Drummond, R. and Overend, D. (2021) Rob Drummond Plays with Participation. Bloomsbury Methuen Drama
Overend, D., Lorimer, J. and Schreve, D. (2020) ‘The bones beneath the streets: drifting through London’s Quaternary‘. Cultural Geography 27:3, pp. 453-475.
Overend, D. and Heath, O. (2019) ‘“The majority has spoken”: performing referenda at the National Theatre‘. Studies in Theatre and Performance
Overend, D. (2019) ‘Rantin and Raving: Kieran Hurley’s Aesthetic Communities‘. Contemporary Theatre Review 29:2, pp. 166-179. Accompanied by a filmed interview for the online Interventions section.
Overend, D. (trans. Ayşe Draz) (2019) Rotalar Yaratmak: Canlı Sanatta Yolculuklar. Turkey: PerformIstanbul.
Overend, D. and Lorimer, J. (2018) ‘Wild Performatives: Experiments in Rewilding at the Knepp Wildland Project‘. GeoHumanities 4:2, pp. 527-542
Overend, D. (2018) ‘Essai: Training the Audience‘. Theatre, Dance and Performance Training 9:1, pp.125-129.
Overend, D. (2016) ‘Demises’ in Forest Fringe: The First Ten Years (ed. Forest Fringe). London: Oberon. pp.42-61
Bissell, L. and Overend, D. (2015) ‘Regular Routes: Deep Mapping a Performative Counterpractice for the Daily Commute‘. Humanities 4:3, pp.476-499. Also available to download or purchase in a book on Deep Mapping, edited by Les Roberts (2016).
Bissell, L. and Overend, D. (2015) ‘Early Days: Reflections on the Performance of a Referendum‘. Contemporary Theatre Review 25:2, pp.242-250. Accompanied by a short film for the online Interventions section
Bissell, L. and Overend, D. (2015) ‘Reflections on a Mobile Train Conference from Helsinki to Rovaniemi‘. Cultural Geographies in Practice 22:4, pp.731–735
Overend, D. (2015) ‘Dramaturgies of Mobility: On the Road with Rob Drummond’s Bullet Catch‘. Studies in Theatre and Performance 35:1, pp.36-51
Bissell, L. and Overend, D. (2014) ‘Rhythmic Routes: Developing a Nomadic Physical Practice for the Daily Commute‘. [Keynote paper], Scottish Journal of Performance 2:1, pp.29-54
Overend, D. (2013) ‘Making Routes: Relational Journeys in Contemporary Performance‘. Studies in Theatre and Performance 33:3, pp.365-381
Overend, D. (2013) ‘World Wide Wandering: E-drifting in Paris and London‘. Scottish Journal of Performance 1:1, pp.31–52
Overend, D. (2012) Making Routes: Journeys in Live Art. [Study Room Guide], London: Live Art Development Agency
Overend, D. (2012) ‘Sites of Illusion: Performing the Spatial Stories of the Guided Tour‘. Scandinavian Journal of Tourism and Hospitality 12:1, pp.44-54
Overend, D. (2012) ‘Clubbing Audiences: Relational Theatre Practice at Death Disco‘. New Theatre Quarterly 28:1, pp.67-79
Overend, D. (2011) ‘Underneath the Arches: Developing a Relational Theatre Practice in Response to a Specific Cultural Site‘. [PhD thesis]. University of Glasgow
Overend, D. (2010) ‘A Lexicon of Training Terms: “Gestation”‘. [Contribution to lexicon], Theatre, Dance and Performance Training 1:2, pp.237-238
Book reviews include: Nomadic Theatre: Mobilising Theory and Practice on the European Stage by Liesbeth Groot Nibbelink. Contemporary Theatre Review 29:4, pp. 483-485; Improvisation in Rehearsal by John Abbott, and Style for Actors: A Handbook for Moving Beyond Realism by Robert Barton. New Theatre Quarterly 27:3, p.294; Mythogeography: A Guide to Walking Sideways by Phil Smith. New Theatre Quarterly 26:4, p.399