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Audience Participation in Theatre: Aesthetics of the Invitation
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Audience Participation in Theatre: Aesthetics of the Invitation (2013)Audience Participation in Theatre: Aesthe…VRtefacts (2020)VRtefactsArtistic Creation and Ethical Criticism (2020)Artistic Creation and Ethical…Understanding Audiences: A Critical Review of Audience Research (2019)Understanding Audiences: A Cr…Postdramatic Tragedies (2019)Postdramatic TragediesUnderstanding spaces of potentiality in applied theatre (2018)Understanding spaces of poten…Gaming the Stage (2018)Gaming the StageSocial Media as Theatre Stage: Aesthetics, Affordances and Interactivities (2017)Social Media as Theatre Stage…Introduction: Queer Dramaturgies (2016)Introduction: Queer Dramaturg…From arts marketing to audience enrichment: How digital engagement can deepen and democratize artistic exchange with audiences (2016)From arts marketing to audien…Decolonizing Immersion (2016)Decolonizing ImmersionDirecting scenes and senses: The thinking of Regie (2015)Directing scenes and senses: …Audience agency in participatory performance: a methodology for examining aesthetic experience (2015)Audience agency in participat…Applied theatre: Aesthetics (2015)Applied theatre: Aesthetics‘Playing the game’: authenticity and invitation in Ontroerend Goed’s Audience (2015)‘Playing the game’: authentic…Narcissistic Spectatorship in Immersive and One-on-One Performance (2014)Narcissistic Spectatorship in…“Oh My God, Audience Participation!”: Some Twenty-First-Century Reflections (2014)“Oh My God, Audience Particip…Play between worlds: exploring online game culture (2007)Artificial hells: participatory art and the politics of spectatorship (2013)Making Mistakes in Immersive Theatre: Spectatorship and Errant Immersion (2016)Interactive, Immersive, Original Shakespeare (2017)Viral Theatre: Preliminary Thoughts on the Impact of the COVID-19 Pandemic on Online Theatre (2021)From The Emancipated Spectator (2025)The visible and the invisible (1968)Theatre Audiences: A Theory of Production and Reception (1990)The Transformative Power of Performance: A New Aesthetics (2008)‘My sleeves may be green but my lipstick’s red’: Deconstructing the ‘feminism’ in Six (2020)The Discovery of Grounded Theory; Strategies for Qualitative Research (1968)The Discovery of Grounded Theory: Strategies for Qualitative Research. (1968)Distinction: A Social Critique of the Judgement of Taste* (2018)The participative turn in cultural policy: Paradigms, models, contexts (2018)Exploring barriers to social inclusion for disabled people: perspectives from the performing arts (2021)The techno-social reproduction of taste boundaries on digital platforms: The case of music on YouTube (2021)Imagined Communities: Reflections on the Origin and Spread of Nationalism (1984)Imagined Communities. Reflections on the Origin and Spread of Nationalism (1985)Notes for Decolonizing Embodiment (2019)The route to immersion: a conceptual framework for cross-disciplinary immersive theatre and experiences (2023)Process, Roles, Tools, and Team: Understanding the Emerging Medium of Virtual Reality Theatre (2024)The Making of the English Working Class. (1966)The sublime object of ideology (1990)3.2. MARXISM AND LITERATURE (2006)Writing and the Modern Stage: Theater beyond Drama (2017)Theatricality, Playtexts and Society (2024)Beyond boredom and anxiety (1975)Anti-Oedipus: Capitalism and Schizophrenia. (1978)Parables for the Virtual (2002)He-ART-istic Journeys: Transformative Experiential Learning Through Applied Theatre (2022)Participatory Action Research Approaches and Methods (2007)The Phenomenological Mind: An Introduction to Philosophy of Mind and Cognitive Science (2007)From conflict to revolution: The secret aesthetic, narrative spatialisation and audience experience in immersive cinema design (2016)Interpretative Phenomenological Analysis (2020)Linking Audience Physiology to Choreography (2022)Tuning up! The Innovative Potential of Musikvermittlung (2022)Imitation of film-mediated aggressive models. (1963)Freud and Philosophy an Essay on Interpretation (1970)Imagining in Oppressive Contexts, or What’s Wrong with Blackface? (2023)Autobiography and Performance (2007)Integrating material and digital (2013)Museums and the ‘new museology’: theory, practice and organisational change (2013)We Dare You (2021)From #MuseumAtHome to #AtHomeAtTheMuseum: Digital Museums and Dialogical Engagement Beyond the COVID-19 Pandemic (2022)Hybrid Museum Experiences (2022)The Standard Edition of the Complete Psychological Works of Sigmund Freud (1953)THE POLITICS OF AESTHETICS: THE DISTRIBUTION OF THE SENSIBLE (2005)Performing Epic or Telling Tales (2020)
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  • 2016From arts marketing to audience enrichment: How digital engagement can deepen and democratize artistic exchange with audiences127 cited
  • 2014Narcissistic Spectatorship in Immersive and One-on-One Performance56 cited
  • 2019Postdramatic Tragedies45 cited
  • 2020Artistic Creation and Ethical Criticism43 cited
  • 2016Decolonizing Immersion35 cited
  • 2015Audience agency in participatory performance: a methodology for examining aesthetic experience32 cited
  • 2020VRtefacts31 cited
  • 2015Directing scenes and senses: The thinking of Regie27 cited
  • 2018Understanding spaces of potentiality in applied theatre21 cited
  • 2014“Oh My God, Audience Participation!”: Some Twenty-First-Century Reflections12 cited
  • 2015‘Playing the game’: authenticity and invitation in Ontroerend Goed’s Audience10 cited
  • 2018Gaming the Stage9 cited
  • 2015Applied theatre: Aesthetics9 cited
  • 2016Introduction: Queer Dramaturgies8 cited
  • 2019Understanding Audiences: A Critical Review of Audience Research7 cited

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  • 2017Social Media as Theatre Stage: Aesthetics, Affordances and Interactivities6 cited