Last updated 16/2/19 – It’s a bit daunting so I’ve put some ‘essential reads’ in red.
Please send details of any sources I have missed to me here.
Bibliography, Outdoor Arts
ABBITT, E.S., FRANK, J., HARRIS, G.G. and MOCK, R., 2011. Aging Provocateurs and Spect (er)acular Pub(l)IC Performances. Performance Research, 16(2), pp. 50-56.
ACCONCI, V., 1990. Public Space in a Private Time. Critical Inquiry, 16(4), pp. 900-918.
ACE, 2008. New Landscapes: Outdoor Arts Development Plan, 2008-2011. London: ACE.
ALEXANDER, V.D., 2007. State Support of Artists: The Case of the United Kingdom in a New Labour Environment and Beyond. The Journal of Arts Management, Law, and Society, 37(3), pp. 185-200.
BBC NEWS, 2006, -05-07. Final day of ‘elephant’ spectacle. Available: http://news.bbc.co.uk/1/hi/england/london/4981728.stm [7/3/18]
BOLAND, G., 2008. Article 3 Devising Original Entertainments for Popular Audiences: ‘New Lamps for Old!’. Applied Theatre Researcher 9, pp. 1-19.
BOUISSAC, P., 1992. Ecology of street performance. TDR: The Drama Review, 36(3), pp. 10.
BRADBY, D., JAMES, L. and SHARRATT, B., 1980. Performance and politics in popular drama: aspects of popular entertainment in theatre, film, and television, 1800-1976. Cambridge: Cambridge University Press.
BRUNER, M.L., 2005. Carnivalesque Protest and the Humorless State. Text and Performance Quarterly, 25(2), pp. 136-155.
BYWATER, M., 2007. Performing Spaces: Street Music and Public Territory. twentieth-century music, 3(1), pp. 97-120.
CALDER, D., 2019. Street Theatre and the Production of Postindustrial Space: Working Memories. Manchester: Manchester University Press.
CAMPBELL, P.J., 1981. Passing the hat. 1. print. edn. New York: Delacorte.
CARLIN, A., 2014. Working The Crowds. Features of Street Performance in Public Space. In: City Imaging: Regeneration, Renewall, and Decay. Brabazon, T., (ed) pp 157-169
COHEN-CRUZ, J., 1998. Radical street performance: an international anthology. London: Routledge.
COULT, T. and KERSHAW, B., 2002. Engineers of the imagination: the Welfare State handbook. Rev. ed. edn. London: Methuen Drama.
CROOSE, J.F., 2014. The practices of carnival: community culture and place, ProQuest Dissertations Publishing.
EDENSOR, T. and BOWDLER, C., 2015. Site-Specific Dance: Revealing and Contesting the Ludic Qualities, Everyday Rhythms, and Embodied Habits of Place. Environment and Planning A, 47(3), pp. 709-726.
EDENSOR, T., LESLIE, D., MILLINGTON, S. and RANTISI, N., 2009. Spaces of Vernacular Creativity : Rethinking the Cultural Economy. 1 edn. Florence: Routledge.
ELDHOSE, A.Y., 2014. Political conscientisation through street theatre: a study with reference to Kalyanasaugadhikam. Research in Drama Education, 19(4), pp. 340-354.
FOREMAN-WERNET, L. and DERVIN, B., 2011. Cultural Experience in Context: Sense-Making the Arts. The Journal of Arts Management, Law, and Society, 41(1), pp. 1-37.
FOX, J., 2009. Eyes On Stalks. Bloomsbury Publishing.
FOX, J. and GILL,S., 1985. Welfare State International: Seventeen Years on the Streets. The Drama Review: TDR, 29(3), pp. 117-126.
GABER, F., 2009a. 40 Years of Street Arts. Paris: Ici & la.
GABER, F., 2009b. How it All Started: Street Arts in the Context of the 1970’S. Paris: Ici & la.
GARDAIR, C., 2013. Assembling audiences, ProQuest Dissertations Publishing.
GOFFMAN, E., 1966. Behavior in Public Places. New York: Free Press.
GOODACRE, J., June 16, 2016-last update, Outdoor pursuits. Available: http://www.artsprofessional.co.uk/magazine/article/outdoor-pursuits [Mar 28, 2017].
HAEDICKE, S.C., 2013. Contemporary street arts in Europe. Basingstoke: Palgrave Macmillan.
HARRIS, S., 2004. ‘Dancing in the Streets’: The Aurillac Festival of Street Theatre. Contemporary Theatre Review, 14(2), pp. 57-71.
HARRISON-PEPPER, S., 1990. Drawing a circle in the square. 2010 edn. Jackson: Univ. Press of Mississippi.
HARVIE, J., 2009. Theatre and the City. Basingstoke: Palgrave Macmillan.
HERMANN, P., 2000. Playing With Fire: art on the streets of Manchester. Manchester: MIA [I have spare copies of this if required, as does Jeremy Shine]
HOOGLAND, R., 2014. Playing on and Around the Public Square. Themes in Theatre, 8, pp. 163-180.
HOPKINS, D., ORR, S., SOLGA, K., Performance and the City. Basingstoke: Palgrave Macmillan.
JACKSON, P. and ENGLAND, 1988. Street life: the politics of Carnival. Environment and Planning D: Society and Space, 6(2), pp. 213-227.
KERSHAW, B., 1999. The radical in performance. London: Routledge.
KERSHAW, B., 1992. The politics of performance: radical theatre as cultural intervention.
LEFEBVRE, H., 2004. Rhythmanalysis: space, time and everyday life. London: Bloomsbury.
MASON, B., 1992. Street theatre and other outdoor performance. London: Routledge.
MASON, B., 2016. Provocation in popular culture. London: Routledge
MacDONALD, A., STICKLEY, S. & HAWTHORN, P., 1991. Street Theatre: performing outdoors for any occasion. Eastbourne: Minstrel.
MCCORMACK, D., MELS, T., (Ed.), 2016. Reanimating Places: A Geography of Rhythms. London: Routledge.
MILLS & YAU, 2016-last update, Report | Outdoor Arts Audiences. Available: https://www.theaudienceagency.org/insight/outdoor-arts-audiences1 [Mar 28, 2017].
MILLS, P., 2018 Outdoor Arts Audience Report. Available from: https://www.theaudienceagency.org/insight/outddor-arts-audience-report[Accessed 27/11/2018]
NA, 2016-last update, THE COVENT GARDEN STREET PERFORMERS ASSOCIATION. Available: /directory/entertainment/street-performers/covent-garden-street-performers-association [Mar 29, 2017].
POWER, C. and KNIGHT, C., 2012. Arrest for Attempted Street Theatre. Anthropology Today, 28(1), pp. 24-26.
READ, A., 2006. Backpages 16.4: Royal de Luxe’s “The Sultan’s Elephant” (London, 2006): The Elephant in the Street. Contemporary Theatre Review, 16(4), pp. 522-523.
REICHER, S., 2017. “La beauté est dans la rue”: Four reasons (or perhaps five) to study crowds. Group Processes & Intergroup Relations 2017, 20(5), pp. 593–605
SANDERSON, C. C., 2003. Gorilla Theatre: A practical guide to performing the new outdoor theatre anytime, anywhere. London: Routledge.
SCHECHNER, R., 1995. The Future of Ritual. Reissue. edn. GB: Routledge Ltd.
SCHNEIDER, R., 2004a. Performance Review: Avignon Theatre Festival Strike. Theatre Journal, 56(2), pp. 296-299.
SEGERS, K., SCHRAMME, A., DEVRIENDT, R., 2010. Do Artists Benefit from Arts Policy? The position of Performing Artists in Flanders. The Journal of Arts Management, Law and Society, 40, pp. 58-75.
SIMPSON, P., 2011a. ‘So, as you can see . . .’: some reflections on the utility of video methodologies in the study of embodied practices. Area, 43(3), pp. 343-352.
SIMPSON, P., 2011. Street Performance and the City. Space and Culture, 14(4), pp. 415-430.
SIMPSON, P., 2012. Apprehending everyday rhythms: rhythmanalysis, time-lapse photography, and the space-times of street performance. cultural geographies, 19(4), pp. 423-445.
SIMPSON, P., 2013. Ecologies of Experience: Materiality, Sociality, and the Embodied Experience of (Street) Performing. Environment and Planning A, 45(1), pp. 180-196.
ZAINAL, H.B., 2000. Power, Place and Space in a Sustainable City: A Case Study of Buskers in Singapore’s Orchard Road. Straits Times pp. 75-86