1
Beradt C, Bettelheim B. The Third Reich of dreams: the nightmares of a nation 1933-1939. Wellingborough: Aquarian 1985.
2
Machon J. Immersive theatres: intimacy and immediacy in contemporary performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan 2013.
3
Alston A. Beyond immersive theatre: aesthetics, politics and productive participation. London, [England]: Palgrave Macmillan 2016.
4
Gaynor Bagnall. Performance and performativity at heritage sites. Museum and Society. 2003;1:87–103.
5
Freshwater H. Theatre & audience. Basingstoke: Palgrave Macmillan 2009.
6
Kirshenblatt-Gimblett B. Destination culture: tourism, museums, and heritage. Berkeley: University of California Press 1998.
7
Lancaster K. When Spectators Become Performers: Contemporary Performance-Entertainments Meet the Needs of an ‘Unsettled’ Audience. The Journal of Popular Culture. 1997;30:75–88. doi: 10.1111/j.0022-3840.1997.3004_75.x
8
Ryan M-L. Immersion vs. Interactivity: Virtual Reality and Literary Theory. SubStance. 1999;28:110–37. doi: 10.1353/sub.1999.0015
9
Sekoff H. 10 Interactive Theater Productions That Rethink The Stage. The Huffington Post. Published Online First: 2012.
10
Stern N. The Implicit Body as Performance: Analyzing Interactive Art. Leonardo. 2011;44:233–8. doi: 10.1162/LEON_a_00168
11
Tuan Y. Space and place: the perspective of experience. Minneapolis: University of Minnesota Press 1977.
12
Waterton E, Watson S, editors. The Palgrave handbook of contemporary heritage research. Basingstoke, Hampshire: Palgrave Macmillan 2015.
13
White G. On Immersive Theatre. Theatre Research International. 2012;37:221–35. doi: 10.1017/S0307883312000880
14
Campen C van. The Proust effect: the senses as doorways to lost memories. Oxford: Oxford University Press 2014.