bibliografija

IZBRANA BIBLIOGRAFIJA O DELIH EMILA HRVATINA V OBDOBJU 2001-2006

Knjiga
_Memory_Privacy_Spectatorship, On Emil Hrvatin’s Performances, edited by Maja Žerovnik, Maska, 2003

Članki v strokovnih publikacijah
Ric Allsop,
»Collect-if«, Frakcija, Zagreb, no. 30-31, winter 2003, spring 2004, p. 58-63

Franck Ancel,
»L’art de la memoire ou la memoire de l’art«, v Ligeia, Dossiers sur l’art,Paris, no. 41-44, Octobre 2002 – Juin 2003, p. 9-22.

Maaike Bleeker
"Moet theater de wereld redden?" v Etcetera, Brussel, Jaargang 23, nr. 99, december 2005, p. 73-76.

Veronika Darian,
“PCs (read ‘pieces’) of Evidence: Who Speaks? Whodunit? And Who Am I?”, in Mind the Map! History is not given, edited by Marina Gržinić, Günther Heeg and Veronika Darian, Unviersität Leipzig, Revolver, Frankfurt, 2006, p. 104-111

Tatjana Greif,
“Images Seen – Freedom Captured. Giulio Camillo In The Age of Information”, Frakcija, Zagreb, no. 10-11, 1999, p. 151-154

Marina Gržinić,
“Emil Hrvatin’s Memory Cabinets”, PAJ, A Journal of Performance and Art, New York, no. 71, May 2002, p. 108-114

Marina Gržinić,
“Dragan Živadinov’s Nordung Cosmokinetic Cabinet Theatre and Emil Hrvatin’s Cabinet of Memories”, in Digitized Bodies / Virtual Spectacles, edited by Nina Czegledy, Ludwig Museum Budapest, 2001, p. 71-85

Barbara Orel,
“The Radiation of the Fictious into the Real, of the Public into the Private”, Maska, vol. XVIII, no. 78-79, zima 2003, p. 92-95

Peter Matussek,
“The Renaissance of the Theatre of Memory”, Janus, Antwerp, no. 8/01, p. 4-8

Nadia Perucic,
»Navigating the Social Order: Alternative Currents in Relation of Power«, Social Capital. Forms of Interaction, Whitney Museum of American Art, New York, 2004, p. 13-18

Miško Šuvaković,
“Gledališče v teoriji, performativnost teorije: Emil Hrvatin”, in Miško Šuvaković, Anatomija angelov, Znanstveno in publicistično središče, Ljubljana, 2001, str. 234-237

Kurt Taroff,
»Long Distance Performance: Emil Hrvatin's Miss Mobile at La Mama«, Slavic and East European Performance, New York, vol 22, no.2, Spring 2002, p. 94-97

Tomaž Toporišič,
“Primer Emil Hrvatin: performativnost teorije”, v Tomaž Toporišič, Med zapeljevanjem in sumničavostjo. Razmerje med tekstom in uprizoritvijo v slovenskem gledališču druge polovice 20. stoletja, Maska, Ljubljana, 2004, p. 174-176

Luk Van den Dries and Nele Decock,
»Keep out of fiction (no one is watching)«, Janus, Antwerp, no. 9/01, p. 11-16

Luk Van den Dries and Nele Decock,
»Ceçi n'est pas la réalité«, in Zero Visibility, edited by Valentina Valentini, Maska, Ljubljana, 2003, p. 193-196

Luk Van den Dries,
»Tearjerkers and Mindgames. About Emil Hrvatin's Theatre Work«, TheaterForum, La Jolla, California, no. 23, Summer/Fall 2003, p. 3-11

Jasna Vombek,
"Avtentičnost virtualne participacije" in "Privlačna zmuzljivost scenske avtorefleksije" v Prevzetnost pogleda, JSKD, Ljubljana, 2006, p. 103-108

Janez Vrečko
»Drive in Camillo kot zgodovina prihodnosti«, Maska, vol. XVI, no. 66-67, zima 2001, p. 54-57

Arnd Wesemann,
»A drive-in ballet in Ljubljana«, ballet-tanz, no. 8-9, August-September 2000, Berlin, p. 68

Arnd Wesemann,
»Schmecken und Riechen«, ballet-tanz, no. 8-9, August-September 2003, Berlin, p. 42-47

Arnd Wesemann,
»Portrait: Emil Hrvatin«, ballet-tanz, no. 4, April 2005, Berlin, p. 20-25