Book contents
- The Cambridge Companion to British Theatre of the First World War
- Cambridge Companions to Theatre and Performance
- The Cambridge Companion to British Theatre of the First World War
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Chronology of Events and Productions
- Introduction
- Part I Mobilising for War
- Part II Theatre during the War
- Part III The Memory of War
- Further Reading
- Index
- References
Further Reading
Published online by Cambridge University Press: 19 October 2023
Book contents
- The Cambridge Companion to British Theatre of the First World War
- Cambridge Companions to Theatre and Performance
- The Cambridge Companion to British Theatre of the First World War
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Chronology of Events and Productions
- Introduction
- Part I Mobilising for War
- Part II Theatre during the War
- Part III The Memory of War
- Further Reading
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Publisher: Cambridge University PressPrint publication year: 2023
References
Further Reading
Ainsworth, Adam, Double, Oliver, and Peacock, Louise, eds., Popular Performance (London: Bloomsbury Publishing, 2017).Google Scholar
Aston, Elaine, ‘Male Impersonation in the Music Hall: The Case of Vesta Tilley’, New Theatre Quarterly, 4.15, (1988) 247–57.Google Scholar
Barker, Clive, and Gale, Maggie B., eds., British Theatre between the Wars, 1918–1939 (Cambridge: Cambridge University Press, 2000).Google Scholar
Baumeister, Martin, Kriegstheater: Großstadt, Front und Massenkultur 1914–1918 (Essen: Klartext, 2005).Google Scholar
Beale, Sam, The Comedy and Legacy of Music-Hall Women 1880–1920: Brazen Impudence and Boisterous Vulgarity (Basel, CH: Springer International Publishing AG., 2020).CrossRefGoogle Scholar
Beasley, Rebecca, Russomania. Russian Culture and the Creation of British Modernism, 1881–1922 (Oxford: Oxford University Press, 2020).Google Scholar
Behrndt, Synne and Cathy, Turner, Dramaturgy and Performance (Basingstoke: Palgrave MacMillan, 2008).Google Scholar
Bennett, Jessica and Hampton, Mark, ‘World War I and the Anglo-American Imagined Community: Civilization vs Barbarism in British Propaganda and American Newspapers’ in Weiner, Joel H. and Hampton, Mark, eds., Anglo-American Media Interactions, 1850–2000 (Basingstoke: Palgrave Macmillan, 2007), 155–75.Google Scholar
Bourke, Joanna, Dismembering the Male: Men’s Bodies, Britain, and the Great War (London: Reaktion Books, 1996).Google Scholar
Bracco, Rosa Marie, Merchants of Hope: British Middlebrow Writers and the First World War 1919–1939 (Oxford: Berg, 1993).Google Scholar
Brooks, Helen E. M., ‘Are there any more recruits?’ British Theatre and the Recruitment Drive, 1914–1915’, First World War Studies, 10.2-3 207–24.Google Scholar
Brooks, Helen E. M., ‘The Horrors of War on the London Stage: The Grand Guignol Season of 1915’ in Meredith Conti and Kevin J. Wetmore Jr, eds., Theatre and the Macabre (Cardiff: University of Wales Press, 2022), 29–44.Google Scholar
Brooks, Helen E. M., ‘Remembering the War on the British Stage: From Resistance to Reconstruction’, in Luc Verpoest, L. Engelen, R. Heynickx, J. Schmidt, P. Uyttenhove and P. Verstraete, eds., Revival after the Great War: Rebuild, Remember, Repair, Reform (Leuven: University of Leuven Press, 2020), 164–77.Google Scholar
Bulfin, Ailise, Gothic Invasions: Imperialism, War and Fin-de-Siècle Popular Fiction (Cardiff: University of Wales Press, 2018).Google Scholar
Burrows, Jonathan, Legitimate Cinema: Theatre Stars in Silent British Films 1908–1918 (Exeter: Exeter University Press, 2003).Google Scholar
Burt, Philippa, ‘From the Western Front to the East Coast: Barker’s The Trojan Women in the USA’, New Theatre Quarterly, 34.4 (2018) 326–38.CrossRefGoogle Scholar
Carlson, Susan, ‘Politicizing Harley Granville Barker: Suffragists and Shakespeare’, New Theatre Quarterly, 22.2, (2006) 122–40.CrossRefGoogle Scholar
Clarke, Ignatius Frederick, Voices Prophesying War: Future Wars 1763–3749, 2nd edn. (Oxford: Oxford University Press, 1992).Google Scholar
Cochrane, Claire, Twentieth Century British Theatre Industry, Art and Empire (Cambridge: Cambridge University Press, 2011).Google Scholar
Connelly, Mark, Celluloid War Memorials: The British Instructional Films Company and the Memory of the Great War (Exeter: University of Exeter Press, 2016).Google Scholar
D’Monté, Rebecca, British Theatre and Performance 1900–1950 (London: Bloomsbury, 2015).Google Scholar
Devlin, Diana, A Speaking Part: Lewis Casson and the Theatre of his Time (London: Hodder and Stoughton, 1982).Google Scholar
Eltis, Sos, Acts of Desire: Women and Sex on Stage, 1800–1930 (Oxford: Oxford University Press, 2013).CrossRefGoogle Scholar
Engler, Balz, ‘Shakespeare in the Trenches’ in Catherine Alexander and Stanley Wells, eds., Shakespeare and Race, (Cambridge: Cambridge University Press, 2000) 101–11.Google Scholar
Evans, Elizabeth, The Politics of Third Wave Feminisms (Basingstoke: Palgrave Macmillan, 2015).CrossRefGoogle Scholar
Fisher, John, Gentlemen Spies: Intelligence Agents in the British Empires and Beyond (Gloucestershire: Sutton Publishing Limited, 2002).Google Scholar
Foss, Roger, Till the Boys Come Home. How British Theatre Fought the Great War (Stroud: The History Press, 2018).Google Scholar
Foulkes, Richard, Performing Shakespeare in the Age of Empire (Cambridge: Cambridge University Press, 2002).Google Scholar
Fuller, J. G., Troop Morale and Popular Culture in the British and Dominion Armies (Oxford: Clarendon, 1990).Google Scholar
Fussell, Paul, The Great War and Modern Memory (Oxford: Oxford University Press, 2013).Google Scholar
Gale, Maggie B., A Social History of British Performance Cultures 1900–1939: Citizenship, Surveillance and the Body (Abingdon: Routledge, 2020).Google Scholar
Gledhill, Christine, Reframing British Cinema: Between Passion and Restraint (London: Bloomsbury, 2003).Google Scholar
Grant Ferguson, Ailsa, The Shakespeare Hut: A Story of Memory, Performance and Identity (London: Bloomsbury, The Arden Shakespeare, 2019).Google Scholar
Habicht, Werner, ‘Shakespeare Celebrations in Times of War’, Shakespeare Quarterly, 52.4 (2001) 441–55.Google Scholar
Hammond, Michael, The Big Show: British Cinema Culture in the Great War, 1914–1918 (Exeter: University of Exeter Press, 2006).Google Scholar
Hammond, Michael and Williams, Michael, eds., British Silent Cinema and the Great War (London: Palgrave, 2011).Google Scholar
Horne, John Alan Kramer, German Atrocities, 1914. A History of Denial (New Haven, London: Yale University Press, 2001).Google Scholar
Hynes, Samuel Hynes, A War Imagined: The First World War and English Culture (New York: Collins, 1992).Google Scholar
Kennedy, David M., Over Here: The First World War and American Society (Oxford: Oxford University Press, 2004).Google Scholar
Kershaw, Baz, ed., The Cambridge History of British Theatre. Vol. 3. Since 1895 (Cambridge: Cambridge University Press, 2004).Google Scholar
Kosok, Heinz, The Theatre of War: The First World War in British and Irish Drama (Basingstoke: Palgrave Macmillan, 2007).CrossRefGoogle Scholar
Krebs, Katja, Cultural Dissemination and Translational Communities. German Drama in English Translation, 1900–1914 (Abingdon: Routledge, 2014).Google Scholar
Leach, Robert, An Illustrated History of British Theatre and Performance. Volume Two – From the Industrial Revolution to the Digital Age (London: Routledge, 2019).Google Scholar
Leask, Margaret, Lena Ashwell: Actress, Patriot, Pioneer (Hertfordshire: University of Hertfordshire Press, 2012).Google Scholar
Luckhurst, Mary, ‘A Wounded Stage: Drama and World War I’, in Mary Luckhurst, ed., A Companion to Modern British and Irish Drama 1880–2005, (Oxford: Wiley-Blackwell, 2010), 301–14.Google Scholar
Maunder, Andrew, ed., British Theatre and the Great War (Basingstoke: Palgrave Macmillan, 2015).Google Scholar
McMullan, Gordon, Mead, Philip et al., eds., Antipodal Shakespeare: Remembering and Forgetting in Britain, Australia and New Zealand, 1916–2016 (London: Bloomsbury, The Arden Shakespeare, 2017).Google Scholar
Mullen, John, The Show Must Go On! Popular Song in Britain During the First World War (London: Routledge, 2016).Google Scholar
Napper, Lawrence, The Great War in Popular British Cinema of the 1920s: Before Journey’s End (Basingstoke: Palgrave Macmillan, 2015).Google Scholar
Nicoll, Allardyce, English Drama 1900–1930 (Cambridge: Cambridge University Press, 1973).Google Scholar
Nicholson, Steve, The Censorship of British Drama Volume One 1900–1932 (Exeter: Exeter University Press, 2020).Google Scholar
Paget, Derek, ’Popularising Popular History: Oh What a Lovely War and the Sixties’, Studies in Theatre and Performance 23.2 (2003) 71–85.Google Scholar
Panayi, Panikos, Prisoners of Britain. German Civilian and Combatant Internees during the First World War (Manchester: Manchester University Press, 2012).Google Scholar
Paxton, Naomi, Stage Rights! The Actresses’ Franchise League, Activism and Politics 1908–58 (Manchester: Manchester University Press, 2018).Google Scholar
Rachamimov, Alon, ‘The Disruptive Comforts of Drag: (Trans) Gender Performances among Prisoners of War in Russia, 1914–1920’, American Historical Review, 3.2 (2006) 362–82.Google Scholar
Rowell, George and Jackson, Anthony, The Repertory Movement A History of Regional Theatre in Britain (Cambridge: Cambridge University Press, 1984).Google Scholar
Raphael, Samuel, ‘Theatre and Socialism in Britain (1880–1935)’, in Raphael Samuel, Ewan MacColl, and Stuart Cosgrove, eds., Theatres of the Left 1880–1935: Workers’ Theatre Movements in Britain and America, (London: Routledge & Kegan Paul, 1985), 3–73.Google Scholar
Sanderson, Michael, From Irving to Olivier: A Social History of the Acting Profession 1880–1983 (London: The Althone Press Ltd., 1984).Google Scholar
Swirski, Peter, From Lowbrow to Nobrow (Montreal: McGill-Queen’s University Press, 2005).Google Scholar
Tholas-Disset, Clémentine and Ritzenhoff, Karen A., Humour, Entertainment and Popular Culture in World War I (London: Palgrave Macmillan, 2015).Google Scholar
Walker, Julian and Declercq, Christophe, Multilingual Environments in the Great War (London, New York: Bloomsbury, 2021).Google Scholar
Walkowitz, Judith, ‘The ‘Vision of Salome’. Cosmopolitanism and Erotic Dancing in Central London, 1908–1918’, The American Historical Review, 108.2 (2003), 337–76.Google Scholar
Wellings, Ben and Sumartojo, Shanti, eds., Commemorating Race and Empire in the First World War Centenary (Liverpool: Liverpool University Press, 2018).Google Scholar
White, Jerry, Zeppelin Nights: London in the First World War (London, The Bodley Head, 2013).Google Scholar
Williams, Gordon, British Theatre in the Great War: A Re-evaluation (London, Continuum Press, 2003).Google Scholar
Wood, Harry, ‘“The Play All London is Discussing”: The Great Success of Guy Du Maurier’s An Englishman’s Home’, Theatre Notebook, 70.3 (2016) 184–214.Google Scholar
Wilmeth, Don B., ed., The Cambridge Guide to American Theatre (Cambridge: Cambridge University Press, 1996).Google Scholar