1.
Beradt, C., Bettelheim, B.: The Third Reich of dreams: the nightmares of a nation 1933-1939. Aquarian, Wellingborough (1985).
2.
Machon, J.: Immersive theatres: intimacy and immediacy in contemporary performance. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire (2013).
3.
Alston, A.: Beyond immersive theatre: aesthetics, politics and productive participation. Palgrave Macmillan, London, [England] (2016).
4.
Gaynor Bagnall: Performance and performativity at heritage sites. Museum and Society. 1, 87–103 (2003).
5.
Freshwater, H.: Theatre & audience. Palgrave Macmillan, Basingstoke (2009).
6.
Kirshenblatt-Gimblett, B.: Destination culture: tourism, museums, and heritage. University of California Press, Berkeley (1998).
7.
Lancaster, K.: When Spectators Become Performers: Contemporary Performance-Entertainments Meet the Needs of an ‘Unsettled’ Audience. The Journal of Popular Culture. 30, 75–88 (1997). https://doi.org/10.1111/j.0022-3840.1997.3004_75.x.
8.
Ryan, M.-L.: Immersion vs. Interactivity: Virtual Reality and Literary Theory. SubStance. 28, 110–137 (1999). https://doi.org/10.1353/sub.1999.0015.
9.
Sekoff, H.: 10 Interactive Theater Productions That Rethink The Stage. The Huffington Post. (2012).
10.
Stern, N.: The Implicit Body as Performance: Analyzing Interactive Art. Leonardo. 44, 233–238 (2011). https://doi.org/10.1162/LEON_a_00168.
11.
Tuan, Y.: Space and place: the perspective of experience. University of Minnesota Press, Minneapolis (1977).
12.
Waterton, E., Watson, S. eds: The Palgrave handbook of contemporary heritage research. Palgrave Macmillan, Basingstoke, Hampshire (2015).
13.
White, G.: On Immersive Theatre. Theatre Research International. 37, 221–235 (2012). https://doi.org/10.1017/S0307883312000880.
14.
Campen, C. van: The Proust effect: the senses as doorways to lost memories. Oxford University Press, Oxford (2014).
