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what remains and is to come – a document
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On va où, là?
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Exhausting Dance: Performance and the Politics of Movement
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Artificial Hells: Participatory Art and the Politics of Spectatorship
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Assign & Arrange – Methodologies of Presentation in Art and Dance
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Post-performance future method/e
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Appendix #1 – The gesture of writing
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Encounters – Embodied Practices
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Je vomis du nez, le sang bleu de la nuit
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Remembering a Dance – Part of Some Sextets 1965/2019
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Gerard & Kelly – Ruins
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CritiQueer la danse – Réceptions performées & critiques affectées
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How to Die – Inopiné
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Les grands entretiens : La performance 2 – Dépassements
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Put oneself in the place of the other
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Un ennui radical – Yvonne Rainer, danse et cinéma
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I am a Ghost in My Own House
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Performing Remains – Art and War in Times of Theatrical Reenactment
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Impasse
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“If It’s For The People, It Needs To Be Beautiful,” She Said
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La Pocha Nostra – A Handbook for the Rebel Artist in a Post-Democratic Society
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Uncollected Texts
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Traces in Sight
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DISCORDO ERGO SUM – Renate Bertlmann
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Words for the Future – Eco-Swaraj
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Unpacking Performativity – An exciting two-year research journey in dance
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The Politics of Interweaving Performance Cultures – Beyond Postcolonialism
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Singularities – Dance in the Age of Performance
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RTRSRCH Vol. 2 No. 2 – Notation
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Moving (Across) Borders – Performing Translation, Intervention, Participation
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Ex-corpo
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Art performance, manœuvre, coefficients de visibilité
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Relâche – Dernier coup d’éclat des Ballets suédois
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Pratiques Performatives / Corps Critiques #1-10 (2007 – 2016)
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The Concrete Body – Yvonne Rainer, Carolee Schneemann, Vito Acconci
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How to Collaborate? – Questioning Togetherness in the Performing Arts
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Walk, Hands, Eyes (a city)
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Being Watched: Yvonne Rainer and the 1960s
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Artist at Work, Proximity of Art and Capitalism
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Archaeologies of Presence – Art, Performance and the Persistence of Being
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