References
Auslander, P. (1997). From Acting to Performance. London: Routledge.
Benjamin, W. (1980). Gesammelte Schriften, V, Frankfurt am Main.
Berlowitz, B. & Fontenay, E. (1991). ”Gedanken zu Parsifal”. I: Verch, I.H.: Parsifal Booklet. Hamburg:
Teldec Classics International.
Bimm, J. (2014). ”Rethinking the Overview Eff ect”. I: Quest. The History of Spacefl ight Quarterly 21, 1.
Borggreen, G. & Gade, R. (ed.) (2013). Performing Archives / Archives of Performance. Copenhagen:
Museum Tusculanum Press.
Lagermand Lundme, T. & Overgaard, J. M. (red.) (2010) Operation Pro Forma, København: MØLLER.
Brennan, M. (2010). Curating Consciousness. Mysticism and the Modern Museum. Cambridge (Massachusetts) & London: The MIT Press.
Büchert, M. (2005). ”Portræt – Kirsten Dehlholm”. Look www.kunstonline.dk.
Bürger, P. (1974). Theorie der Avantgarde. Berlin: Suhrkamp Verlag.
Carlson, M. (1996). Performance. London: Routledge.
Christoff ersen, E.E. (1996). ”Hotel Pro Forma: Exposing Reality as a Visual Illusion”. Performance Research 1 (3).
Christoff ersen, E.E. (red.) (1998). Hotel Pro Forma. Aarhus: Forlaget Klim.
Christoff ersen, E.E. (1997). Teaterpoetik. En walkabout i det moderne teater. Aarhus: Forlaget Klim.
Christoff ersen, E.E. (2007). Teaterhandlinger. Aarhus: Forlaget Klim.
Christoff ersen & Winkelhorn: Skønhedens Hotel – Hotel Pro Forma – Et laboratorium for scenekunst.
Aarhus University Press, 2015.
Clarke, A.C. (1960). Interplanetary Flight: An Introduction to Astronautics. New York: Harper & Row.
Dehlholm, K. (1995a). ”Om Hotel Pro Formas værker. Om hvorfor og hvordan”. Danmarks dramalærerforening nr. 1.
Dehlholm, K. (1996). ”Theatre as a Sophisticated Experiment”. Nordic Theatre Studies, 9.
Dehlholm, K. (1999). ”Trespassing in a transcendental way”. The Open Page, 4.
Dehlholm, K. (2003). ”Undersøgelser af verden”. I: Theil, P. et al (2003). Hotel Pro Forma.
Den dobbelte iscenesættelse: rum og performance. København: Arkitektens Forlag.
Dehlholm, K. (2009). Interview med Deborah Vlaeymans. Se www.rehearsalmatters.org
Dehlholm, K. (2012). ”Skibet Bro. Om at iscenesætte Holstebro”. I: Christoff ersen. E. (red.) Odin Teatret.
Et dansk verdensteater. Aarhus: Aarhus Universitetsforlag.
Derridas, J. (1993). Spectres de Marx. Paris: Éditions Galileé.
Duve, T. de (1996). Kant after Duchamp, Mit Press, An OCTOBER Book.
Eco, U. (1962). Opera aperta. Bompiani 2000 Tascabili.
Eco, U. (1981). The Role of Reader, Explorations in the Semiotics of Texts, London: Hutchinson.
Ferguson, B. (1996). ”Exhibition Rhetorics: material speech and utter sense” I: Thinking About Exhibitions. New York, London: Routledge.
Fischer-Lichte, E. (2009). ”Performative Spaces and Imagined Spaces: How Bodily Movement Sets the Imagination in Motion.” I: Huppauf, B. & Wulf, C. (red.). Dynamics and Performativity of Imagination. The Image between the Visible and the Invisible. New York/London: Routledge.
Foster, H. (1996). The Return of the Real. MIT Press.
Fuchs, E. (1996). The Death of Character, Bloomington and Indianapolis: Indiana University Press.
Grusin, R. (2010). Premediation. Aff ect and Mediality after 9/11. New York: Palgrave MacMillan.
Hardy, D.A. (1989). Visions of Space. Artists Journey through the Cosmos. Surrey: Dragon’s World.
Hickey, D. (1993). The Invisible Dragon. Art Issues Press.
Hobye, M. (2014) Designing for Homo Explorens, Open Social Play in Performatives Frames. Ph.d.- Doctoral thesis, Malmö University.
Ihde, D. (2007). Listening and Voice. Phenomenologies of Sound (second ed.). Albany: State University of New New Press.
Jørgensen, D. (2003). Skønhedens Metamorfose. Odense: Syddansk Universitetsforlag.
Jørgensen, D. (2006). Skønhed. En engel gik forbi. Aarhus: Aarhus Universitetsforlag.
Kant, I. (2005) Kritik af dømmekraften. København: Det lille Forlag.
Kasper, A. (2003). Gerhard Richter. Malerei als Tema der Malerei. Berlin: Reimer.
Kjølner, T. & Rolf, A. (2005). ”Space and composition”. I: Frandsen, M. & Schou-Knudsen, J. (red.):
Space & composition. A nordic symposium on physical/visual stage dramaturgy. København. Nordic Centre of the Performing Arts.
Krauss, R. (1976) ”Video: The Aesthetics of Narcissicm”. I: October vol. 1 (Spring 1976). The MIT Press.
Kuhlmann, A. (2013): ”Undercover by Hotel Pro Forma, Performing the National Archive: Staging Cultural Heritage at the Royal Library in Copenhagen”. I: Borggreen, G. & Rune G. (red.). Performing Archives/Archives of Performance. Copenhagen: Museum Tusculanum Press.
Kyndrup, M. (1998a). Riften og sløret. Aarhus: Aarhus Universitetsforlag Kyndrup, M. (2008). Den æstetiske relation. København: Gyldendal.
Kyndrup, M. (2012). ”Hvorfor medialitet?” I: Stougaard Pedersen, B. & Zacher Sørensen. M.M.
Lagermand Lundme, T. & Overgaard, J.M. (red.) (2010). Operation Pro Forma. Essays, digte, fotografi erog illustrationer. København: Møller.
Latour, B. (2006). Vi har aldrig været moderne. København: Hans Reitzels Forlag.
Lehmann, H.T. (2006). Postdramatic Theatre. London: Routledge.
Loxley, J. (2007). Performativity. New York, London: Routledge.
Luhmann, N. (1997). Die Kunst der Gesellschaft. Frankfurt am Main: Suhrkamp Verlag.
Luhmann, N. (2000). Die Religion der Gesellschaft. Frankfurt am Main: Suhrkamp Verlag.
Luhmann, N. (2005). Die Kunst der Gesellschaft. Frankfurt am Main: Suhrkamp Verlag.
Massumi, B. (2002). Parables for the Virtual. Movement, Aff ect, Sensation. Durham and London: Duke University Press.
Massumi, B. (2011). ”The half-life of disaster”. The Guardian, 15.4.2011.
Merleau-Ponty, M. (1994). Cézannes tvivl. Hellerup: Edition Bløndal.
Merleau-Ponty, M. (2009) [1945]. Kroppens fænomenologi. 2nd ed. Frederiksberg: DET lille FORLAG.
Message, K. (2006). New Museums and the Making of Culture. Oxford: Berg.
Mitchell, W.J.T. (2011). Cloning Terror. The War of Images, 9/11 to present. Chicago: The University of Chicago Press.
Mitchell, W.J.T. (2005). ”There Are No Visual Media”, Journal of Visual Culture, 4, 2.
Mitchell, W.J.T. (red.) & Hansen, M.B.N. (2010): ”Time and Space”. I: Mitchell, W.J.T. & Hansen, M.B.N (red.) Critical Terms for Media Studies. Chicago: The University of Chicago Press.
Morgan, (2006). ”Regarding Beauty”. I: Jones, A. (red.) A Companion to Contemporary Art since 1945.
Blackwell.
Munster, A. (2006). Materializing New Media. Embodiment in Information Aesthetics. Hanover and London: University Press of New England.
Ngai, S. (2005) Ugly Feelings. London: Harvard University Press.
Nochlin, L. (1994). The Body in Pieces. The Fragment as a Metaphor of Modernity. London: Thames and Hudson Publishers.
Ostrauskaite, M. (2006). ”Hotel Pro Forma: Nomadic Theatre Without Borders?” Scandinavian-Canadian Studies/études Scandinaves au Canada, 16.
Ostrauskaite, M. (2007). Labyrinth and Practices of Escape in Postmodern Scandinavian Theatre.
University of Wisconsin-Madison.
Owens, C. (1986) ”The Allegorical Impulse: Toward a Theory of Postmodernism”. I: Wallis, B. (red.) Art After Modernism: Rethinking Representation, New York: The New Museum of Contemporary Art.
Peirce, C.S. (1997). The Rule of Reason: The Philosophy of Charles Sanders Peirce. Brunning, J. &
Forster, P. (red.). Toronto: University of Toronto Press.
Petersen, A.R. (2009). ”Rummet som ramme: Hotel Pro Forma”. Installationskunsten mellem billede og scene. København: Museum Tusculanums Forlag.
Qvortrup, L. (1998). ”The aesthetics of interference: from anthropocentrism to polycentrism and the refl ections of digital art”. Paper fra konferencen ”Aestetics and new media”,Malmö Högskola, Sverige. Se www.hotelproforma.dk
Qvortrup, L. (2003). ”Forplejningssted for formen”. I: Theil, P. m.fl . (red.) Hotel Pro Forma. Den dobbelte iscenesættelse: rum og performance. København: Arkitektens Forlag.
Rajewsky, I. (2005). ”Intermediality, Intertertextuality and Remediation: A Literary Perspective on Intermediality”. I: Despois, P. & Spielmann: Intermédialittés: historie et théorie des arts, des lettres
et des techniques, 6 Montréal.
Rancière, J. (2011a). Aisthesis. Scènes du régime esthétique de l’art. Paris: Galilée.
Ranciere, J. (2011b). The emancipated spectator. London/ New York: Verso.
Richards, T. (1993). The Imperial Archive: Knowledge and the Fantasy of Empire. London/ New York:
Verso.
Schneider, M.T. (2006). ”Divine Performance: Operatic Orpheus from Ficino to Hotel Pro
Schneider, R. (2012). ”Performance remains”. I: Jones, A. & Heathfi eld, A. (red.). Perform, Repeat, Record. Bristol/Chicago: Intellect.
Schultz, L.L. (2010). ”Til rette vedkommende. Dramaturgiske noter vedr. Dehlholm/ Øye-workshop 12/2 – 6/3 2010 på Republique.” Intern rapport til Republique og Hotel Pro Forma. Se www.hotelproforma.
dkSchultz, L.L. & Jarl, S. (2014). Nye dimensioner – Hvad er kunstnerisk forskning? København:
Teater og Performance Studier
Skjoldager-Nielsen, K. (2006). En performaturgi: metodisk teori-opgave. Afdeling for Dans og Teatervidenskab, Københavns Universitet. Se www.hotelproforma.dk
Skjoldager-Nielsen, K. (2008). ”Congregation and Performance: Experiential Metaphysics in Hotel Pro Forma’s Operation : Orfeo and jesus_c_odd_size”. Performance Research, 13, 3.
Spencer Brown, G. (1971): Laws of Form. London: George Allen and Unwin.
Szondi, P. (1963). Theorie des modernen Dramas. Frankfurt am Main: Suhrkamp Verlag.
Søndergaard, M. (2011). ”Ellen”. Bogens verden, 93, 2.
Søndergaard, D. M. (2013). ”Virtual materiality, potentiality and subjectivity”. I: Subjectivity, 6, 1.
Sørensen, V. (2004). Sørensen om Andersen. Villy Sørensens udvalgte artikler om H.C. Andersen.
København: Gyldendal.
Taylor, D. (2003). ”Acts of transfer”. The archive and the repertoire. Performing Cultural Memory in the Americas. Durham, NC: Duke University Press. Theil, P., Dehlholm, K., Qvortrup, L. & Fortuna, R.
(2003). Hotel Pro Forma, København: Arkitektens Forlag.
Thomsen, B.M. (2011). ”The Haptic Interface: on signal transmissions and events”. I: Andersen C.U. &
Polds, S. (red): Interface Criticism: Aesthetics Beyond Buttons. Aarhus: Aarhus Universitetsforlag.
Thomsen, B.M. (2012). ”Signaletic, haptic and real-time material”. I: The cluster of articles From Sign to Signal. Journal of Aesthetics and Culture, 4. (www.aestheticsandculture.net/index.php/jac/issue/
view/1451).
Trojaborg, I. (2013). ”Kundry: The entrance door”. I: Stankiewicz, M.J. (red.): Program. Poznan: Teatr Wielki.
Wagner, R. (1880): Religion und Kunst.
Wagner, R. (2001). ”Outlines of the Artwork of the Future”. The Art-Work of the Future [1849]. I: Packer, R. & Jordan K. (red.). Multimedia: from Wagner to virtual reality, New York : Norton.
Wiens, B. (2010). ”Modular settings and ‘Creative Light’: The legacy of Adolphe Appia in the digital age”. International Journal of Performance Arts & Digital Media, 6.
Wittgenstein, L. (1969 [1921]): Tractatus logico-philosophicus. Frankfurt am Main: Suhrkamp Verlag.
Wood, J. (1994). ”Truth and Beauty: The Ruined Abstraction of Gerhard Richter”. I: Roberts, J. (red.).
Art Has No History. London: Verso.
Worthen, W.B. (2008a): ”Antigone’s Bones”. TDR: The Drama Review, 52, 3. The MIT Press.
Worthen, W.B. (2008b): ”Hamlet at Ground Zero: The Wooster Group and the Archive of Performance”.
Shakespeare Quarterly, 59, 3.
Zielinski, S. (2013). […After the Media]. News from the Slow-Fading Twentieth Century. Minneapolis:
Univocal Publishing.
Winkelhorn, K: The Enchanted City: Holstebro Festive Week – an experiental and social cultural space:
aFocus on Festivals, Contemporary European case studies and perspectives. Edi. Chris Newbold et al: Goodfellow Publishers Limited, 2015.
For more information: www.hotelproforma.dk
