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一、外文部分
Artaud, A. (1958). The theatre of cruelty (First manifesto). The Theater and Its Double, 89-100
Auslander, P. Liveness: Performance in a Mediatized Culture; Routledge: London, UK, 2008.
Azuma, R. T. (1997). A survey of augmented reality. Presence: teleoperators & virtual environments, 6(4), 355-385.
Banes, S. (1994). Writing dancing in the age of postmodernism. Hanover: University Press of New England.
Bardiot, C. (2018). Habiter les images.
Baumberger, C. (2013). Art and understanding: In M. Greenlee, et al. (eds.) Defence of aesthetic cognitivism. (pp. 41-67). Regensburg: Schnell + Steiner.
Bender, S. M., Broderick, M., Bender, S. M., & Broderick, M. (2021). On the Excitement of Measuring the Virtual Reality Audience. Virtual Realities: Case Studies in Immersion and Phenomenology, 53-75.
Bimber, O., & Raskar, R. (2005). Spatial augmented reality: merging real and virtual worlds. CRC press.
Birringer, J. (2013). Bauhaus, constructivism, performance. PAJ: A Journal of Performance and Art, 35(2), 39-52.
Blume, T., & Duhm, B. (Eds.). (2008). Bauhaus Theatre Dessau: Change of Scene. Jovis Verlag.
Bogner, D. (1997). Oskar Schlemmer: Tanz, Theater, Bühne: Vortragsreihe zur Ausstellung. Kunsthalle.
Bogner, D. (1997). Oskar Schlemmer: Tanz, Theater, In Bühne: Vortragsreihe zur Ausstellung. Kunsthalle.
Bontero, B. G. (2013). The artist as critic: Dance training, neuroscience, and aesthetic evaluation. The Journal of Aesthetics and Art Criticism, 71(2), 169-175. https://doi.org/10.1111/jaac.12006
Brockhoeft, T., Petuch, J., Bach, J., Djerekarov, E., Ackerman, M., & Tyson, G. (2016, June). Interactive augmented reality for dance. In Proceedings of the Seventh International Conference on Computational Creativity (pp. 396-403).
Brockhoeft, T., Petuch, J., Bach, J., Djerekarov, E., Ackerman, M., & Tyson, G. (2016). Interactive Augmented Reality for Dance. Proceedings of the Seventh International Conference on Computational Creativity,（396-403）.
Burdekin, R. (2015). Pepper's Ghost at the Opera. Theatre Notebook, 69(3), 152-164.
Calvo-Merino, B., Jola, C., Glaser, D.E. and Haggard, P. (2008). Towards a sensorimotor aesthetics of performing art. Consciousness and cognition, 17(3), 911-922.
Calvo-Merino, B., Jola, C., Glaser, D.E. and Haggard, P. (2008). Towards a sensorimotor aesthetics of performing art. Consciousness and Cognition, 17(3), 911-922.
Clay, A., Domenger, G., Conan, J., Domenger, A., & Couture, N. (2014). Integrating augmented reality to enhance expression, interaction & collaboration in live performances: A ballet dance case study. 2014 IEEE International Symposium on Mixed and Augmented Reality - Media, Art, Social Science,Humanities andDesign (IMSAR-MASH'D). https://doi.org/10.1109/ismar-amh.2014.6935434
Craig, R. T. (1999). Communication as a field. Communication Theory, 9. (2). 119-161.
Deborah Ascher Barnston.(2008) Not the Bauhaus: The Breslau Academy of Art and Applied Arts, Journal of Architectural Education (1984-) , 62(1), 46-55.
Dixon, S. (2006). A history of virtual reality in performance. International Journal of Performance Arts & Digital Media, 2(1).23-54
Dixon, S. (2007). Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation; MIT Press: London, UK.
Dixon, S. (2015). Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. London: MIT Press.
Dixon, S. (2015). Digital performance: a history of new media in theater, dance, performance art, and installation. MIT press.
Duckworth, J.: Pepper’s Ghost. Stage Direction, 30-31(2021)
Egert, G. (2019). Moving relation: touch in contemporary dance. Routledge.
Fiske, J. (2010). Introduction to communication studies. Oxfordshire, UK: Taylor & Francis.
Foster, S. (2010). Choreographing empathy: Kinesthesia in performance. Routledge.
Fox, P. H. (2015). Oskar Schlemmer: Visions of a New World: Staatsgalerie Stuttgart November 21, 2014–April 6, 2015.
Frances, A. (2018). The Story of the Bauhaus: The Art and Design School That Changed Everything. Ilex.
Giesekam, G. (2018). Staging the screen: the use of film and video in theatre. Bloomsbury Publishing.
Goldman, A. (2004). Evaluating Art. In P. Kivy (Eds.). The Blackwell Guide to Aesthetic (pp. 93-108). Malden, MA: Blackwell Pub.
González, Z. G. (2020). The legacy of oskar schlemmer and the bauhaus in the aesthetics. In My Kind of Sound: Popular Music and Audiovisual Culture, 36.
Guest, A. H. (1998). Choreo-graphics: a comparison of dance notation systems from the fifteenth century to the present. Psychology Press.
Hall, S. (1980). In S. Hall, et al., (Eds.), Encoding/decoding Culture, media, language (pp. 117–127). London:Hutchinson.
Hedges, S. (2009). Architectural Notation and the Body Condition: Tracking the dance of E1027. Interior Architecture and Urban Studies Programme, University of Brighton – School of Architecture and Design: University of Brighton. 2 - 4 July. https://hdl.handle.net/10652/2236
Herscher, S., DeFanti, C., Vitovitch, N. G., Brenner, C., Xia, H., Layng, K., & Perlin, K. (2019, October). CAVRN: an exploration and evaluation of a collective audience virtual reality nexus experience. In Proceedings of the 32nd Annual ACM Symposium on User Interface Software and Technology (pp. 1137-1150).
Hiskemuller, A. (2017). Virtual reality with Nightfall. TANZ, 68-72.
Jakobson, R. (1987). Language in literature. Cambridge, MA: Harvard University Press.
Jeschke, C. (2000). Valerie Preston-Dunlop, Rudolf Laban: An Extraordinary Life. Dance Research, 18(1), 100-102.
Jewitt, C. (2000). Music at the Bauhaus, 1919–1933. Tempo, (213), 5-11.
Kaldrack, I. (2011). Die Bauhaustänze Oskar Schlemmers: Bewegungs-Apparatur, dynamisierter Raum und mathematische Erkenntnisform. Maske und Kothurn, 57(1-2), 123-140.
Kant, M. (2015). Oscar Schlemmer's Triadic Ballet (Paris, 1932) and dance discourse in Germany. Three letters with annotation and a commentary. Dance Research, 33(1), 16-30. https://doi.org/10.3366/drs.2015.0121
Karpashevich, P., Hornecker, E., Honauer, M., & Sanches, P. (2018, April). Reinterpreting Schlemmer's Triadic Ballet: interactive costume for unthinkable movements. In Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems (pp. 1-13).
Karpashevich, P., Hornecker, E., Honauer, M., & Sanches, P. (2018, April). Reinterpreting Schlemmer's Triadic Ballet: interactive costume for unthinkable movements. In Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems.1-13.
Kipper, G., & Rampolla, J. (2012). Augmented reality: An emerging technologies guide to AR. Elsevier.
Klich, R., & Scheer, E. (2012). Multimedia performance. Basingstoke, NY: Palgrave Macmillan.
Koss, J. (2003). Bauhaus Theater of Human Dolls. The Art Bulletin, 85(4), 724-745.
Laban, R. V. (1947). Effort: Economy of human movement. London, UK: MacDonald and Evans.
Laban, R. V. (1966). Choreutics. London, UK: MacDonald and Evans..
Lahusen, S. (1986). Oskar Schlemmer: mechanical ballets?. Dance Research, 4(2), 65-77.
Lensing, J. U. (1995). Historical Bauhaus Stage Productions Actualized for Our Time. Bauhaus special, 11.
Lim, W. (2020). The specter of Pina Bausch: enhancing the possibilities of Tanztheater through film in Wim Wenders’s Pina (2011). Studies in European Cinema, 17(1), 4-19.
Lin, C. L., Chen, S. J., & Lin, R. (2020). Efficacy of virtual reality in painting art exhibitions appreciation. Applied Sciences, 10(9), 3012.
Lin, R. (2008). Designing “emotion” into modern products. International. Symposium for Emotion and Sensibility 2008, June, 27-29, KAIST, Korea. p11. (Panelists)
Lin, R. (2008). Service innovation design for cultural and creative industries – A case. study of the Cultural and Creative Industry Park at NTUA. International Service Innovation Design Conference 2008, 20-22 Oct. Dongseo University, Korea. 14-25. (Keynote Speech).
Lin, R., Cheng, R., & Sun, M. (2007). Digital archive database for cultural product design. Usability and Internationalization. HCI and Culture, 154-163. https://doi.org/10.1007/978-3-540-73287-7_20
Lin, R., Lin, P., Shiao, W., & Lin, S. (2009). Cultural aspect of interaction design beyond human-computer interaction. Lecture Notes in Computer Science, 49-58. https://doi.org/10.1007/978-3-642-02767-3_6
Lin, R., Qian, F., Wu, J., Fang, W., & Jin, Y. (2017). A pilot study of communication matrix for evaluating artworks. Cross-Cultural Design, 356-368. https://doi.org/10.1007/978-3-319-57931-3_29
Lin, R., Qian, F., Wu, J., Fang, W., & Jin, Y. (2017). A pilot study of communication matrix for evaluating artworks. Cross-Cultural Design, 356-368. https://doi.org/10.1007/978-3-319-57931-3_29
Louppe, L. (1999). Les danses du Bauhaus: une généalogie de la modernité. Oskar Schlemmer, 177-193.
Mannoni, L., Nekes, W., Warner, M., & Gallery, H. (2004). Eyes, Lies and Illusion： the Art of Deception. Hayward Gallery.
McLeod, K. (2016). Living in the immaterial world: holograms and spirituality in recent popular music. Popular Music and Society, 39(5), 501-515.
Medellín, A. (2013). La danza del doble. Aproximaciones al Ballet triádico de Oskar Schlemmer.
Merx, S. (2006). Swank’s Way: Video and Theatre as an Intermedial Stage for the Representation of Time. In Intermediality in Theatre and Performance (pp. 67-80). Brill.
Milgram, P., Takemura, H., Utsumi, A., & Kishino, F. (1995, December). Augmented reality: A class of displays on the reality-virtuality continuum. In Telemanipulator and telepresence technologies (Vol. 2351, pp. 282-292). Spie.
Milgram, P., Takemura, H., Utsumi, A., & Kishino, F. (1995, December). Augmented reality: A class of displays on the reality-virtuality continuum. In Telemanipulator and telepresence technologies (Vol. 2351, pp. 282-292). Spie.
Mitea, B. (2014). Oskar Schlemmer and the Bauhaus Theatre: The Place of the Theatre in the Bauhaus School Programme. Revista Bibliotecii Nationale, 20(1), 87.
Montero, B. G. (2013). The Artist as Critic: Dance Training, Neuroscience, and Aesthetic Evaluation. The Journal of Aesthetics and Art Criticism, 71(2), 169-175.
Moynihan, D. S., & Odom, L. G. (1984). Oskar Schlemmer's" Bauhaus Dances": Debra McCall's Reconstructions. The Drama Review: TDR, 28(3), 46-58.
Niimi, R. (1999). De Stijl 1917-1932: Art and Environment of Neoplasticism, ed. Kawade Shobo Shinsha. Tokio.
Norman, D. A. (2014).The design of everyday things. New York, NY: Basic. Books.
Norman, S. J. (2001). Corps/espaces interactifs. In Oskar Schlemmer, l'homme et la figure. d'art. Paris: Centre national de la danse.
Norman, S. J. (2015). Oskar Schlemmer’s programmatic gesture research. In Digital movement: Essays in motion technology and performance, 21-34
Norman, S. J. (2015). Oskar Schlemmer’s programmatic gesture research. Digital movement: Essays in motion technology and performance, 21-34.
Norman, S. J. (2015). Oskar Schlemmer’s programmatic gesture research. Digital movement: Essays in motion technology and performance, 21-34.
Oddey, A. ; White, C. ( 2009). Modes of Spectating. Press: Chicago, IL, USA.
Overy, P. (2004). Visions of the Future and the Immediate Past: The Werkbund Exhibition, Paris 1930. Journal of Design History, 17(4), 337–357. doi:https://doi.org/10.1093/jdh/17.4.337
Paret, P. (2014). Oskar Schlemmers Triadic Ballet and the Trauma of War. In Nothing but the Clouds Unchanged: Artists in World War I. J Paul Getty Museum.
Pelowski, M., Markey, P. S., Forster, M., Gerger, G., & Leder, H. (2017). Move me, astonish me… delight my eyes and brain: The Vienna integrated model of top-down and bottom-up processes in art perception (VIMAP) and corresponding affective, evaluative, and neurophysiological correlates. Physics of Life Reviews, 21, 80-125. https://doi.org/10.1016/j.plrev.2017.02.003
Phelan, P.; Lane, J. The Ends of Performance; NYU Press: New York, NY, USA, 1998.
Piedade Ferreira, M., Cabral de Mello, D., & Duarte, J. P. (2011). The grammar of movement: A step towards a corporeal architecture. Nexus Network Journal, 13, 131-149.
Piedade Ferreira, M., Cabral de Mello, D., & Duarte, J. P. (2011). The grammar of movement: A step towards a corporeal architecture. Nexus Network Journal, 13, 131-149.
Preston, C. J. (2014). Modernism's Dancing Marionettes: Oskar Schlemmer, Michel Fokine, and Ito Michio. Modernist Cultures, 9(1), 115-133.
Preston, C. J. (2014). Modernism's Mythic Pose: Gender, Genre, Solo Performance. Oxford University Press.
Preston-Dunlop, V. (1983). Choreutic concepts and practice. Dance Research, 1(1), 77-88.
Ramos, S. F., & Boccara, E. G. (2014). Pesquisa e ensino do Design: a reconstituição dos figurinos do Ballet Triádico da Bauhaus, no Brasil. Blucher Design Proceedings, 1(4), 1292-1303.
Rosenberg, D. (2016). The Oxford Handbook of Screendance Studies. Oxford University Press.
Rousier, C. (Ed.). (2001). Oskar Schlemmer: l'homme et la figure d'art. Centre national de la danse
Schlemmer, O. (1961). Man and art figure. In W. Gropius & Ar. S. Wensinger. (Eds). The Theater of the Bauhaus. Middletown, CT: Wesleyan University Press.
Schlemmer, O. (1996). Man and Art Figure (1925). The Twentieth-Century Performance Reader. Londres e Nova York: Routledge, 327-340
Schlemmer, T. (1961). The Letters and Diaries of Oskar Schlemmer. Evanston, IL: Northwestern University Press.
Smock, W. (2004). The Bauhaus ideal then and now: An illustrated guide to. modernist design. Chicago IL: Academy Chicago Publishers.
Ting, Y.-W.; Lin, P.-H.; Lin, C.-L. The Transformation and Application of Virtual and Reality in Creative Teaching: A New Interpretation of the Triadic Ballet. Educ. Sci. 2023, 13, 61. https:// doi.org/10.3390/educsci13010061
Ting, Y., Shi, M., Lin, P., & Lin, R. (2020). The pilot study of the theater of the Bauhaus. Cross-Cultural Design. Applications in Health, Learning, Communication, and Creativity, 559-572. https://doi.org/10.1007/978-3-030-49913-6_46
Ting, Y., Lin, P., & Lin, R. (2021). A study of applying Bauhaus design idea into the “Body workshop of Bauhaus”. Knowledge Innovation on Design and Culture, 25-29. https://doi.org/10.1142/9789811238727_0006
Ting, Y., Lin, P., & Lin, R. (2021). A study of applying Bauhaus design idea into the reproduction of the triadic ballet. Cross-Cultural Design. Applications in Arts, Learning, Well-being, and Social Development, 65-83. https://doi.org/10.1007/978-3-030-77077-8_6
Ting, Y., Lin, P., & Lin, R. (2020). Horizon of dance viewing under VR technology.人因工程學會學術研討會.(2020EST), Taipei, Taiwan.
Ting, Y., Lin, P., Lin, R., & Shi, M. (2022). A study of 3D stereoscopic image production of “Triadic ballet” of the theater of the Bauhaus. Lecture Notes in Computer Science, 283-293. https://doi.org/10.1007/978-3-031-06047-2_20
Trimingham, M. (2004). Oskar Schlemmer's research practice at the Dessau Bauhaus. Theatre Research International, 29(2), 128-142
Trimingham, M. (2011). How to think a puppet. In Forum Modernes Theater (Vol. 26, No. 1, pp. 121-136). Forum Modernes Theater.
Trimingham, M. (2019). The affective Bauhaus 1919: 2019. Theatre and PerformanceDesign,5(1-2),6-21. https://doi.org/10.1080/23322551.2019.1606600
Trimingham, M. (n.d.). The Theatre of the Bauhaus: The Modern and Postmodern Stage of Oskar Schlemmer. Routledge.
Whitford, F. (1984). Bauhaus. London, UK: Thames & Hudson.
Zeimbekis, J. (2015). Why digital pictures are not notational representations. The. Journal of Aesthetics and Art Criticism, 73(4), 449-453.
二、中文部分
Babbie, E.（2005）。社會科學研究方法（李美華編譯）。台北：時英
Bauer, M. W., & Gaskell, G.（2008）。質性資料分析 ：文本、影像與聲音（羅世宏，蔡欣怡，薛丹琦，譯）五南。
丁怡文、林伯賢、林榮泰（2023）。設計與舞蹈的交融-包浩斯《三元芭蕾》的設計意涵。設計學報，28（1），25-48。
丁怡文（2022）從劇場到螢幕：現場舞蹈和數位舞蹈的比較。台灣感性學會暨台灣數位媒體設計學會國際研討會。
丁怡文，林伯賢，林榮泰（2022）。包浩斯⟪三元芭蕾⟫的動靜之間。包浩斯在台灣。國立台灣工藝研究發展中心。(ISBN978-986-532-570-1)。
王蕾（2018）。技術美學視域下的舞蹈舞台空間研究。北京舞蹈學院學報，25（1），46-50。
龙一馨、何人可（2020）。從奧斯卡·施萊默的《三元芭蕾》看包豪斯之舞的創作要素。北京舞蹈學院學報，27（1），103-106
伊彬、林演慶（2008）。近一世紀審美實徵研究趨勢。設計學報，13（2），1-29。
朱立人（2001）。西方芭蕾史纲。上海音乐出版社。
朱立人（主編）（1990）。現代西方藝術美學文選：舞蹈美學卷。瀋陽：春風文藝出版社；瀋陽：遼寧教育出版社。
江映碧 （2018）。舞蹈空間的百年長河. 美育，221, 002–004.
江映碧（1999）。動作分析與記錄之研究。臺北市：中國文化大學出版部
呂琪昌、林榮泰（2010）。從包浩斯風格探討臺灣設計教育的展望。藝術欣賞，6(3)，28-43。
呂藝生（2011）。舞蹈美學。北京：中央民族大學。
李青（2020）。電影中舞蹈身體動作的視覺探析。北京舞蹈學院學報，27（1），113-116。
周诗岩（2014）。施莱默的现代性与最低限度的道德 一个包豪斯范例的肖像。新美术，35(10)，21-32。
房文婷、高婭娟、曾照薰、林伯賢（2018）。一般閱聽者對舞蹈藝術美學體驗之認知研究。設計學報， 23（3），23-46 。
易中天。（2010）。藝術人類學。泰電電業股份有限公司.
林思瑤、孫怡康（2021）。「包浩斯劇場」視覺體驗之認知研究。設計學報，26（1），1-20。
林冠吾（2012）。包浩斯劇場的前世今生 專訪Play．包浩斯導演與策展人托斯頓．布魯梅。PAR表演藝術雜誌，(236)，82-86。doi:10.29527/PAR.201208.0032。
林榮泰（2009）。從包浩斯風格探討台灣設計教育的展望。載：紀念包浩斯90週年國際學術研討會論文集，2009年12月7日，輔仁大學，新北市，59-76。
林榮泰、林伯賢、呂琪昌（2009）。落實包浩斯設計實務教育之-以國立台灣藝術大學設計學院為例。載：2009 年工藝設計研討會論文集：包浩斯 90 年的回顧與展望。國立臺灣藝術大學工藝設計學系，30-41。
邱誌勇（2019）。從破除鏡框、演員退場到沈浸體驗：王俊傑在⟪萬有引力的下午⟪罪惡之城⟫⟪索多瑪之夜⟫中展現的科技劇場形貌。藝術評論，（36），49-78
邱誌勇（2019）。替身操演：數位表演藝術中的「異體」與「機器 ／人」。現代美術學報，（38），4-32。
邱誌勇、鄭欣昀（2019）。科技劇場的沉浸式體感經驗美學。清華藝術學報，（1），1-16。
威廉·史莫克（2010）。包浩斯告訴我們的事：圖解現代設計的過去、現在和未來（吳莉君，譯）。臺北：臉譜。（原著出版年：2004）。
范舟（2020）。臨時共同體：施萊默的「包豪斯舞蹈」實踐。舞蹈，2，36-41。
特里明厄姆（2021）。奥斯卡· 施莱默的现代与后现代舞台: 包豪斯剧场实验（张靓秋譯）。武漢：华中科技大学出版社。（原著出版年：2009）。
秦嘉嫄（2014）。移動的銀幕: 劇場現場性與觀演關係研究。戲劇學刊，(20), 97-118.
張延傑（2016）。文化史視野下的西方舞蹈藝術。廣西師範大學出版社。
張紹勳（2007）。研究方法: 精華本。台北：滄海。
張懿文（2018）。新媒體時代下的劇場展演-透過科技探索身心之間。PAR表演藝術雜誌，（2），40-45。
陳璽敬、顏惠芸、李仙美、林志隆（2016）。策展設計之個案研究-以「詩情畫意─仙雲之美油畫習作展」為例。設計學報，21（4），1-24
奥斯卡·施莱默、拉兹洛·莫霍利-纳吉、法卡斯·莫尔纳（2019）。包豪斯劇場（周詩岩，譯）。武漢：華中科技大學出版社。（原著出版年：1961）。
黃磊（2019）。舞蹈劇場創作中兩種表演形式的分配與構建。北京舞蹈學院學報，26（4），58-66。
葉子啟, Lee, R. L.（2001）。劇場概論與欣賞。台北: 揚智文化。
劉青弋（2013）。劉青弋文集 1 體現的身體—現代舞蹈的身體語言研究。上海：上海音樂。
劉青弋（2014）。西方現代舞史綱。上海：上海音樂。
劉春（2018）。動靜編碼——舞蹈與媒體的兩次轉換。北京舞蹈學院學報，25（4），95-103。
潘淑滿（2022）。質性研究：理論與應用。台北：心理。
鄭文琦（2012）獻給舞蹈的擴延劇場：文・溫德斯《PINA》。典藏今藝術。
薩米爾·澤基（2017）。大腦的輝煌與悲愴：對於愛情、創造力以及人類幸福的求索（孟凡君，譯）。北京：人民出版社。（原著出版年：2009）
三、網路資料
Akademie der Künste. 3・Ballet. Available online: https://reurl.cc/55Evqy(accessed on 10 November 2022).
Bauhausdances. Availableonline: https://bauhausdances.org/about.html (accessed on 10 November 2022).
Berlin, Bauhaus-Archiv. (n.d.). Retrieved April 10, 2023, from https://www.bauhaus.de/en/ (accessed on 10 November 2022).
Cirque Connect: Available online: https://reurl.cc/3op7D8 (accessed on 10 November 2022).
Compagnie 111：Available online: https://www.cie111.com/en/ (accessed on 10 March 2023).
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