Abbate, Carolyn (ed.) 1989. Analyzing Opera: Verdi and Wagner. Berkeley, Calif.: University of California Press

Ackroyd, Judith 2000. ‘Applied Theatre: Problems and Possibilities’, Applied Theatre Researcher 1: www.griffith.edu.au/centre/cpci/atr/journal/article1_number1.htm, last accessed 1 March 2008Google Scholar

Adshead, Janet (ed.) 1988. Dance Analysis: Theory and Practice. London: Dance Books

Allen, Garthet al. 1999. ‘Ideology, Practice and Evaluation: Developing the Effectiveness of Theatre in Education’, Research in Drama Education 4(1): 21–36CrossRefGoogle Scholar

Anderson, Laurie 1994. Stories from the Nerve Bible: A Retrospective: 1972–1992. New York, NY: HarperCollinsGoogle Scholar

, Aristotle 1965. On the Art of Poetry, in Classical Literary Criticism, tr. Dorsch, T. S.. Harmondsworth: PenguinGoogle Scholar

, Aristotle 1995. Politics, tr. Barker, Ernest. Oxford: Oxford University PressGoogle Scholar

Rudolf, Arnheim 2006 [1932]. Film as Art. Berkeley, Calif.: University of California PressGoogle Scholar

Arnott, James (ed.) 1977. Theatre Space: An Examination of the Interaction between Space, Technology, Performance and Society. Contributions to the Congress (8th World Congress, Munich, 18–25 September 1977). Munich: Schottenheim

Aronson, Arnold 2005. Looking into the Abyss: Essays on Scenography. Ann Arbor, Mich.: University ofMichigan PressCrossRefGoogle Scholar

Artaud, Antonin 1970. The Theatre and Its Double, tr. Corti, Victor. London: Calder & BoyarsGoogle Scholar

Aston, Elaine 1995. An Introduction to Feminism and Theatre. London: RoutledgeCrossRefGoogle Scholar

Aston, Elaine and Savona, George 1991. Theatre as Sign-system: A Semiotics of Text and Performance. London: RoutledgeGoogle Scholar

Auslander, Philip 1999. Liveness: Performance in a Mediatized Culture. London: RoutledgeGoogle Scholar

Austin, John L. 1962. How to Do Things with Words. Cambridge, Mass.: Harvard University PressGoogle Scholar

Baer, Nancy van Norman (ed.) 1988. The Art of Enchantment: Diaghilev's Ballets Russes 1909–1929. New York, NY: Universe Books

Balme, Christopher B. 1993. ‘Giorgio Strehler's Faust-project: Signification and Reception Strategies of a Work in Progress’, New Theatre Quarterly 9 (35): 211–24CrossRefGoogle Scholar

Balme, Christopher B. 1997. ‘Interpreting the Pictorial Record: Theatre Iconography and the Referential Dilemma’, Theatre Research International 22(3): 190–201CrossRefGoogle Scholar

Balme, Christopher B. 2004. ‘Intermediality: Rethinking the Relationship between Theatre and Other Media’, Theaterwelten 1: www.thewis.de, last accessed 3 March 2008Google Scholar

Balme, Christopher B. 2007. Pacific Performances: Theatricality and Cross-cultural Encounter in the South Seas. Basingstoke: Palgrave MacmillanCrossRefGoogle Scholar

Balme, Christopher B., Erenstein, , Robert, and Molinari, Cesare (eds.) 2002. European Theatre Iconography. Rome: Bulzoni

Barba, Eugenio and Savarese, Nicola 1991. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. London: RoutledgeGoogle Scholar

Barish, Jonas 1981. The Antitheatrical Prejudice. Berkeley, Calif.: University of California PressGoogle Scholar

Barry, Peter 2002. Beginning Theory, 2nd edn. Manchester: Manchester University PressGoogle Scholar

Barthes, Roland 1972. Critical Essays, tr. Howard, Richard. Evanston, Ill.: Northwestern University PressGoogle Scholar

Barthes, Roland 1975. The Pleasure of the Text, tr. Miller, Richard. New York, NY: Hill and WangGoogle Scholar

Baugh, Christopher 2005. Theatre Performance and Technology: The Development of Scenography in the Twentieth Century. Houndmills and New York, NY: Palgrave MacmillanGoogle Scholar

Baumol, William J. and Bowen, William 1973 [1966]. ‘Audiences – Some Fact-sheet Data’, in Burns, Elizabeth and Burns, Tom (eds.). Sociology of Literature and Drama. Harmondsworth: Penguin: 445–70 (first published in Baumol and Bowen 1966. Performing Arts: The Economic Dilemma. Cambridge, Mass.: MIT Press: 71–97)Google Scholar

Beaumont, Cyril 1981. Michel Fokine and His Ballets. New York, NY: Dance HorizonsGoogle Scholar

Beckerman, Bernard 1970. Dynamics of Drama: Theory and Method of Analysis. New York, NY: Alfred A. KnopfGoogle Scholar

Bennett, Susan 1990. Theatre Audiences: A Theory of Production and Reception. London and New York, NY: RoutledgeGoogle Scholar

Bentley, Eric 1965. The Life of the Drama. London: MethuenGoogle Scholar

Bial, Henry (ed.) 2007. The Performance Studies Reader. London: Routledge

Birringer, Johannes H. 1998. Media and Performance: Along the Border. Baltimore, Md.: Johns Hopkins University PressGoogle Scholar

Blatner, Adam 2000. Foundations of Psychodrama: History, Theory and Practice, 4th edn. Berlin: SpringerGoogle Scholar

Blau, Herbert 1990. The Audience. Baltimore, Md.: Johns Hopkins University PressGoogle Scholar

Boal, Augusto 1985 [1979]. Theatre of the Oppressed. New York, NY: Theatre Communications GroupGoogle Scholar

Boal, Augusto 1995. The Rainbow of Desire: The Boal Method of Theatre and Therapy, tr. Jackson, Adrian. London: RoutledgeGoogle Scholar

Boenisch, Peter 2003. ‘CoMEDIA electrONica: Performing Intermediality in Contemporary Theatre’, Theatre Research International 28(1): 34–45.Google Scholar

Boon, Richard and Plastow, Jane (eds.) 2004. Theatre and Empowerment: Community Drama on the World Stage. Cambridge: Cambridge University PressCrossRef

Boswell, James 1770. ‘Remarks on the Profession of a Player’, London Magazine August: 397–98; September: 468–517.Google Scholar

Bourdieu, Pierre 1984 [1979]. Distinction: A Social Critique of the Judgement of Taste, tr. Nice, Richard. Cambridge, Mass.: Harvard University PressGoogle Scholar

Bourdieu, Pierre 1986. ‘Forms of Capital’, in Richardson, John G. (ed.). Handbook of Theory and Research for the Sociology of Education. New York, NY: Greenwood Press: 241–58.Google Scholar

Bratton, Jacky 2003. New Readings in Theatre History. Cambridge: Cambridge University PressGoogle Scholar

Brecht, Bertolt 1964. Brecht on Theatre: The Development of an Aesthetic, tr. and ed. Willett, John. London: MethuenGoogle Scholar

Brewster, Ben and Jacobs, Lea 1997. Theatre to Cinema: Stage Pictorialism and the Early Feature Film. Oxford: Oxford University PressGoogle Scholar

Brockett, Oscar and Hildy, Franklin J. 2007. History of the Theatre, 10th edn. Boston, Mass.: Allyn & BaconGoogle Scholar

Brook, Peter 1968. The Empty Space. Harmondsworth: PenguinGoogle Scholar

Brook, Peter 1988. The Shifting Point: Forty Years of Theatrical Exploration 1946–1987. London: MethuenGoogle Scholar

Brown, John Russell 1966. Shakespeare's Plays in Performance. London: Edward ArnoldGoogle Scholar

Brown, John Russell 1998. The Oxford Illustrated History of Theatre. Oxford: Oxford University PressGoogle Scholar

Brown, Stephen T. 2001. Theatricalities of Power: The Cultural Politics of Noh. Stanford, Calif.: Stanford University PressGoogle Scholar

Burns, Elizabeth 1972. Theatricality: A Study of Convention in the Theatre and Social Life. London: LongmanGoogle Scholar

Burt, Ramsay 1995. The Male Dancer: Bodies, Spectacle, Sexualities. London and New York, NY: RoutledgeCrossRefGoogle Scholar

Butler, Judith 1990. Gender Trouble: Feminism and the Subversion of Identity. London: RoutledgeGoogle Scholar

Butler, Judith 1993. Bodies that Matter: On the Discursive Limits of ‘Sex’. London and New York, NY: RoutledgeGoogle Scholar

Butler, Judith 1997. Excitable Speech: A Politics of the Performative. London and New York, NY: RoutledgeGoogle Scholar

Callens, Johan (ed.) 2000. Degrés 28: 101 (special issue on intermediality)

Canning, Charlotte 1996. Feminist Theaters in the USA: Staging Women's Experience. London: RoutledgeGoogle Scholar

Carlson, Marvin 1984. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present (2nd and expanded edn, 1993). Ithaca, NY: Cornell University PressGoogle Scholar

Carlson, Marvin 1987. ‘Histoires des codes’, in Helbo, André and Carlson, Marvin (eds.). Théâtre: Modes d'approche. Brussels: Labor: 65–75Google Scholar

Carlson, Marvin 1989. Places of Performance: The Semiotics of Theatre Architecture. Ithaca, NY: Cornell University PressGoogle Scholar

Carlson, Marvin 1996. Performance: A Critical Introduction. London: RoutledgeGoogle Scholar

Carlson, Marvin 2003. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor, Mich.: University of Michigan PressGoogle Scholar

Carroll, Noël 1996. Theorizing the Moving Image. Cambridge and New York, NY: Cambridge University PressGoogle Scholar

Carter, Alexandra (ed.) 1998. The Routledge Dance Studies Reader. London: RoutledgeCrossRef

Case, Sue-Ellen 1988. Feminism and Theatre. Basingstoke: MacmillanCrossRefGoogle Scholar

Cassirer, Ernst 1955. The Philosophy of Symbolic Forms: Vol. 2 Mythical Thought, tr. Mannheim, Ralph. New Haven, Conn.: Yale University PressGoogle Scholar

Causey, Matthew 1999. ‘Postorganic Performance: The Appearance of Theatre in Virtual Spaces’, in Ryan, Marie-Laurie (ed.). Cyberspace Textuality: Computer Technology and Literary Theory. Bloomington, Ind.: Indiana University Press: 182–202Google Scholar

Chapple, Freda and Kattenbelt, Chiel (eds.) 2006. Intermediality in Theatre and Performance. Amsterdam and New York, NY: Rodopi

Cohen-Cruz, Jan and Schutzman, Mady (eds.) 1994. Playing Boal: Theatre, Therapy and Activism. London: Routledge

Cole, Toby and Chinoy, Helen Krich (eds.) 1970 [1949]. Actors on Acting: The Theories, Techniques, and Practices of the Great Actors of All Times as Told in their Own Words. New York, NY: Crown Publishers

Collier, Jeremy 1972 [1698]. A Short View of the Immorality and Profaneness of the English Stage. London: Garland ReprintGoogle Scholar

Conquergood, Dwight 1991. ‘Rethinking Ethnography: Towards a Critical Cultural Politics’, Communication Monographs 58: 179–94CrossRefGoogle Scholar

Cremona, Vicky Ann, Eversmann, Peter, Maanen, Hans, Sauter, Willmar and Tulloch, John (eds.) 2004. Theatrical Events: Borders, Dynamics, Frames. Amsterdam: Rodopi

Davis, Tracy 1991. Actresses as Working Women: Their Social Identity in Victorian Culture. London: RoutledgeCrossRefGoogle Scholar

Davis, Tracy and Thomas, Postlewait (eds.) 2003. Theatricality. Cambridge: Cambridge University Press

Marinis, Marco 1985. ‘A Faithful Betrayal of Performance: Notes on the Use of Video in the Theatre’, New Theatre Quarterly 1(4): 383–89CrossRefGoogle Scholar

Derrida, Jacques 1978 [1968]. Writing and Difference, tr. Bass, Alan. Chicago, Ill.: University of Chicago PressGoogle Scholar

Desmond, Jane C. (ed.) 1997. Meaning in Motion: New Cultural Studies of Dance. Durham, NC: Duke University Press

Diamond, Elin 1997. Unmaking Mimesis: Essays on Feminism and Theatre. London: RoutledgeCrossRefGoogle Scholar

Dillon, Janette 2000. Theatre, Court and City, 1595–1610: Drama and Social Space in London. Cambridge: Cambridge University PressGoogle Scholar

Dillon, Janette 2006. The Cambridge Introduction to Early English Theatre. Cambridge: Cambridge University PressGoogle Scholar

Dixon, Steve and Smith, Barry 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge, Mass.: MIT PressGoogle Scholar

Dolan, Jill 2001. Geographies of Learning: Theory and Practice, Activism and Performance. Middletown, NJ: Wesleyan University PressGoogle Scholar

Dollimore, Jonathan and Sinfield, Alan (eds.) 1994. Political Shakespeare: Essays in Cultural Materialism, 2nd revised edn. Manchester: Manchester University Press

Dukore, Bernard F. (ed.) 1974. Dramatic Theory and Criticism: Greeks to Grotowski. New York, NY: Holt, Rinehart and Winston

Elam, Keir 1980. The Semiotics of Theatre and Drama. London: MethuenCrossRefGoogle Scholar

Elsaesser, Thomas (ed.) 1997. Early Cinema: Space, Frame, Narrative. London: BFI Publications

Erven, Eugene 2001. Community Theatre: Global Perspectives. London: RoutledgeCrossRefGoogle Scholar

Eversmann, Peter 2004. ‘Introduction to Part Two’, in , Cremonaet al. (eds.): 133–8Google Scholar

Fischer-Lichte, Erika 1992. The Semiotics of Theatre, tr. Gaines, Jeremy and Jones, Doris L.. Bloomington, Ind.: Indiana University PressGoogle Scholar

Fischer-Lichte, Erika 1994. ‘Theatre Historiography and Performance Analysis: Different Fields – Common Approaches?’, Assaph C 10: 99–112.Google Scholar

Fischer-Lichte, Erika 1997. ‘King Lear in Frankfurt’, in Martin and Sauter: 191–211.Google Scholar

Fischer-Lichte, Erika 2005. Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre. London: RoutledgeGoogle Scholar

Fortier, Mark 2002. Theory/Theatre: An Introduction, 2nd edn. London: RoutledgeGoogle Scholar

Foster, Susan Leigh 1986. Reading Dancing: Bodies and Subjects in Contemporary American Dance. Berkeley, Calif.: University of California PressGoogle Scholar

Foucault, Michel 1979. Discipline and Punish: The Birth of the Prison, tr. Sheridan, Alan. Harmondsworth: PenguinGoogle Scholar

Fraleigh, Sandra Horton and Hanstein, Penelope (eds.) 1999. Researching Dance: Evolving Modes of Inquiry. Pittsburgh, Pa.: University of Pittsburgh Press

Frost, Anthony and Yarrow, Ralph 2007. Improvisation in Drama, 2nd edn. Houndsmills: PalgraveGoogle Scholar

Fuchs, Elinor 1996. The Death of Character: Perspectives on Theatre after Modernism. Bloomington, Ind.: Indiana University PressCrossRefGoogle Scholar

Gebauer, Gunter and Wulf, Christoph 1995. Mimesis: Culture, Art, Society. tr. Don Reneau. Berkeley, Calif.: University of California PressGoogle Scholar

Geertz, Clifford 1973. The Interpretation of Cultures: Selected Essays. New York, NY: Basic BooksGoogle Scholar

Geertz, Clifford 1990. ‘History and Anthropology’, New Literary History 21(2): 321–35.CrossRefGoogle Scholar

Gerould, Daniel (ed.) 2003. Theatre/Theory/Theatre: The Major Critical Texts from Aristotle and Zeami to Soyinka and Havel. New York, NY: Applause Books

Goffman, Erving 1974. Frame Analysis: An Essay on the Organisation of Experience. Cambridge, Mass.: Harvard University PressGoogle Scholar

Gombrich, Ernst 1960. Art and Illusion: A Study in the Psychology of Pictorial Representation. New York, NY: Pantheon BooksGoogle Scholar

Gordon, Mel 1987. The Stanislavsky Technique. New York, NY: Applause BooksGoogle Scholar

Greenberg, Clement 1961. Art and Culture. Boston, Mass.: Beacon PressGoogle Scholar

Groos, Arthur (ed.) 1988. Reading Opera. Princeton, NJ: Princeton University PressCrossRef

Grotowski, Jerzy 1969. Towards a Poor Theatre. London: MethuenGoogle Scholar

Gurr, Andrew 2004. Playgoing in Shakespeare's London, 3rd edn. Cambridge: Cambridge University PressGoogle Scholar

Halliwell, Stephen 1998. Aristotle's Poetics, 2nd edn. Chicago, Ill.: University of Chicago PressGoogle Scholar

Hanna, Judith Lynne 1988. Dance, Sex and Gender. Chicago, Ill.: Chicago University PressGoogle Scholar

Harbage, Alfred 1941. Shakespeare's Audience. New York, NY: Columbia University PressGoogle Scholar

Hartnoll, Phyllis 1968. A Concise History of the Theatre. London: Thames & HudsonGoogle Scholar

Harvie, Jen 2002. ‘DV8's Can We Afford This? The Cost of Devising on Site for Global Markets’, Theatre Research International 27(1): 68–77Google Scholar

Herrmann, Max 1914. Forschungen zur deutschen Theatergeschichte des Mittelalters und der Renaissance [The History of German Theatre in the Middle Ages and the Renaissance]. Berlin: WeidmannGoogle Scholar

Herrmann, Max 1931. ‘Das theatralische Raumerlebnis’ [The Experience of Theatrical Space], Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft (Beiheft) 25: 152–63Google Scholar

Higgins, Dick 1984. Horizons, the Poetics and Theory of the Intermedia. Carbondale, Ill.: Southern Illinois University PressGoogle Scholar

Higgins, Dick 1997. Modernism since Postmodernism: Essays on Intermedia. San Diego, Calif.: San Diego State University PressGoogle Scholar

Home, Henry, , Lord Kames, 1762. Elements of Criticism, 3 vols. Edinburgh: A. Millar. Eighteenth Century Collections Online, Gale Group: http://gale.cengage.com/EighteenthCentury/index.htm, last accessed 10 March 2008Google Scholar

Horace, 1965. ‘On the Art of Poetry’, in Classical Literary Criticism, tr. Dorsch, T. S.. Harmondsworth: PenguinGoogle Scholar

Howard, Pamela 2002. What Is Scenography?London and New York, NY: RoutledgeCrossRefGoogle Scholar

Hughes, Catherine 1998. Museum Theatre: Communicating with Visitors through Drama. Portsmouth, NH: HeinemannGoogle Scholar

Huston, Hollis 1992. The Actor's Instrument: Body, Theory, Stage. Ann Arbor: University of Michigan PressGoogle Scholar

Ibsen, Henrik 1923. A Doll's House. Haldeman-Julius, E. (ed.), Girard, Kans.: Haldeman-Julius Company: www.gutenberg.org/files/15492/15492.txt, last accessed 26 February 2008Google Scholar

Ingarden, Roman 1973. The Literary Work of Art: An Investigation on the Borderlines of Ontology, Logic and the Theory of Literature. With an Appendix on the Functions of Language in the Theater. Evanston, Ill.: Northwestern University PressGoogle Scholar

Iser, Wolfgang 1978. ‘Readers and the Concept of the Implied Reader’, in Iser, Wolfgang, The Act of Reading: A Theory of Aesthetic Response. Baltimore, Md.: Johns Hopkins University Press: 27–38Google Scholar

Issacharoff, Michael and Jones, Robin F. (eds.) 1988. Performing Texts. Philadelphia, Pa.: University of Pennsylvania PressCrossRef

Jackson, Anthony R. (ed.) 1993. Learning through Theatre: New Perspectives on Theatre in Education, 2nd revised edn. London: RoutledgeCrossRef

Jackson, Anthony R. 2007. Theatre, Education and the Making of Meanings: Art or Instrument?Manchester: Manchester University PressGoogle Scholar

Jackson, Anthony R., Johnson, , Paul, , Leahy, Helen Rees and Walker, Verity 2002. Seeing It for Real: An Investigation into the Effectiveness of Theatre and Theatre Techniques in Museums: www.plh.manchester.ac.uk/research/resources/Seeing_It_For_Real.pdf, last accessed 1 March 2008Google Scholar

Jackson, Shannon 2001. Lines of Activity: Performance, Historiography, and Hull-House Domesticity. Ann Arbor, Mich.: University of Michigan PressGoogle Scholar

Jackson, Shannon 2004. Professing Performance: Theatre in the Academy from Philology to Performativity. Cambridge: Cambridge University PressCrossRefGoogle Scholar

Jameson, Fredric 2004. Professing Performance: Theatre in the Academy from Philology to Performativity. Cambridge: Cambridge University PressGoogle Scholar

Jameson, Fredric 1991. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham, NC: Duke University PressGoogle Scholar

Johnstone, Keith 1979. Impro: Improvisation and the Theatre. London: MethuenGoogle Scholar

Jones, Emrys 1971. Scenic Form in Shakespeare. Oxford: Clarendon PressGoogle Scholar

Karnad, Girish 1995. ‘Introduction’ to Three Plays. Delhi: Oxford University PressGoogle Scholar

Katritzky, M. A. 2006. The Art of Commedia: A Study in the Commedia dell'Arte 1560–1620 with Special Reference to the Visual Records. Amsterdam: RodopiGoogle Scholar

Kaye, Nick 2000. Site-specific Art: Performance, Place and Documentation. London: RoutledgeGoogle Scholar

Kaye, Nick 2007. Multi-media: Video – Installation – Performance. London: RoutledgeGoogle Scholar

Kerckhove, Derrick 2007. Multi-media: Video – Installation – Performance. London: RoutledgeGoogle Scholar

Kerckhove, Derrick 1982. ‘Theatre as Information-processing in Western Cultures’, Modern Drama 25(1): 143–53CrossRefGoogle Scholar

Kerman, Joseph 1988. Opera as Drama, new and revised edn. Berkeley and Los Angeles, Calif.: University of California PressGoogle Scholar

Kirby, Michael (ed.) 1965. Happenings: An Illustrated Anthology. New York, NY: Dutton

Kirby, Michael 1972. ‘On Acting and Non-acting’, The Drama Review 16(1): 3–15CrossRefGoogle Scholar

Knapp, Mary E. 1972. ‘On Acting and Non-acting’, The Drama Review 16(1): 3–15Google Scholar

Knapp, Mary E. 1961. Prologues and Epilogues of the Eighteenth Century. New Haven, Conn.: Yale University PressGoogle Scholar

Knowles, Ric 2004. Reading the Material Theatre. Cambridge: Cambridge University PressGoogle Scholar

Kowzan, Tadeusz 1968. ‘The Sign in the Theater: An Introduction to the Semiology of the Art of the Spectacle’, tr. Pleasance, Simon, Diogenes 61: 52–80CrossRefGoogle Scholar

Kowzan, Tadeusz 1985. ‘Theatre Iconography/Iconology: The Iconic Sign and Its Referent’, tr. Walker, Scott, Diogenes 130: 53–70CrossRefGoogle Scholar

Kuppers, Petra 1985. ‘Theatre Iconography/Iconology: The Iconic Sign and Its Referent’, tr. Walker, Scott, Diogenes 130: 53–70Google Scholar

Kuppers, Petra 2007. Community Performance: An Introduction. London: RoutledgeGoogle Scholar

Kuppers, Petra and Robertson, Gwen (eds.) 2007. The Community Performance Reader. London: Routledge

Laurel, Brenda 1993. Computers as Theatre. Reading, Mass.: Addison-WesleyGoogle Scholar

Leacroft, Richard and Leacroft, Helen 1984. Theatre and Playhouse: An Illustrated Survey of Theatre Building from Ancient Greece to the Present Day. London: MethuenGoogle Scholar

Lehmann, Hans-Thies 2006. Postdramatic Theatre, tr. Jürs-Munby, Karen. London: RoutledgeGoogle Scholar

Lepage, Robert and Brassard, Marie 1997. Polygraph, tr. Raby, Gyllian. London: MethuenGoogle Scholar

Lepecki, André 2005. Exhausting Dance: Performance and the Politics of Movement. London: RoutledgeGoogle Scholar

Lessing, Gotthold 1962. Hamburg Dramaturgy, tr. Zimmern, Helen, new introduction by Victor Lange. New York, NY: DoverGoogle Scholar

Levin, David J. (ed.) 1993. Opera through Other Eyes. Stanford, Calif.: Stanford University Press

Lillo, George 1974. The London Merchant, in Hampden, John (ed.). The Beggar's Opera and Other Eighteenth Century Plays. London: DentGoogle Scholar

Lindenberger, Herbert 1984. Opera: The Extravagant Art. Ithaca, NY: Cornell University PressGoogle Scholar

Lough, John 1972 [1957]. Paris Theatre Audiences in the Seventeenth and Eighteenth Centuries. London: Oxford University PressGoogle Scholar

Loxley, James 2007. Performativity. London: RoutledgeCrossRefGoogle Scholar

Mackrell, Judith 1995. ‘Truly, Badly, but Terribly Manly’, review of Enter Achilles, The Guardian, 22 September 1995: www.dv8.co.uk/stage/enter.achilles/press/tg_22.9.95.html, last accessed 3 March 2008Google Scholar

Martin, Jacqueline and Sauter, Willmar 1997. Understanding Theatre: Performance Analysis in Theory and Practice. Stockholm: Almqvist & WiksellGoogle Scholar

Matthews, Brander (ed.) 1958. Papers on Acting. New York, NY: Hill and Wang

Mauss, Marcel 1973. ‘Techniques of the Body’, Economy and Society 2(1): 70–88CrossRefGoogle Scholar

McAuley, Gay 1999. Space in Performance: Making Meaning in the Theatre. Ann Arbor, Mich.: University of Michigan PressCrossRefGoogle Scholar

McConachie, Bruce 1985. ‘Towards a Post-positivist Theatre History’, Theatre Journal 37: 465−86CrossRefGoogle Scholar

McDonnell, Bill and Shellard, Dominic 2006. Social Impact Study of UK Theatre. Arts Council England: www.artscouncil.org.uk/publications, last accessed 3 March 2008Google Scholar

McKenzie, Jon 1997. ‘Laurie Anderson for Dummies’, The Drama Review 41(2): 30–50CrossRefGoogle Scholar

McKenzie, Jon 2001. Perform or Else: From Discipline to Performance. London: RoutledgeCrossRefGoogle Scholar

McLuhan, Marshall 2001. Perform or Else: From Discipline to Performance. London: RoutledgeGoogle Scholar

McLuhan, Marshall 1964. Understanding Media: The Extensions of Man. London: RoutledgeGoogle Scholar

Mda, Zakes 1993. When People Play People: Development Communication through Theatre. London: Zed BooksGoogle Scholar

Merlin, Bella 2007. The Complete Stanislavsky Toolkit. London: Nick Hern BooksGoogle Scholar

Meyer-Dinkgrafe, Daniel 2001. Approaches to Acting: Past and Present. London: ContinuumGoogle Scholar

Meyerhold, Vsevolod 1969. Meyerhold on Theatre, tr. and ed. Braun, Edward. London: MethuenGoogle Scholar

Moreno, Jacob Levy 1972. Psychodrama, Vol. I, 4th edn. Beacon, NY: Beacon HouseGoogle Scholar

Müller, Heiner 1984 [1977] Hamletmachine and other Texts for the Stage, tr. and ed. Weber, Carl. New York, NY: PAJ PublicationsGoogle Scholar

Mulvey, Laura 1986 [1975]. ‘Visual Pleasure and Narrative Cinema’, in Mulvey, Laura. Visual and Other Pleasures. Bloomington, Ind.: Indiana University Press: 14–26Google Scholar

Newson, Lloyd 1996. ‘Reply’, Dance Europe 2 (February/March): 31: www.dv8.co.uk/stage/enter.achilles/press/de_3.96.html, last accessed 3 March 2008Google Scholar

Nicholson, Helen 2005. Applied Drama: The Gift of Theatre. Basingstoke and New York, NY: Palgrave MacmillanCrossRefGoogle Scholar

Nicoll, Allardyce 1966. The Development of the Theatre: A Study of Theatrical Art from the Beginnings to the Present Day. London: HarrapGoogle Scholar

Oddey, Alison and White, Christine A. (eds.) 2006. The Potentials of Spaces: The Theory and Practice of Scenography and Performance: International Scenography and Performance for the 21st Century. Bristol: Intellect Books

Parker, Roger (ed.) 1994. The Oxford Illustrated History of Opera. Oxford: Oxford University Press

Pavis, Patrice 1981. ‘The Interplay between Avant-garde Theatre and Semiology’, Performing Arts Journal 5(3): 75–86CrossRefGoogle Scholar

Pavis, Patrice 1982. Languages of the Stage: Essays in the Semiology of Theatre. New York, NY: Performing Arts Journal PublicationsGoogle Scholar

Pavis, Patrice 1992. ‘From Page to Stage: A Difficult Birth’, in Pavis, Patrice. Theatre at the Crossroads of Culture. London: Routledge: 24–47CrossRefGoogle Scholar

Pavis, Patrice 1998. Dictionary of the Theatre: Terms, Concepts, and Analysis, tr. Shantz, Christine. Toronto, ON: University of Toronto PressGoogle Scholar

Pavis, Patrice 2003. Analyzing Performance: Theater, Dance, and Film, tr. Williams, David. Ann Arbor, Mich.: University of Michigan PressCrossRefGoogle Scholar

Pearson, Mike 1982. Languages of the Stage: Essays in the Semiology of Theatre. New York, NY: Performing Arts Journal PublicationsGoogle Scholar

Pearson, Mike 1992. ‘From Page to Stage: A Difficult Birth’, in Pavis, Patrice. Theatre at the Crossroads of Culture. London: Routledge: 24–47Google Scholar

Pearson, Mike 1998. Dictionary of the Theatre: Terms, Concepts, and Analysis, tr. Shantz, Christine. Toronto, ON: University of Toronto PressGoogle Scholar

Pearson, Mike 2003. Analyzing Performance: Theater, Dance, and Film, tr. Williams, David. Ann Arbor, Mich.: University of Michigan PressGoogle Scholar

Pearson, Mike 1992. ‘From Page to Stage: A Difficult Birth’, in Pavis, Patrice. Theatre at the Crossroads of Culture. London: Routledge: 24–47Google Scholar

Pearson, Mike 1998. Dictionary of the Theatre: Terms, Concepts, and Analysis, tr. Shantz, Christine. Toronto, ON: University of Toronto PressGoogle Scholar

Pearson, Mike 2003. Analyzing Performance: Theater, Dance, and Film, tr. Williams, David. Ann Arbor, Mich.: University of Michigan PressGoogle Scholar

Pearson, Mike 1998. Dictionary of the Theatre: Terms, Concepts, and Analysis, tr. Shantz, Christine. Toronto, ON: University of Toronto PressGoogle Scholar

Pearson, Mike 2003. Analyzing Performance: Theater, Dance, and Film, tr. Williams, David. Ann Arbor, Mich.: University of Michigan PressGoogle Scholar

Pearson, Mike 2003. Analyzing Performance: Theater, Dance, and Film, tr. Williams, David. Ann Arbor, Mich.: University of Michigan PressGoogle Scholar

Pearson, Mike and Shanks, Michael 2001. Theatre/Archaeology: Disciplinary Dialogues. London: RoutledgeGoogle Scholar

Peirce, Charles Sanders 1985. ‘Logic as Semiotic: The Theory of Signs’, in Innis, Robert E. (ed.). Semiotics: An Anthology. Bloomington, Ind.: Indiana University Press: 5Google Scholar

Peters, Julie Stone 2000. Theatre of the Book, 1480–1880: Print, Text, and Performance in Europe. Oxford: Oxford University PressGoogle Scholar

Pfister, Manfred 1988. The Theory and Analysis of Drama, tr. Halliday, John. Cambridge: Cambridge University PressCrossRefGoogle Scholar

Pitches, Jonathan 2006. Science and the Stanislavsky Tradition of Acting. London: RoutledgeCrossRefGoogle Scholar

Plato, 1955. The Republic, tr. Lee, H. D. P.. Harmondsworth: PenguinGoogle Scholar

Postlewait, Thomas 1988. ‘The Criteria for Periodization in Theatre History’, Theatre Journal 40(3) (October): 299–318CrossRefGoogle Scholar

Postlewait, Thomas and McConachie, Bruce (eds.) 1989. Interpreting the Theatrical Past: Essays in the Historiography of Performance. Iowa City, IA: University of Iowa PressGoogle Scholar

Postman, Neil 1985. Amusing Ourselves to Death. London: HeinemannGoogle Scholar

Priromprintr, Art 2004. ‘Revitalizing “La Bohème”. Baz Luhrmann Works to Make Italian Opera Relevant to a Modern Audience’, Daily Trojan Online, 22 January, 151(6): 7–10: www.dailytrojan.com, last accessed 28 February 2008.Google Scholar

Pronko, Leonard 1967. Theatre East and West. Berkeley, Calif.: University of California PressGoogle Scholar

Rangacharya, Adya 1996. The Nātyasāstra. English Translation with Critical Notes. New Delhi: Munshiram Manoharial PublishersGoogle Scholar

Reid, Gilbert 1994. ‘Computers and Theatre: Mimesis, Simulation and Interconnectivity’, Canadian Theatre Review 81: 10–15Google Scholar

Reinelt, Janelle G. and Roach, Joseph R. (eds.) 1992. Critical Theory and Performance. Ann Arbor, Mich.: University ofMichigan Press

Revermann, Martin 2006. Comic Business: Theatricality, Dramatic Technique, and Performance Contexts of Aristophanic Comedy. Oxford: Oxford University PressGoogle Scholar

Richards, Robert J. 1998. ‘Rhapsodies on a Cat-piano, or Johann Christian Reil and the Foundations of Romantic Psychiatry’, Critical Inquiry 24(3) (Spring): 700–36CrossRef

Rimer, J. Thomas, and Masakazu, Yamazaki (trs. and eds.) 1984. On the Art of the Nō Drama: The Major Treatises of Zeami. Princeton, NJ: Princeton University Press

Roach, Joseph 1985. The Player's Passion: Studies in the Science of Acting. Ann Arbor, Mich.: The University of Michigan PressGoogle Scholar

Roach, Joseph 1996. Cities of the Dead: Circum-Atlantic Performance. New York, NY: Columbia University PressGoogle Scholar

Rousseau, Jean-Jacques 1968. Politics and the Arts: Letter to M. D'Alembert on the Theatre, translated and introduced by Allan Bloom. Ithaca, NY: Cornell University PressGoogle Scholar

Sauter, Willmar 2000. The Theatrical Event: Dynamics of Performance and Perception. Iowa City, IA: University ofIowa PressGoogle Scholar

Schechner, Richard 2003. Performance Theory, revised and expanded edn. London: RoutledgeGoogle Scholar

Schechner, Richard 2006. Performance Studies: An Introduction, 2nd revised edn. London: RoutledgeGoogle Scholar

Schoenmakers, Henri 1990. ‘The Spectator in the Leading Role: Developments in Reception and Audience Research with Theatre Studies: Theory and Research’, in Sauter, Willmar (ed.), Nordic Theatre Studies: Special International Issue. New Directions in Theatre Research, Stockholm: 93–106Google Scholar

Schramm, Wilbur 1971 [1954]. ‘How Mass Communication Works’, in Schramm, Wilbur and Roberts, Donald (eds.). The Process and Effects of Mass Communication. Urbana, Ill.: University of Illinois Press: 3–26Google Scholar

Schrum, Stephen A. (ed.) 1999. Theatre in Cyberspace: Issues of Teaching, Acting and Directing. New York, NY: Lang

Scolnicov, Hanna 1987. ‘Theatre Space, Theatrical Space, and the Theatrical Space Without’, in Redmond, James (ed.), The Theatrical Space (Themes in Drama, Vol. IX). Cambridge: Cambridge University Press: 11–26Google Scholar

Selbourne, David 1982. The Making of A Midsummer Night's Dream: An Eye-witness Account of Peter Brook's Production from First Rehearsal to First Night. London: MethuenGoogle Scholar

Shakespeare, William 1963. Hamlet, First Folio edn: http://etext.virginia.edu/shakespeare/folio, last accessed 26 February 2008Google Scholar

Shellard, Dominic 2004. Economic Impact Study of UK Theatre. Arts Council England: www.artscouncil.org.uk/publicationsGoogle Scholar

Shepherd, Simon and Wallis, Mick 2004. Drama /Theatre/Performance. London: RoutledgeGoogle Scholar

Siegfried, Kristy 2007. ‘Ambushing Commuters with Life-saving Messages’, Saifaid News 11 (June): 7–8: www.safaids.net/publications/SAFAIDSNewe_June2005.pdf, last accessed 4 March 2008.Google Scholar

Simon, Henry W. 1989. 100 Great Operas and their Stories: Act-by-act Synopses. New York, NY: Anchor Books. Abridged from Festival of Opera (1957)Google Scholar

Singer, Millon (ed.) 1959. Traditional India: Structure and Change. Philadelphia, Pa.: American Folklore Society

Smith, SusanValeria, Harris 1984. Masks in Modern Drama. Berkeley, Calif.: University of California PressGoogle Scholar

Sorell, Walter 1981. Dance in Its Time. Garden City, NY: Anchor PressGoogle Scholar

Southern, Richard 1962. The Seven Ages of Theatre. London: Faber & FaberGoogle Scholar

States, Bert O. 1985. Great Reckonings in Little Rooms: On the Phenomenology of Theatre. Berkeley and Los Angeles, Calif.: University of California PressGoogle Scholar

Stelarc, 2007: www.stelarc.va.com.au, last accessed 3 March 2008

Styan, John Louis 1963. The Elements of Drama. Cambridge: Cambridge University PressGoogle Scholar

Styan, John 1967. Shakespeare's Stagecraft. Cambridge: Cambridge University PressGoogle Scholar

Styan, John 1975. Drama, Stage and Audience. Cambridge: Cambridge University PressCrossRefGoogle Scholar

Sutcliffe, Tom (ed.) 2000. The Faber Book of Opera. London: Faber & Faber

Szondi, Peter 1987. Theory of the Modern Drama, tr. and ed. Hays, Michael. Minneapolis, Minn.: University of Minnesota PressGoogle Scholar

Taplin, Oliver 1977. The Stagecraft of Aeschylus: The Dramatic Use of Exits and Entrances in Greek Tragedy. Oxford: Clarendon PressGoogle Scholar

Taplin, Oliver 1993. Comic Angels and Other Approaches to Greek Drama through Vase-paintings. Oxford: Clarendon PressGoogle Scholar

Taplin, Oliver 2007. Pots and Plays: Interactions between Tragedy and Greek Vase-painting of the Fourth Century BC. Los Angeles, Calif.: Getty Museum PublicationsGoogle Scholar

Taylor, Philip 2003. Applied Theatre: Creating Transformative Encounters in the Community. Portsmouth, NH: HeinemannGoogle Scholar

Thomas, Helen 1995. Dance, Modernity and Culture: Explorations in the Sociology of Dance. London: RoutledgeCrossRefGoogle Scholar

Thompson, James 2003. Applied Theatre: Bewilderment and Beyond. Oxford: Peter LangCrossRefGoogle Scholar

Tulloch, John 2005. Shakespeare and Chekhov in Production and Reception: Theatrical Events and Their Audiences. Iowa City, IA: University of Iowa PressGoogle Scholar

Turkle, Sherry 1995. Life on the Screen: Identity in the Age of the Internet. New York, NY: Simon & SchusterGoogle Scholar

Turner, Victor 1987. The Anthropology of Performance. New York, NY: PAJ PublicationsGoogle Scholar

Vince, Ronald W. 1989. ‘Theatre History as an Academic Discipline’, in Postlewait and McConachie: 1–18

Watson, Keith 1995. ‘From Sexual Paranoia to Bar-room Violence, DV8 Physical Theatre Explore the Terrors of Testosterone’, The Observer Review, September 10

Weibel, Peter and Druckrey, Timothy (eds.) 2001. Net Condition: Art and Global Media. Cambridge, Mass.: MIT Press

West, Shearer 1991. The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble. London: PinterGoogle Scholar

White, Hayden 1973. Metahistory: The Historical Imagination in Nineteenth-century Europe. Baltimore, Md.: Johns Hopkins University PressGoogle Scholar

Wiles, David 2003. A Short History of Western Performance Space. Cambridge: Cambridge University PressGoogle Scholar

Wilkie, Fiona 2002. ‘Mapping the Terrain: A Survey of Site-specific Performance in Britain’, New Theatre Quarterly 70(18): 140–60CrossRefGoogle Scholar

Williams, Raymond 1972 [1954]. Drama in Performance. Harmondsworth: PenguinGoogle Scholar

Williams, Raymond 1975. Drama in a Dramatised Society: An Inaugural Lecture. Cambridge: Cambridge University PressGoogle Scholar

Williams, Raymond 1980. Problems in Materialism and Culture: Selected Essays. London and New York, NY: VersoGoogle Scholar

Williams, Raymond 1989 [1975]. ‘Drama in a Dramatised Society’, in O'Connor, Alan (ed.). Raymond Williams on Television. London: Routledge: 3–13.Google Scholar

Winston, Joe 1996. ‘Emotion, Reason and Moral Engagement in Drama’, Research in Drama Education 1(2): 189–200CrossRefGoogle Scholar

Winston, Joe 2005. ‘Between the Aesthetic and the Ethical: Analysing the Tension at the Heart of Theatre in Education’, Journal of Moral Education 34(3): 309–23CrossRefGoogle Scholar

Winton, Dean 2005. ‘Between the Aesthetic and the Ethical: Analysing the Tension at the Heart of Theatre in Education’, Journal of Moral Education 34(3): 309–23CrossRefGoogle Scholar

Winton, Dean 1990. Essays on Opera. Oxford: Clarendon PressGoogle Scholar

Worthen, William B. 1984. The Ideal of the Actor: Drama and the Ethics of Performance. Princeton, NJ: Princeton University PressGoogle Scholar

Worthen, William B. (ed.) 1999. The Harcourt Brace Anthology of Drama, 3rd edn. Fort Worth, Tex.: Harcourt College Publishers

Zarrilli, Phillip B. (ed.) 2002. Acting (Re)Considered: A Theoretical and Practical Guide, 2nd edn. London: Routledge

Zarrilli, Phillip B., McConachie, , Bruce, , Williams, Gary Jay and Sorgenfrei, Carol Fischer 2006. Theatre Histories: An Introduction. New York, NY: RoutledgeGoogle Scholar

The Cambridge Guide to Theatre. Banham, Martin (ed.). Cambridge: Cambridge University Press 1995

The Concise Oxford Companion to the Theatre. Hartnoll, Phyllis and Found, Peter (eds.), 2nd edn. Oxford: Oxford University Press 1992

International Dictionary of Ballet. Bremser, Martha (ed.). 2 Vols. London and Detroit, Mich.: St. James Press 1993

International Dictionary of Theatre. Hawkins-Dady, Mark (ed.). Vol. I. Plays, Vol. II: Playwrights; Vol. III: Actors, Directors and Designers. Chicago, Ill.: St James Press 1992–6

An International Dictionary of Theatre Language. Trapido, Joel (ed.). Westport, Conn.: Greenwood Press 1985

International Encyclopedia of Dance. Cohen, Selma Jeanne (ed.). 6 Vols. Oxford and New York, NY: Oxford University Press 1998CrossRef

The Metropolitan Opera Encyclopedia. Hamilton, David (ed.). London: Thames and Hudson 1987

The New Grove Dictionary of Opera. Sadie, Stanley (ed.). 4 Vols. London: Macmillan 1992

The Oxford Encyclopedia of Theatre and Performance. Kennedy, Dennis (ed.). 2 Vols. Oxford: Oxford University Press 2003

Pavis, Patrice. Dictionary of the Theatre: Terms, Concepts and Analysis, tr. Shantz, Christine. Toronto, ON: University of Toronto Press 1998Google Scholar

World Encyclopedia of Contemporary Theatre. Rubin, Dan (ed.). Vol. I: Europe; Vol. 2: The Americas; Vol. 3: Africa; Vol. 4: The Arab World; Vol. 5: Asia/Pacific. London: Routledge 1995–9

Bibliographic Guide to Theatre Arts. Boston, Mass.: G. K. Hall 1975–

Innes, C.Twentieth-century British and American Theatre: a Critical Guide to Archives. Aldershot: Ashgate 1999Google Scholar

International Bibliography of Theatre. New York, NY: IBT 1985–

Performing Arts Books 1876–1981. London and New York, NY: Bowker 1981

Whalon, M. K.Performing Arts Research: A Guide to Information Sources. Detroit, Mich.: Gale Research 1976Google Scholar