximity of performance. London: Routledge, 2000.
[6]
K. De Spain, Landscape of the now: a topography of movement improvisation. New York: Oxford University Press, 2014 [Online]. Available: https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9780199988273&uid=^u
[7]
R. Zaporah, Action theater: the improvisation of presence. Berkeley, Calif: North Atlantic Books, 1995.
[8]
Banes, Sally, Terpsichore in sneakers: post-modern dance, [Reissued], with A new introduction. Middletown, Conn: Wesleyan University Press, 1987.
[9]
Banes, Sally and Lepecki, Andr.̌, The senses in performance, vol. Worlds of performance. London: Routledge, 2007.
[10]
J. C. Lalitaraja, ‘A Buddhist’s approach to choreography as spiritual practice’, Journal of Dance and Somatic Practices, vol. 4, no. 1, pp. 143–154, Aug. 2012, doi: 10.1386/jdsp.4.1.143_1.
[11]
Attending to Movement - Triarchy Press. [Online]. Available: http://www.triarchypress.net/attending-to-movement.html
[12]
H. Blum, Ed., Dancing with Dharma: essays on movement and dance in western Buddhism. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2016 [Online]. Available: http://capitadiscovery.co.uk/roehampton/items/835665
[13]
M. Buckwalter and ebrary, Inc, Composing while dancing: an improviser’s companion. Madison, Wis: University of Wisconsin Press, 2011 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=3445138
[14]
S. Rethorst, A choreographic mind: autobodygraphical writings. Helsinki: Theatre Academy, 2013.
[15]
J. Peeters and Damaged Goods (Dance company), Are we here yet ?: Damaged Goods, Meg Stuart. Dijon, Belgium: Presses Du Reel, 2010.
[16]
Blom, Lynne Anne and Chaplin, L. Tarin, The intimate act of choreography. London: Feffer and Simons, 1982 [Online]. Available: https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=2038173
[17]
S. Rethorst, A choreographic mind: autobodygraphical writings. Helsinki: Theatre Academy of the University of the Arts.
[18]
Pilbrow, Richard, Stage lighting, 2nd ed. London: Cassell, 1982.
[19]
S. Rethorst, A choreographic mind: autobodygraphical writings. Helsinki: Theatre Academy, 2013.
[20]
Keersmaeker, Anne Teresa de and Cvejic, Bojana, A choreographer’s score: Fase, Rosas danst Rosas, Elena’s Aria, Bartók. Brussels: Mercatorfonds.
[21]
‘Sasha Waltz – Körper / S / noBody - Special Edition DVD - Arthaus Musik’. [Online]. Available: http://arthaus-musik.com/dvd/sondereditionen/media/details/sasha_waltz_koerper_s_nobody.html?no_cache=1
[22]
‘Musique de Tables by Thierry De Mey (Sophimages)’. [Online]. Available: http://www.sophimages.be/Film/Detail/1012
[23]
Brown, Trisha and Kertess, Klaus, Trisha Brown: early works 1966-1979, vol. ARTPIX notebooks. [New York]: Artpix, 2004.
[24]
‘Early Works - Films and documentaries | Rosas’. [Online]. Available: http://www.rosas.be/en/film/early-works-films-and-documentaries
[25]
Blom, Lynne Anne and Chaplin, L. Tarin, The moment of movement: dance improvisation. London: Dance Books, 2000.
[26]
Albright, Ann Cooper and Gere, David, Taken by surprise: a dance improvisation reader. Hanover, N.H.: Eurospan [distributor], 2003.
[27]
Johnstone, Keith, Impro: improvisation and the theatre, Corr. ed., vol. Methuen drama. London: Eyre Methuen, 1981.
[28]
Novack, Cynthia J., Sharing the dance: contact improvisation and American culture, vol. New directions in anthropological writing. London: University of Wisconsin Press, 1990.
[29]
Steinman, Louise, The knowing body: elements of contemporary performance & dance. Boston: Shambhala, 1986.
[30]
Tufnell, Miranda and Crickmay, Christopher, Body, space, image: notes towards improvisation and performance. London: Virago, 1990.
[31]
Keogh, Martin, The art of waiting: essays on contact improvisation. North Easton, Mass: Martin Keogh.
[32]
Adshead-Lansdale, Janet, Study of Dance Conference, and National Resource Centre for Dance, Choreography: principles and practice : report of the fourth study of dance conference, University of Surrey, 4-7 April 1986. Guildford: Published for the Dance Research Unit by the National Resource Centre for Dance, 1987.
[33]
Adshead-Lansdale, Janet, Jones, Chris, and Study of Dance Conference, Border tensions: dance and discourse : proceedings of the fifth Study of Dance Conference, University of Surrey, 20-23 April 1995. Guildford: Department of Dance Studies, University of Surrey, 1995.
[34]
Adshead-Lansdale, Janet, Dancing texts: intertextuality in interpretation. London: Dance Books, 1999.
[35]
Banes, Sally, Writing dancing in the age of postmodernism. Hanover, N.H.: University Press of New England, 1994 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10607263
[36]
Campbell, Patrick, Analysing performance: a critical reader. Manchester: Manchester University Press, 1996.
[37]
Fancher, Gordon and Myers, Gerald E., Philosophical essays on dance: with responses from choreographers, critics and dancers : based on a conference at the American Dance Festival. London: Dance Horizons, 1981.
[38]
Hayes, Elizabeth R., Dance composition and production: for high schools and colleges. London: Dance Horizons, 1981.
[39]
Humphrey, Doris and Pollack, Barbara, The art of making dances. New York: Rinehart, 1959.
[40]
Huxley, Michael and Witts, Noel, The Twentieth-century performance reader. London: Routledge, 1996.
[41]
‘Ottone / Ottone I and II | Rosas’. [Online]. Available: http://www.rosas.be/en/film/ottone-ottone-i-and-ii
