Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-xbtfd Total loading time: 0 Render date: 2024-11-06T00:23:23.654Z Has data issue: false hasContentIssue false

Select bibliography

Published online by Cambridge University Press:  22 September 2009

Mary Luckhurst
Affiliation:
University of York
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Dramaturgy
A Revolution in Theatre
, pp. 268 - 285
Publisher: Cambridge University Press
Print publication year: 2006

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alexander, Francis, 18 November 1997, 24 January 2000.
Ayckbourn, Alan, 27 January 2000.
Barton, John, 6 October 1996.
Bell, Barbara, 21 January 1998.
Bell, Suzanne, 22 September 2004.
Böhm, Vera, 6 December 1996.
Bradley, Jack, 18 November 1997, 5 October 2004.
Braun, Volker, 4 December 1996.
Brown, Ian, 21 January 1998.
Chambers, Colin, 14 December 1998.
Combes, Jo, 29 September 2004.
Craze, Tony, 6 September 1999.
Dunderdale, Sue, 29 September 2004.
Frankcom, Sarah, 27 September 2004.
Gagen, Alison, 15 October 2004.
Greig, Noel, 11 April 1998.
Harvey, Laura, 27 January 2000.
Hecht, Werner, 5 December 1996.
Jankovich, Ben, 8 April 1997.
Kemp, Edward, 29 September 2004.
Kenyon, Mel, 14 December 1999.
Maglia, Kelly, 24 January 2000.
Mulvey, Louise, 6 December 1999, 21 March 2000.
Payne, Ben, 1 October 2004.
Reade, Simon, 14 December 1998.
Richardson, Esther, 1 October 2004.
Sirett, Paul, 28 September 2004.
Trott, Lloyd, 29 September 2004.
Veltman, Chloe, 12 December 1998.
Waters, Steve, 16 September 2004.
Wekwerth, Manfred, 4 December 1996.
Whelan, Peter, 10 May 2004.
Whybrow, Graham, 12 December 1997, 28 January 1998.
Brecht, Bertolt, note dated to 1954, in the Bertolt Brecht Archive, Berlin.
Chandos, Oliver Lyttelton, Viscount, draft speeches, notes, and other materials held in the Chandos Papers in the Churchill Archive, Cambridge.
Heymann, Herr, letter to Kurt Bork, 1 April 1949, in the Helene Weigel Archive, Berlin.
Holmstrom, John, letter to the author, 17 January 1999.
Jachmann, G., ‘De Aristotelis didascaliis’ (unpublished dissertation, University of Göttingen, 1909).
Memorandum and Articles of Association of the National Theatre Board, in the National Theatre Archive, London.
Notes, minutes, and other materials held in the Bertolt Brecht Archive, Berlin.
Notes, minutes, and other materials held in the Helene Weigel Archive, Berlin.
Protokoll der Betriebsversammlung. Notes on a Berliner Ensemble board meeting held on 4 January 1956, in the Helene Weigel Archive, Berlin.
Rülicke, Käthe, letter to Herr Heinen, 9 May 1956, in the Bertolt Brecht Archive, Berlin.
Stern, Tiffany, ‘A History of Rehearsal in the British Professional Theatre from the Sixteenth to the Eighteenth Century’ (dissertation, University of Cambridge, 1997).
Tynan, Kenneth, unbound manuscripts held as the Tynan Papers in the British Library, London.
Alexander, Francis, ed., The Chelsea Centre Annual Report (1998).
Archer, William, ‘The Mausoleum of Ibsen’, Fortnightly Review 54 (July 1893): 77–91.Google Scholar
Arnold, Matthew, ‘The French Play in London’, Nineteenth Century 6 (August 1879): 228–43.Google Scholar
Barker, Harley Granville, ‘At the Moscow Art Theatre’, Seven Arts 2 (1917): 659–61.Google Scholar
Barker, Harley Granville, ‘Repertory Theatres’, New Quarterly 2 (1909): 491–504.Google Scholar
Barker, Harley Granville, ‘Two German Theatres’, Fortnightly Review 89 (January–June 1911): 60–70.Google Scholar
Billington, Michael, ‘Hindsight sagas’, Guardian, 29.12.1999, G2, pp. 10–11.
Billington, Michael,‘The other Marx brother’, Guardian, 10.2.1998, G2, p. 9.
Burnand, F. C., ‘Authors and Managers’, Theatre (February–July 1879): 17.Google Scholar
Canaris, Volker, ‘Style and the Director,’ trans. Claudia Rosoux, in Hayman, ed., German Theatre, pp. 250–1.
Chandos, Oliver Lyttelton, Viscount, Letter to the Editor, in The Times, 2.5.1967.
Crawfurd, Oswald, ‘The London Stage’, Fortnightly Review 47 (April 1890): 499–516.Google Scholar
Crawfurd, Oswald, ‘The London Stage, II. A Rejoinder’, Fortnightly Review 47 (June 1890): 931–6.Google Scholar
Crawfurd, Oswald, ‘The London Stage’, Fortnightly Review 48 (August 1890): 315–316.Google Scholar
Craze, Tony, ed., Going Black Under the Skin (London: New Playwrights Trust, 1997).Google Scholar
Deeney, John, ed., The Mentoring Scheme for Women Writers (London: New Playwrights Trust, 1996).Google Scholar
Finegan, J. J., ‘All about “Juno”: a job well done’, Evening Herald, 7.5.1966, p. 8.
Girault, Alain, ed.-in-chief, ‘Dramaturgie’, Théâtre/public 67 (January–February 1986).Google Scholar
Holland, Peter, ‘David Garrick: 3rdly, as an Author’, Studies in Eighteenth Century Culture 25: 39–62.CrossRef
Holland, Peter,‘Theatre’, in Latham and Matthews, eds., Samuel Pepys: Companion, pp. 431–45.
Hunt, Leigh, ‘Rules for the Theatrical Critic of a Newspaper’, in Archer and Lowe, eds., Dramatic Essays, pp. 124–7.
Irving, Henry, ‘Actor-Managers II’, Nineteenth Century 27 (June 1890): 1052–3.Google Scholar
Jones, H. A., ‘The Actor-Manager’, Fortnightly Review 48 (July 1890): 1–18.Google Scholar
Kott, Jan, ‘The Dramaturg’, New Theatre Quarterly 6.21 (February 1990): 3–4.CrossRefGoogle Scholar
Luckett, Richard, ‘Plays’, in Latham and Matthews, eds., Samuel Pepys: Companion, pp. 337–42.
Luckhurst, Mary, ‘Mentors or Censors?’, New Playwrights Trust (Writernet) News 123 (February 1999): 3–4.Google Scholar
Marowitz, Charles, ‘Talk with Tynan’, Encore 10.44 (July/August 1963): 7–27.Google Scholar
McDonald, Jan, ‘Shaw and the Court Theatre’, in Innes, ed., Cambridge Companion to Shaw, pp. 261–83.
Meth, Jonathan, ed., Commissioning the Future (London: New Playwrights Trust, 1997).Google Scholar
Milhous, Judith, ‘Thomas Betterton's Playwriting’, Bulletin of the New York Public Library 77 (1974): 375–92.Google Scholar
Münsterer, Hans Otto, ‘Recollections of Brecht in 1919 in Augsburg’, in Witt, ed., Brecht As They Knew Him, pp. 23–31.
Piscator, Erwin, ‘Über Grundlagen und Aufgaben des Proletarischen Theaters’, in Piscator, Schriften, ii, 9–12.
Reade, Simon, ‘Young Blood’, Time Out, 3–10.9.1997, p. 139.
Rees, Jasper, ‘Stage Fright’, London Evening Standard, 26.11.1999, ES, pp. 48–52.
Seymour, Alan, ‘Theatre 1965’, London Magazine 5.5 (August 1965): 49–55.Google Scholar
Stoker, Bram, ‘Actor-Managers I’, Nineteenth Century 27 (June 1890): 1040–51.Google Scholar
Tenschert, Joachim, ‘Qu'est-ce qu'un dramaturge?’, Théâtre Populaire 38 (1960): 41–8.Google Scholar
Tree, H. Beerbohm, ‘The London Stage, I. A Reply’, Fortnightly Review 47 (June 1890): 922–31.Google Scholar
Tree, H. Beerbohm, ‘The London Stage, II. A Stage Reply’, Fortnightly Review 48 (July 1890): 18–21.Google Scholar
Tynan, Kenneth, ‘The National Theatre: A Speech to the Royal Society of Arts’, in Tynan, View of the English Stage, pp. 352–64.
Tynan, Kenneth,Letters to the Editor, The Times, 4.5.1967 and 7.5.1967.
Kerkhoven, Marianne, ed.-in-chief, ‘Über Dramaturgie/On dramaturgy/A propos de dramaturgie/Over dramaturgie’, Theaterschrift 5–6 (1993).Google Scholar
Veltman, Chloe, ‘dramaturg. dramawot?’, New Playwrights Trust (Writernet) News 119 (1998): 7–8.Google Scholar
Weber Carl, ‘Brecht and the Berliner Ensemble – the Making of a Model’, in Thomson and Sacks, eds., Cambridge Companion to Brecht, pp. 167–84.
Willett, John, ‘Bacon ohne Shakespeare? The problem of Mitarbeit’, in Fuegi et al., eds., Brecht, Women, Politics, pp. 121–37.
Wilson, Effingham, ‘Proposition for a National Theatre’, in Whitworth, National Theatre, pp. 26–9.
Wilson, Effingham, A House for Shakespeare; a Proposition for the Consideration of the Nation (London: Mr Hurst, King William Street, Strand, 1848).Google Scholar
Wilson, Effingham, A House for Shakespeare; a Proposition for the Consideration of the Nation (London: Mr Mitchell, Red Lion Court, Fleet Street, 1848).Google Scholar
Wyndham, Charles, ‘Actor-Managers III’, The Nineteenth Century 27 (June 1890): 1054–8.Google Scholar
1832 Report from the Select Committee on Dramatic Literature, in Stage and Theatre I (Shannon: Irish University Press, 1968) [British Parliamentary Papers].
1866 Report from the Select Committee on Theatrical Licences and Regulations, in Stage and Theatre II (Shannon: Irish University Press, 1970) [British Parliamentary Papers].
Addenbrooke, David, The Royal Shakespeare Company (London: William Kimber, 1974).Google Scholar
Archer, William, About The Theatre (London: T. Fisher Unwin, 1886).Google Scholar
Archer, William, English Dramatists of Today (London: Sampson Low, Marston, Searle and Rivington, 1882).Google Scholar
Archer, William, The Old Drama and the New (London: William Heinemann, 1923).Google Scholar
Archer, William, Play-making (1912; 4th edn, London: Chapman and Hall, 1930).Google Scholar
Archer, William and Barker, H. Granville, Scheme and Estimates for a National Theatre (London: Duckworth and Co., 1907).Google Scholar
Archer, William and Lowe, Robert W., eds., Dramatic Essays (London: Walter Scott, 1894).Google Scholar
Aristotle, Poetics, general ed. Goold, G. P., trans. and ed. Stephen Halliwell (Cambridge, MA: Harvard University Press, 1995) [Loeb Classical Library].Google Scholar
Aston, Elaine, Feminist Theatre Practice: A Handbook (London: Routledge, 1999).Google Scholar
Bahr, Ehrhard, ed., Was ist Aufklärung? (Stuttgart: Reclam, 1974).Google Scholar
Bancroft, Marie and Bancroft, Squire, The Bancrofts (London: John Murray, 1909).Google Scholar
Barker, Harley Granville(-), The Exemplary Theatre (London: Chatto and Windus, 1922).Google Scholar
Barker, Harley Granville(-), A National Theatre (London: Sidgwick and Jackson, 1930).Google Scholar
Bartram, Graham and Waine, Anthony, Brecht in Perspective (Harlow: Longman, 1982).Google Scholar
Bate, Jonathan, Shakespearean Constitutions: Politics, Theatre, Criticism 1730–1830 (Oxford: Clarendon Press, 1989).Google Scholar
Beauman, Sally, The Royal Shakespeare Company: A History of Ten Decades (Oxford: Oxford University Press, 1982).Google Scholar
Beerbohm, Max, ed., Herbert Beerbohm Tree (London: Hutchinson and Co., 1920).Google Scholar
Benjamin, Walter, Understanding Brecht, trans. Anna Bostock (1966; London and New York: Verso, 1983).Google Scholar
Bentley, Eric, The Brecht Memoir, 2nd edn (Manchester: Carcanet, 1989).Google Scholar
Bentley, Gerald Eades, The Profession of Dramatist in Shakespeare's Time 1590–1642 (Princeton: Princeton University Press, 1971).Google Scholar
Bentley, Gerald Eades, The Profession of Player in Shakespeare's Time (Princeton: Princeton University Press, 1984).Google Scholar
Bentley, Gerald Eades, Shakespeare and his Theatre (Lincoln: University of Nebraska Press, 1964).Google Scholar
Berlau, Ruth, Brecht, Bertolt, Hubalek, Claus, Palitzsch, Peter and Rülicke, Käthe, eds., Theaterarbeit 6: Aufführungen des Berliner Ensemble (Dresden: Desdner Verlag, 1952).Google Scholar
Bly, Mark, ed., The Production Notebooks (New York: Theatre Communications Group, 1996) [Theatre in Process].Google Scholar
Booth, Michael R., Theatre in the Victorian Age (Cambridge: Cambridge University Press, 1991).Google Scholar
Borsa, Mario, The English Stage of Today, trans. and ed. Brinton, Selwyn (London and New York: John Lane, 1908).Google Scholar
Brecht, Bertolt, Bertolt Brecht Letters 1913–1956, trans. Ralph Manheim, ed. Willett, John (London: Methuen, 1990).Google Scholar
Brecht, Bertolt,Brecht on Theatre, trans. and ed. Willett, John (1964; London: Methuen, 1987).Google Scholar
Brecht, Bertolt,Brecht: Schriften zum Theater, ed. Hecht, Werner (1957; 6 vols., rev. edn, Frankfurt-on-Main: Suhrkamp, 1963).Google Scholar
Brecht, Bertolt,Briefe, ed. Glaeser, Günter, 2 vols. (Frankfurt-on-Main: Suhrkamp, 1981).Google Scholar
Brecht, Bertolt,Gesammelte Werke, ed. Hauptmann, Elisabeth, 8 vols. (Frankfurt-on-Main: Suhrkamp, 1967).Google Scholar
Brecht, Bertolt,Journals 1934–1955, ed. Willett, John (London: Methuen, 1993).Google Scholar
Brecht, Bertolt, The Messingkauf Dialogues, trans. John Willett (1965; London: Methuen, 1994).Google Scholar
Brecht, Bertolt,Werke, ed. Hecht, Werner, Knopf, Jan, Mittenzwei, Werner and Müller, Klaus-Detlef, 30 vols. (Berlin: Aufbau Verlag; Frankfurt-on-Main: Suhrkamp, 1988–98).Google Scholar
Brockett, Oscar G., The Essential Theatre (1976; 6th edn, New York: Harcourt Brace, 1996).Google Scholar
Brook, Peter, The Empty Space (1968; Harmondsworth: Penguin, 1990).Google Scholar
Brooker, Peter, Bertolt Brecht: Dialectics, Poetry, Politics (London: Croom Helm, 1988).Google Scholar
Bunge, Hans, ed., Brechts Lai-Tu: Erinnerungen und Notate von Ruth Berlau (1981; 2nd edn, Darmstadt: Hermann Luchterhand, 1985).Google Scholar
Bunn, Alfred, The Stage: Both Before and Behind the Curtain, 3 vols. (London: Richard Bentley, 1840).Google Scholar
Burling, William J., A Checklist of New Plays and Entertainments on the London Stage 1700–1732 (Rutherford: Fairleigh Dickinson University Press, 1993).Google Scholar
Byron, George Gordon, Lord, Letters and Journals, ed. Marchand, Leslie A., 12 vols. (London: John Murray, 1973–82).Google Scholar
Callow, Simon, ed., The National: The Theatre and its Work 1963–1997 (London: Nick Hern Books/Royal National Theatre, 1997).Google Scholar
Cardullo, Bert, ed., What is Dramaturgy? (New York: Peter Lang, 1995) [American University Studies, series 26, vol. 20].Google Scholar
Carson, Neil, A Companion to Henslowe's Diary (Cambridge: Cambridge University Press, 1988).CrossRefGoogle Scholar
Chambers, E. K., William Shakespeare: A Study of Facts and Problems, 2 vols. (Oxford: Clarendon Press, 1930).Google Scholar
Chothia, Jean, English Drama of the Early Modern Period (London and New York: Longman, 1996) [Longman Literature in English Series].Google Scholar
Cibber, Colley, An Apology for the Life of Colley Cibber, ed. Fone, B. R. S (Ann Arbor: University of Michigan Press, 1968).Google Scholar
Cochrane, Claire, The Birmingham Rep (Birmingham: Sir Barry Jackson Trust, 2003).Google Scholar
Cole, J. W., The Life and Theatrical Times of Charles Kean, F. S. A., 2 vols. (London: Richard Bentley, 1859).Google Scholar
Cook, Dutton, On the Stage, 2 vols. (London: Sampson, Low, Marston, Searle and Rivington, 1883).Google Scholar
Cook, Judith, The National Theatre (London: Harrap, 1976).Google Scholar
Craig, Gordon, Henry Irving (London: J. M. Dent and Sons, 1930).Google Scholar
Davies, Thomas, Memoirs of the Life of David Garrick, 2 vols. (London: [n.p.] 1780).Google Scholar
Dexter, John, The Honourable Beast (London: Nick Hern Books, 1993).Google Scholar
Dibdin, Thomas, The Reminiscences of Thomas Dibdin, 2 vols. (London: Henry Colburn, 1827).Google Scholar
Dickson, Keith A., Towards Utopia: A Study of Brecht (Oxford: Clarendon Press, 1978).Google Scholar
Doty, Gresdna A. and Harbin, Billy J., eds., Inside the Royal Court Theatre, 1956–1981 (Baton Rouge: Louisiana State University Press, 1990).Google Scholar
Downes, John, Roscius Anglicanus, ed. Milhous, Judith and Hume, Robert D. (London: Society for Theatre Research, 1987).Google Scholar
Dukore, Bernard F., Bernard Shaw, Director (London: Allen and Unwin, 1971).Google Scholar
Eddershaw, Margaret, Performing Brecht: Forty Years of British Performances (London: Routledge, 1996).CrossRefGoogle Scholar
Edgar, David, ed., State of Play (London: Faber and Faber, 1999).Google Scholar
Egan, Michael, ed., Ibsen: The Critical Heritage (London: Routledge and Kegan Paul, 1972).CrossRefGoogle Scholar
Elsom, John, Post-War British Theatre Criticism (London: Routledge and Kegan Paul, 1981).Google Scholar
Elsom, John and Tomalin, Nicholas, The History of the National Theatre (London: Jonathan Cape, 1978).Google Scholar
Esslin, Martin, Brecht: A Choice of Evils (London: Eyre and Spottiswoode, 1959).Google Scholar
Filon, Augustin, The English Stage, trans. Frederic Whyte (London: John Milne; New York: Dodd, Mead and Co., 1897).Google Scholar
Findlater, Richard, ed., At the Royal Court: 25 Years of the English Stage Company (Derby: Amber Lane, 1981).Google Scholar
Fitzball, Edward, Thirty-Five Years of a Dramatic Author's Life, 2 vols. (London: T. C. Newby, 1859).Google Scholar
Fitzgerald, Percy, Henry Irving. Twenty Years at the Lyceum (London: Chapman and Hall, 1893).Google Scholar
Foulkes, Richard, ed., Shakespeare and the Victorian Stage (Cambridge: Cambridge University Press, 1986).Google Scholar
Foulkes, Richard, ed.,British Theatre in the 1890s (Cambridge: Cambridge University Press, 1992).Google Scholar
Fuegi, John, Bertolt Brecht: Chaos, According to Plan (Cambridge: Cambridge University Press, 1987).Google Scholar
Fuegi, John, Brecht and Company: Sex, Politics, and the Making of the Modern Drama (New York: Grove Press, 1994).Google Scholar
Fuegi, John, Bahr, Gisela and Willett, John, eds., Brecht, Women, Politics (Detroit: Wayne State University Press, 1983).Google Scholar
Garrick, David, The Letters of David Garrick, ed. Little, David M. and Kahrl, George M., 3 vols. (Oxford: Oxford University Press, 1963).Google Scholar
Gaskill, William, A Sense of direction (London: Faber and Faber, 1988).Google Scholar
Gentleman, FrancisThe Modish Wife … to Which is Prefixed a Summary View of the Stage (1775; New York: Readex Microprints, 1963).Google Scholar
Gottlieb, Vera and Chambers, Colin, eds., Theatre in a Cool Climate (Oxford: Amber Lane, 1999).Google Scholar
Gray, Charles Harold, Theatrical Criticism in London to 1795 (New York: Columbia University Press, 1931).Google Scholar
Gray, Ronald, Brecht the Dramatist (Cambridge: Cambridge University Press, 1976).Google Scholar
Hall, Peter, Making an Exhibition of Myself (London: Sinclair-Stevenson, 1993).Google Scholar
Hall, Peter,Peter Hall's Diaries, ed. Goodwin, John (London: Hamish Hamilton, 1983).Google Scholar
Hanssen, Paula, Elisabeth Hauptmann: Brecht's Silent Collaborator (New York: Peter Lang, 1994) [New York Ottendorfer Series].Google Scholar
Harrold, Charles Frederick, Carlyle and German Thought 1819–1834 (London: Archon, 1963).Google Scholar
Hauptmann, Elisabeth, Julia ohne Romeo, ed. Eggert, Rosemarie and Hill, Rosemarie (Berlin: Aufbau Verlag, 1977).Google Scholar
Hayman, Ronald, ed., The German Theatre (London: Oswald Wolf, 1975).Google Scholar
Hecht, Werner, ed., Alles was Brecht ist, 3rd edn (Frankfurt-on-Main: Suhrkamp, 1998).Google Scholar
Hecht, Werner, Brecht Chronik 1898–1956 (Frankfurt-on-Main: Suhrkamp, 1997).Google Scholar
Highfill, Philip H., Burnim, Kalman A. and Langhans, Edward A., A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and other Stage Personnel in London 1660–1800, 16 vols. (Carbondale: Southern Illinois University Press, 1973–93).Google Scholar
Hill, Aaron and Popple, William, The Prompter, ed. Appleton, William W. and Burnim, Kalman A. (New York: Benjamin Bloom, 1966).Google Scholar
Holland, Peter, The Ornament of Action (Cambridge: Cambridge University Press, 1979).Google Scholar
Hume, Robert D., The Development of English Drama in the Late Seventeenth Century (Oxford: Clarendon Press, 1976).Google Scholar
Hume, Robert D., Henry Fielding and the London Theatre 1728–1737 (Oxford: Clarendon Press, 1988).Google Scholar
Hume, Robert D., ed., The London Theatre World 1660–1800 (Carbondale: Southern Illinois University Press/London and Amsterdam: Feffer and Simons, 1980).Google Scholar
Hunt, Leigh, Autobiography of Leigh Hunt, ed. Ingpen, Roger, 2 vols. (London: Archibald Constable and Co., 1903).Google Scholar
Hutchison, Robert, The Politics of the Arts Council (London: Sinclair Browne, 1982).Google Scholar
Innes, Christopher, Erwin Piscator's Political Theatre: The Development of Modern German Drama (Cambridge: Cambridge University Press, 1972).Google Scholar
Innes, Christopher, Modern German Drama: A Study in Form (Cambridge: Cambridge University Press, 1979).Google Scholar
Innes, Christopher, ed., The Cambridge Companion to George Bernard Shaw (Cambridge: Cambridge University Press, 1998).CrossRefGoogle Scholar
Itzin, Catherine, Stages in the Revolution (London: Methuen, 1980).Google Scholar
Jackson, Russell, ed., Victorian Theatre (London: A. and C. Black, 1989).Google Scholar
Johnson, John, The Lord Chamberlain's Blue Pencil (London: Hodder and Stoughton, 1990).Google Scholar
Jonas, Susan, Proehl, Geoff and Lupu, Michael, eds., Dramaturgy in American Theater: A Source Book (New York: Harcourt Brace, 1997).Google Scholar
Jones, H. A., Renascence of the English Drama (London and New York: Macmillan, 1895).Google Scholar
Joseph, Stephen, New Theatre Forms (London: Isaac Pitman and Sons, 1968).Google Scholar
Joseph, Stephen, The Story of the Playhouse in England (London: Barrie and Rockliff, 1963).Google Scholar
Joseph, Stephen, Theatre in the Round (London: Barrie and Rockliff, 1967).Google Scholar
Kebir, Sabine, Ein akzeptabler Mann? Brecht und die Frauen (Berlin: Aufbau Verlag, 1998).Google Scholar
Kebir, Sabine, Helene Weigel: Abstieg in den Ruhm (Berlin: Aufbau Verlag, 2002).Google Scholar
Kebir, Sabine, Ich Fragte Nicht Nach Meinem Anteil: Elisabeth Hauptmanns Arbeit mit Bertolt Brecht (Berlin: Aufbau Verlag, 1997).Google Scholar
Kennedy, Dennis, Granville Barker and the Dream of Theatre (1985; repr. with corr., Cambridge: Cambridge University Press, 1989).Google Scholar
Kleber, Pia and Visser, Colin, Reinterpreting Brecht: His Influence on Contemporary Drama and Film (Cambridge: Cambridge University Press, 1990).Google Scholar
Klotz, C. A., ed., Deutsche Bibliothek der schönen Wissenschaften (Halle, 1769).Google Scholar
Knopf, Jan, Bertolt Brecht. Eine Forschungsbericht. Fragwürdiges in der Brechtforschung (Frankfurt-on-Main: Fischer, 1974).Google Scholar
Knopf, Jan, Brecht-Handbuch. Lyrik, Epik, Schriften. Eine Asthetik der Widersprüche (Stuttgart: J. B. Metzler, 1984).Google Scholar
Knopf, Jan, Brecht-Handbuch: Theater. Eine Asthetik der Widersprüche (Stuttgart: J. B. Metzler, 1980).CrossRefGoogle Scholar
Kruger, Loren, The National Stage (Chicago: University of Chicago Press, 1992).Google Scholar
Kruger, Loren, Post-Imperial Brecht: Politics and Performance, East and South (Cambridge: Cambridge University Press, 2004).Google Scholar
Kustow, Michael, Theatre@risk (London: Methuen, 2000).Google Scholar
Lamport, F. J., German Classical Drama (1990; Cambridge: Cambridge University Press, 1992).Google Scholar
Lamport, F. J., Lessing and the Drama (Oxford: Clarendon Press, 1981).Google Scholar
Latham, R. C. and Matthews, W., eds., The Diary of Samuel Pepys, volume x, Companion (London: HarperCollins, 1995).Google Scholar
Lennard, John and Luckhurst, Mary, The Drama Handbook: A Guide to Reading Plays (Oxford: Oxford University Press, 2002).Google Scholar
Lessing, G. E., Hamburgische Dramaturgie, in Lessing's Werke, ed. Petersen, J. and Olshausen, W., 25 vols. (Berlin: Bong and Co., 1925).Google Scholar
Lessing, G. E.Hamburgische Dramaturgie, ed. Berghahn, Klaus L. (Stuttgart: Reklam, 1981).Google Scholar
Lessing, G. E.Sämtliche Schriften, ed. Lachmann, K., 23 vols. (Berlin: Muncker, 1886–1924).Google Scholar
Lessing, G. E.,Selected Prose Works, ed. Bell, E., trans. E. C. Beasley and Helen Zimmern (London: George Bell and Sons, 1879).Google Scholar
Littlewood, Joan, Joan's Book (London: Minerva, 1995).Google Scholar
Lyon, James K., Bertolt Brecht in America (Princeton: Princeton University Press, 1980).Google Scholar
MacCarthy, Desmond, The Court Theatre 1904–1907 (London: A. H. Bullen, 1907).Google Scholar
Macready, William Charles, The Diaries, ed. Toynbee, William, 2 vols. (London: Chapman and Hall, 1912).Google Scholar
Macready, William Charles,Reminiscences and Selections from his Diaries and Letters, ed. Pollock, Frederick, 2 vols. (London: Macmillan, 1875).Google Scholar
Marshall, Norman, The Producer and the Play (1957; 2nd edn, London: MacDonald, 1962).Google Scholar
Martin-Harvey, John, The Autobiography of Sir John Martin-Harvey (London: Sampson, Low, Marston and Co., 1933).Google Scholar
Marx, Karl and Engels, Friedrich, Marx-Engels-Werke, Institut für Marxismus-Leninismus beim Zentralkommittee der Sozialistische Einheitspartei Deutschlands, 43 vols. (Berlin: Dietz Verlag, 1958).Google Scholar
Mason, A. E. W., Sir George Alexander and the St James Theatre (London: Macmillan, 1935).Google Scholar
Mayer, Hans, Erinnerung an Brecht (Frankfurt-on-Main: Suhrkamp, 1996).Google Scholar
McCabe, Terry, Mis-directing the Play (Chicago: Ivan R. Dee, 2001).Google Scholar
Melville, Lewis, The Life and Letters of Tobias Smollett (New York: Kennikat Press, 1966).Google Scholar
Mews, Siegfried, ed., A Bertolt Brecht Reference Companion (Westport, CT, and London: Greenwood Press, 1997).Google Scholar
Milhous, Judith D. and Hume, Robert D., Producible Interpretation (Carbondale: Southern Illinois University Press, 1985).Google Scholar
Milhous, Judith D. and Hume, Robert D., A Register of English Theatrical Documents 1660–1737, 2 vols. (Carbondale: Southern Illinois University Press, 1991).Google Scholar
Milibrand, Ralph, Parliamentary Socialism (London: Merlin Press, 1979).Google Scholar
Mittenzwei, Werner, Das Leben Bertolt Brecht, 2 vols. (Berlin: Aufbau Verlag, 1986).Google Scholar
Mittenzwei, Werner, Wer war Brecht (Berlin: Aufbau Verlag, 1977).Google Scholar
Münsterer, Hanns Otto, The Young Brecht, 2nd edn, trans. Tom Kuhn and Karen Leeder (London: Libris, 1992).Google Scholar
Nagler, A. M., A Source Book in Theatrical History (New York: Dover Press, 1959).Google Scholar
Needle, Jan and Thomson, Peter, Brecht (Oxford: Basil Blackwell, 1981).Google Scholar
Olivier, Laurence, Confessions of an Actor (1982; London: Orion Books, 1994).Google Scholar
Parsons, Mrs Clement, Garrick and his Circle (London: Methuen, 1906).Google Scholar
Paulin, Roger, Ludwig Tieck: A Literary Biography (Oxford: Clarendon Press, 1985).Google Scholar
Pavis, Patrice, Dictionary of the Theatre (Paris: Dunod, 1996; trans. Christine Shantz, Toronto: University of Toronto Press, 1998).Google Scholar
Pemberton, T. Edgar, Sir Charles Wyndham (London: Hutchison and Co., 1904).Google Scholar
Pickard-Cambridge, Arthur, The Dramatic Festivals of Athens, 2nd edn, rev. John Gould and D. M. Lewis (Oxford: Clarendon Press, 1988).Google Scholar
Piscator, Erwin, Das Politische Theater (1929; rev. Felix Gasbarra, Hamburg: Rowohlt, 1963).Google Scholar
Piscator, Erwin,Schriften, ed. Hoffmann, Ludwig, 2 vols. (Berlin: Henschelverlag, 1968).Google Scholar
[Platt, Agnes,] Anonymous (London: John Murray, 1936).Google Scholar
Purdom, C. B., Harley Granville Barker: Man of the Theatre, Dramatist and Scholar (Westport, CT: Greenwood Press, 1956).Google Scholar
Reinelt, Janelle, After Brecht. British Epic Theatre (Ann Arbor: University of Michigan Press, 1994).Google Scholar
Richards, Kenneth and Thomson, Peter, Essays on Nineteenth-Century British Theatre (London: Methuen, 1971).Google Scholar
Rilla, Paul, Lessing und sein Zeitalter (Berlin: Aufbau Verlag, 1981).Google Scholar
Roberts, Philip, The Royal Court and the Modern Stage (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar
Roberts, Philip, The Royal Court Theatre 1965–1972 (Cambridge: Cambridge University Press, 1986).Google Scholar
Robertson, J. D., Lessing's Dramatic Theory (Cambridge: Cambridge University Press, 1939).Google Scholar
Rouse, John, Brecht and the West German Theatre (Ann Arbor: UMI Research Press, 1989) [Theatre and Dramatic Studies, no. 62].Google Scholar
Rowell, George, The Old Vic Theatre: A History (Cambridge: Cambridge University Press, 1993).Google Scholar
Rowell, George, The Victorian Theatre: A Survey (Oxford: Clarendon Press, 1956).Google Scholar
Rowell, George and Jackson, Anthony, The Repertory Movement. A History of Regional Theatre in Britain (Cambridge: Cambridge University Press, 1984).Google Scholar
Rülicke-Weiler, Käthe, Die Dramaturgie Brechts (Berlin: Henschelverlag, 1966).Google Scholar
Christopher, St John, ed., Ellen Terry and Bernard Shaw. A Correspondence (London: Constable and Co., 1931).Google Scholar
Salberg, Derek, My Love Affair with a Theatre (Luton: Cortney Publications, 1978).Google Scholar
Salmon, Eric, Granville Barker: A Secret Life (London: William Heinemann, 1983).Google Scholar
Salmon, Eric, Granville Barker and his Correspondents (Detroit: Wayne State University Press, 1986).Google Scholar
Schiller, Friedrich, Der Briefwechsel zwischen Schiller und Goethe, ed. Staiger, Emil (Frankfurt-on-Main: Insel, 1966).Google Scholar
Schiller, Friedrich,Sämtliche Werke, ed. Fricke, Gerhard and Göpfert, Herbert G., 5 vols. (Munich: Karl Hanser, 1980).Google Scholar
Schnapp, Jeffrey T., Staging Fascism (Stanford: Stanford University Press, 1996).Google Scholar
Shaw, George Bernard, Bernard Shaw's Letters to Granville Barker, ed. Purdom, C. B. (London: Phoenix, 1956).Google Scholar
Shaw, George Bernard,Collected Letters 1874–1897, ed. Laurence, Dan H. (London: Max Reinhardt, 1965).Google Scholar
Shaw, George Bernard, Major Critical Essays (1932; standard edn, London: Constable and Co., 1947).Google Scholar
Shaw, George Bernard, Our Theatres in the Nineties (1932; 3 vols., standard edn, London: Constable and Co., 1948).Google Scholar
Shellard, Dominic, Kenneth Tynan: A Life (New Haven: Yale University Press, 2003).Google Scholar
Senelick, Laurence, ed., National Theatre in Northern and Eastern Europe (Cambridge: Cambridge University Press, 1991).Google Scholar
Smith, Chris, Creative Britain (London: Faber and Faber, 1998).Google Scholar
Smollett, Tobias, The Letters of Tobias Smollett, ed. Knapp, Lewis M. (Oxford: Clarendon Press, 1970).Google Scholar
Stafford-Clark, Max, Letters to George: The Account of a Rehearsal (London: Nick Hern Books, 1997).Google Scholar
Steinmetz, Horst, Lessing – ein unpoetischer Dichter (Frankfurt and Bonn: Athenäum, 1969).Google Scholar
Steinmetz, Horst, ed., Schriften zur Literatur (Stuttgart: Reklam, 1982).Google Scholar
Steinweg, Reiner, Das Lehrstück. Brechts Theorie einer ästhetischen Erziehung (Stuttgart: J. B. Metzler, 1972).Google Scholar
Steinweg, Reiner, ed., Auf Anregung Bertolt Brechts: Lehrstücke mit Schülern, Arbeitern, Theaterleuten (Frankfurt-on-Main: Suhrkamp, 1978).Google Scholar
Steinweg, Reiner, Brechts Modell der Lehrstücke. Zeugnisse, Diskussionen, Erfahrungen (Frankfurt-on-Main: Suhrkamp, 1976).Google Scholar
Stephens, John Russell, The Profession of the Playwright: British Theatre 1800–1900 (Cambridge: Cambridge University Press, 1992).CrossRefGoogle Scholar
Stern, Carola, Männer lieben anders: Helene Weigel und Bertolt Brecht (Berlin: Rowohlt, 2000).Google Scholar
Stern, Tiffany, Rehearsal from Shakespeare to Sheridan (Oxford: Oxford University Press, 2000).Google Scholar
Suvin, Darko, To Brecht and Beyond: Soundings in Modern Dramaturgy (Brighton: Harvester Press, 1984).Google Scholar
Taylor, George, Players and Performances in the Victorian Theatre (Manchester: Manchester University Press, 1989).Google Scholar
Taylor, John Russell, Anger and After: A Guide to the New British Drama (Harmondsworth: Penguin [Pelican], 1963).Google Scholar
Taylor, John Russell, The Penguin Dictionary of the Theatre (Harmondsworth: Penguin, 1966; London: Methuen, 1967).Google Scholar
Thomas, David, ed., Restoration and Georgian England 1660–1788 (Cambridge: Cambridge University Press, 1989) [Theatre in Europe: A Documentary History Series].Google Scholar
Thomson, Peter and Sacks, Glendyr, eds., The Cambridge Companion to Brecht (Cambridge: Cambridge University Press, 1994).CrossRefGoogle Scholar
Trewin, John Courtenay, The Theatre Since 1900 (London: Andrew Dakers, 1951).Google Scholar
Trewin, John Courtenay and Trewin, Wendy, The Arts Theatre London 1927–1981 (London: Society for Theatre Research, 1986).Google Scholar
Tynan, Kathleen, The Life of Kenneth Tynan (London: Methuen, 1988).Google Scholar
Tynan, Kathleen, ed., Kenneth Tynan: Letters (London: Weidenfeld and Nicolson, 1994).Google Scholar
Tynan, Kenneth, Curtains (London: Longmans, 1961).Google Scholar
Tynan, Kenneth, He That Plays The King (London: Longmans, Green and Co., 1950).Google Scholar
Tynan, Kenneth,Profiles, eds. Tynan, Kathleen and Eban, Ernie (London: Nick Hern Books, 1989).Google Scholar
Tynan, Kenneth, Tynan Right and Left (London: Longman, 1967).Google Scholar
Tynan, Kenneth, A View of the English Stage (London: Davis-Poynter, 1975).Google Scholar
Tynan, Kenneth, ed., Othello (London: Rupert Hart-Davis, 1965).Google Scholar
Tynan, Kenneth, ed.,The Recruiting Officer (London: Rupert Hart-Davis, 1965).Google Scholar
Lennep, William, Avery, Emmet L., Scouten, Arthur H., Stone, George Winchester and Hogan, Charles Beecher, The London Stage 1660–1800, 11 vols. (Carbondale: Southern Illinois University Press, 1965–8).Google Scholar
Völker, Klaus, Brecht, trans. John Nowell (London: Marion Boyars, 1979).Google Scholar
Völker, Klaus, Brecht-Chronik (Munich: Carl Hanser, 1971).Google Scholar
Weigel, Hélène, Briefwechsel 1935–1971, ed. Mahlke, Stefan (Berlin: Theater der Zeit, 2000).Google Scholar
Wekwerth, Manfred, Notate: Über die Arbeit des Berliner Ensembles 1956–1966 (Frankfurt-on-Main: Suhrkamp, 1967).Google Scholar
Wekwerth, Manfred, Schriften: Arbeit mit Brecht (Berlin: Henschelverlag, 1975).Google Scholar
White, Martin, Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice and Performance (London and New York: Routledge, 1998).Google Scholar
Whitebrook, Peter, William Archer: A Biography (London: Methuen, 1993).Google Scholar
Whitworth, Geoffrey, The Making of a National Theatre (London: Faber and Faber, 1951).Google Scholar
Wilke, Judith, ed., Hélène Weigel 100 (Madison: University of Wisconsin Press, 2000) [Brecht Yearbook 25].Google Scholar
Willet, John, The Theatre of Bertolt Brecht: A Study from Eight Aspects (1959; 3rd edn, London: Methuen, 1967).Google Scholar
Willet, John, The Theatre of the Weimar Republic (New York and London: Holmes and Meier, 1988).Google Scholar
Willet, John, ed., Brecht Then and Now, damals und heute (Madison: University of Wisconsin Press, 1995) [Brecht Yearbook 20].Google Scholar
Winston, James, Drury Lane Journal. Selections from James Winston's Diaries 1819–1827, ed. Nelson, Alfred L. and Cross, Gilbert B. (London: Society of Theatre Research, 1974).Google Scholar
Witt, Hubert, ed., Brecht As They Knew Him (trans. John Peet, 1974; 3rd edn, London: Lawrence and Wishart, 1980).Google Scholar
Wizisla, Erdmut, ed., 1898 Bertolt Brecht 1998 (Berlin: Akademie der Künste, 1998).Google Scholar
Zeydel, Edwin H., Ludwig Tieck, The German Romanticist (Princeton: Princeton University Press, 1935).Google Scholar
Zimmern, Helen, G. E. Lessing: His Life and Works (London: Longmans, Green and Co., 1878).Google Scholar
Die Mit-Arbeiterin – Gespräche mit Elisabeth Hauptmann, dir. Karlheinz Mund, first broadcast by Deutscher Fernsehfunk, channel 1, 3 December 1972.
Reputations: Kenneth Tynan, written and presented by Anthony Howard, first broadcast on BBC television, 25 July 1982.
Alexander, Francis, 18 November 1997, 24 January 2000.
Ayckbourn, Alan, 27 January 2000.
Barton, John, 6 October 1996.
Bell, Barbara, 21 January 1998.
Bell, Suzanne, 22 September 2004.
Böhm, Vera, 6 December 1996.
Bradley, Jack, 18 November 1997, 5 October 2004.
Braun, Volker, 4 December 1996.
Brown, Ian, 21 January 1998.
Chambers, Colin, 14 December 1998.
Combes, Jo, 29 September 2004.
Craze, Tony, 6 September 1999.
Dunderdale, Sue, 29 September 2004.
Frankcom, Sarah, 27 September 2004.
Gagen, Alison, 15 October 2004.
Greig, Noel, 11 April 1998.
Harvey, Laura, 27 January 2000.
Hecht, Werner, 5 December 1996.
Jankovich, Ben, 8 April 1997.
Kemp, Edward, 29 September 2004.
Kenyon, Mel, 14 December 1999.
Maglia, Kelly, 24 January 2000.
Mulvey, Louise, 6 December 1999, 21 March 2000.
Payne, Ben, 1 October 2004.
Reade, Simon, 14 December 1998.
Richardson, Esther, 1 October 2004.
Sirett, Paul, 28 September 2004.
Trott, Lloyd, 29 September 2004.
Veltman, Chloe, 12 December 1998.
Waters, Steve, 16 September 2004.
Wekwerth, Manfred, 4 December 1996.
Whelan, Peter, 10 May 2004.
Whybrow, Graham, 12 December 1997, 28 January 1998.
Brecht, Bertolt, note dated to 1954, in the Bertolt Brecht Archive, Berlin.
Chandos, Oliver Lyttelton, Viscount, draft speeches, notes, and other materials held in the Chandos Papers in the Churchill Archive, Cambridge.
Heymann, Herr, letter to Kurt Bork, 1 April 1949, in the Helene Weigel Archive, Berlin.
Holmstrom, John, letter to the author, 17 January 1999.
Jachmann, G., ‘De Aristotelis didascaliis’ (unpublished dissertation, University of Göttingen, 1909).
Memorandum and Articles of Association of the National Theatre Board, in the National Theatre Archive, London.
Notes, minutes, and other materials held in the Bertolt Brecht Archive, Berlin.
Notes, minutes, and other materials held in the Helene Weigel Archive, Berlin.
Protokoll der Betriebsversammlung. Notes on a Berliner Ensemble board meeting held on 4 January 1956, in the Helene Weigel Archive, Berlin.
Rülicke, Käthe, letter to Herr Heinen, 9 May 1956, in the Bertolt Brecht Archive, Berlin.
Stern, Tiffany, ‘A History of Rehearsal in the British Professional Theatre from the Sixteenth to the Eighteenth Century’ (dissertation, University of Cambridge, 1997).
Tynan, Kenneth, unbound manuscripts held as the Tynan Papers in the British Library, London.
Alexander, Francis, 18 November 1997, 24 January 2000.
Ayckbourn, Alan, 27 January 2000.
Barton, John, 6 October 1996.
Bell, Barbara, 21 January 1998.
Bell, Suzanne, 22 September 2004.
Böhm, Vera, 6 December 1996.
Bradley, Jack, 18 November 1997, 5 October 2004.
Braun, Volker, 4 December 1996.
Brown, Ian, 21 January 1998.
Chambers, Colin, 14 December 1998.
Combes, Jo, 29 September 2004.
Craze, Tony, 6 September 1999.
Dunderdale, Sue, 29 September 2004.
Frankcom, Sarah, 27 September 2004.
Gagen, Alison, 15 October 2004.
Greig, Noel, 11 April 1998.
Harvey, Laura, 27 January 2000.
Hecht, Werner, 5 December 1996.
Jankovich, Ben, 8 April 1997.
Kemp, Edward, 29 September 2004.
Kenyon, Mel, 14 December 1999.
Maglia, Kelly, 24 January 2000.
Mulvey, Louise, 6 December 1999, 21 March 2000.
Payne, Ben, 1 October 2004.
Reade, Simon, 14 December 1998.
Richardson, Esther, 1 October 2004.
Sirett, Paul, 28 September 2004.
Trott, Lloyd, 29 September 2004.
Veltman, Chloe, 12 December 1998.
Waters, Steve, 16 September 2004.
Wekwerth, Manfred, 4 December 1996.
Whelan, Peter, 10 May 2004.
Whybrow, Graham, 12 December 1997, 28 January 1998.
Brecht, Bertolt, note dated to 1954, in the Bertolt Brecht Archive, Berlin.
Chandos, Oliver Lyttelton, Viscount, draft speeches, notes, and other materials held in the Chandos Papers in the Churchill Archive, Cambridge.
Heymann, Herr, letter to Kurt Bork, 1 April 1949, in the Helene Weigel Archive, Berlin.
Holmstrom, John, letter to the author, 17 January 1999.
Jachmann, G., ‘De Aristotelis didascaliis’ (unpublished dissertation, University of Göttingen, 1909).
Memorandum and Articles of Association of the National Theatre Board, in the National Theatre Archive, London.
Notes, minutes, and other materials held in the Bertolt Brecht Archive, Berlin.
Notes, minutes, and other materials held in the Helene Weigel Archive, Berlin.
Protokoll der Betriebsversammlung. Notes on a Berliner Ensemble board meeting held on 4 January 1956, in the Helene Weigel Archive, Berlin.
Rülicke, Käthe, letter to Herr Heinen, 9 May 1956, in the Bertolt Brecht Archive, Berlin.
Stern, Tiffany, ‘A History of Rehearsal in the British Professional Theatre from the Sixteenth to the Eighteenth Century’ (dissertation, University of Cambridge, 1997).
Tynan, Kenneth, unbound manuscripts held as the Tynan Papers in the British Library, London.
Alexander, Francis, ed., The Chelsea Centre Annual Report (1998).
Archer, William, ‘The Mausoleum of Ibsen’, Fortnightly Review 54 (July 1893): 77–91.Google Scholar
Arnold, Matthew, ‘The French Play in London’, Nineteenth Century 6 (August 1879): 228–43.Google Scholar
Barker, Harley Granville, ‘At the Moscow Art Theatre’, Seven Arts 2 (1917): 659–61.Google Scholar
Barker, Harley Granville, ‘Repertory Theatres’, New Quarterly 2 (1909): 491–504.Google Scholar
Barker, Harley Granville, ‘Two German Theatres’, Fortnightly Review 89 (January–June 1911): 60–70.Google Scholar
Billington, Michael, ‘Hindsight sagas’, Guardian, 29.12.1999, G2, pp. 10–11.
Billington, Michael,‘The other Marx brother’, Guardian, 10.2.1998, G2, p. 9.
Burnand, F. C., ‘Authors and Managers’, Theatre (February–July 1879): 17.Google Scholar
Canaris, Volker, ‘Style and the Director,’ trans. Claudia Rosoux, in Hayman, ed., German Theatre, pp. 250–1.
Chandos, Oliver Lyttelton, Viscount, Letter to the Editor, in The Times, 2.5.1967.
Crawfurd, Oswald, ‘The London Stage’, Fortnightly Review 47 (April 1890): 499–516.Google Scholar
Crawfurd, Oswald, ‘The London Stage, II. A Rejoinder’, Fortnightly Review 47 (June 1890): 931–6.Google Scholar
Crawfurd, Oswald, ‘The London Stage’, Fortnightly Review 48 (August 1890): 315–316.Google Scholar
Craze, Tony, ed., Going Black Under the Skin (London: New Playwrights Trust, 1997).Google Scholar
Deeney, John, ed., The Mentoring Scheme for Women Writers (London: New Playwrights Trust, 1996).Google Scholar
Finegan, J. J., ‘All about “Juno”: a job well done’, Evening Herald, 7.5.1966, p. 8.
Girault, Alain, ed.-in-chief, ‘Dramaturgie’, Théâtre/public 67 (January–February 1986).Google Scholar
Holland, Peter, ‘David Garrick: 3rdly, as an Author’, Studies in Eighteenth Century Culture 25: 39–62.CrossRef
Holland, Peter,‘Theatre’, in Latham and Matthews, eds., Samuel Pepys: Companion, pp. 431–45.
Hunt, Leigh, ‘Rules for the Theatrical Critic of a Newspaper’, in Archer and Lowe, eds., Dramatic Essays, pp. 124–7.
Irving, Henry, ‘Actor-Managers II’, Nineteenth Century 27 (June 1890): 1052–3.Google Scholar
Jones, H. A., ‘The Actor-Manager’, Fortnightly Review 48 (July 1890): 1–18.Google Scholar
Kott, Jan, ‘The Dramaturg’, New Theatre Quarterly 6.21 (February 1990): 3–4.CrossRefGoogle Scholar
Luckett, Richard, ‘Plays’, in Latham and Matthews, eds., Samuel Pepys: Companion, pp. 337–42.
Luckhurst, Mary, ‘Mentors or Censors?’, New Playwrights Trust (Writernet) News 123 (February 1999): 3–4.Google Scholar
Marowitz, Charles, ‘Talk with Tynan’, Encore 10.44 (July/August 1963): 7–27.Google Scholar
McDonald, Jan, ‘Shaw and the Court Theatre’, in Innes, ed., Cambridge Companion to Shaw, pp. 261–83.
Meth, Jonathan, ed., Commissioning the Future (London: New Playwrights Trust, 1997).Google Scholar
Milhous, Judith, ‘Thomas Betterton's Playwriting’, Bulletin of the New York Public Library 77 (1974): 375–92.Google Scholar
Münsterer, Hans Otto, ‘Recollections of Brecht in 1919 in Augsburg’, in Witt, ed., Brecht As They Knew Him, pp. 23–31.
Piscator, Erwin, ‘Über Grundlagen und Aufgaben des Proletarischen Theaters’, in Piscator, Schriften, ii, 9–12.
Reade, Simon, ‘Young Blood’, Time Out, 3–10.9.1997, p. 139.
Rees, Jasper, ‘Stage Fright’, London Evening Standard, 26.11.1999, ES, pp. 48–52.
Seymour, Alan, ‘Theatre 1965’, London Magazine 5.5 (August 1965): 49–55.Google Scholar
Stoker, Bram, ‘Actor-Managers I’, Nineteenth Century 27 (June 1890): 1040–51.Google Scholar
Tenschert, Joachim, ‘Qu'est-ce qu'un dramaturge?’, Théâtre Populaire 38 (1960): 41–8.Google Scholar
Tree, H. Beerbohm, ‘The London Stage, I. A Reply’, Fortnightly Review 47 (June 1890): 922–31.Google Scholar
Tree, H. Beerbohm, ‘The London Stage, II. A Stage Reply’, Fortnightly Review 48 (July 1890): 18–21.Google Scholar
Tynan, Kenneth, ‘The National Theatre: A Speech to the Royal Society of Arts’, in Tynan, View of the English Stage, pp. 352–64.
Tynan, Kenneth,Letters to the Editor, The Times, 4.5.1967 and 7.5.1967.
Kerkhoven, Marianne, ed.-in-chief, ‘Über Dramaturgie/On dramaturgy/A propos de dramaturgie/Over dramaturgie’, Theaterschrift 5–6 (1993).Google Scholar
Veltman, Chloe, ‘dramaturg. dramawot?’, New Playwrights Trust (Writernet) News 119 (1998): 7–8.Google Scholar
Weber Carl, ‘Brecht and the Berliner Ensemble – the Making of a Model’, in Thomson and Sacks, eds., Cambridge Companion to Brecht, pp. 167–84.
Willett, John, ‘Bacon ohne Shakespeare? The problem of Mitarbeit’, in Fuegi et al., eds., Brecht, Women, Politics, pp. 121–37.
Wilson, Effingham, ‘Proposition for a National Theatre’, in Whitworth, National Theatre, pp. 26–9.
Wilson, Effingham, A House for Shakespeare; a Proposition for the Consideration of the Nation (London: Mr Hurst, King William Street, Strand, 1848).Google Scholar
Wilson, Effingham, A House for Shakespeare; a Proposition for the Consideration of the Nation (London: Mr Mitchell, Red Lion Court, Fleet Street, 1848).Google Scholar
Wyndham, Charles, ‘Actor-Managers III’, The Nineteenth Century 27 (June 1890): 1054–8.Google Scholar
1832 Report from the Select Committee on Dramatic Literature, in Stage and Theatre I (Shannon: Irish University Press, 1968) [British Parliamentary Papers].
1866 Report from the Select Committee on Theatrical Licences and Regulations, in Stage and Theatre II (Shannon: Irish University Press, 1970) [British Parliamentary Papers].
Addenbrooke, David, The Royal Shakespeare Company (London: William Kimber, 1974).Google Scholar
Archer, William, About The Theatre (London: T. Fisher Unwin, 1886).Google Scholar
Archer, William, English Dramatists of Today (London: Sampson Low, Marston, Searle and Rivington, 1882).Google Scholar
Archer, William, The Old Drama and the New (London: William Heinemann, 1923).Google Scholar
Archer, William, Play-making (1912; 4th edn, London: Chapman and Hall, 1930).Google Scholar
Archer, William and Barker, H. Granville, Scheme and Estimates for a National Theatre (London: Duckworth and Co., 1907).Google Scholar
Archer, William and Lowe, Robert W., eds., Dramatic Essays (London: Walter Scott, 1894).Google Scholar
Aristotle, Poetics, general ed. Goold, G. P., trans. and ed. Stephen Halliwell (Cambridge, MA: Harvard University Press, 1995) [Loeb Classical Library].Google Scholar
Aston, Elaine, Feminist Theatre Practice: A Handbook (London: Routledge, 1999).Google Scholar
Bahr, Ehrhard, ed., Was ist Aufklärung? (Stuttgart: Reclam, 1974).Google Scholar
Bancroft, Marie and Bancroft, Squire, The Bancrofts (London: John Murray, 1909).Google Scholar
Barker, Harley Granville(-), The Exemplary Theatre (London: Chatto and Windus, 1922).Google Scholar
Barker, Harley Granville(-), A National Theatre (London: Sidgwick and Jackson, 1930).Google Scholar
Bartram, Graham and Waine, Anthony, Brecht in Perspective (Harlow: Longman, 1982).Google Scholar
Bate, Jonathan, Shakespearean Constitutions: Politics, Theatre, Criticism 1730–1830 (Oxford: Clarendon Press, 1989).Google Scholar
Beauman, Sally, The Royal Shakespeare Company: A History of Ten Decades (Oxford: Oxford University Press, 1982).Google Scholar
Beerbohm, Max, ed., Herbert Beerbohm Tree (London: Hutchinson and Co., 1920).Google Scholar
Benjamin, Walter, Understanding Brecht, trans. Anna Bostock (1966; London and New York: Verso, 1983).Google Scholar
Bentley, Eric, The Brecht Memoir, 2nd edn (Manchester: Carcanet, 1989).Google Scholar
Bentley, Gerald Eades, The Profession of Dramatist in Shakespeare's Time 1590–1642 (Princeton: Princeton University Press, 1971).Google Scholar
Bentley, Gerald Eades, The Profession of Player in Shakespeare's Time (Princeton: Princeton University Press, 1984).Google Scholar
Bentley, Gerald Eades, Shakespeare and his Theatre (Lincoln: University of Nebraska Press, 1964).Google Scholar
Berlau, Ruth, Brecht, Bertolt, Hubalek, Claus, Palitzsch, Peter and Rülicke, Käthe, eds., Theaterarbeit 6: Aufführungen des Berliner Ensemble (Dresden: Desdner Verlag, 1952).Google Scholar
Bly, Mark, ed., The Production Notebooks (New York: Theatre Communications Group, 1996) [Theatre in Process].Google Scholar
Booth, Michael R., Theatre in the Victorian Age (Cambridge: Cambridge University Press, 1991).Google Scholar
Borsa, Mario, The English Stage of Today, trans. and ed. Brinton, Selwyn (London and New York: John Lane, 1908).Google Scholar
Brecht, Bertolt, Bertolt Brecht Letters 1913–1956, trans. Ralph Manheim, ed. Willett, John (London: Methuen, 1990).Google Scholar
Brecht, Bertolt,Brecht on Theatre, trans. and ed. Willett, John (1964; London: Methuen, 1987).Google Scholar
Brecht, Bertolt,Brecht: Schriften zum Theater, ed. Hecht, Werner (1957; 6 vols., rev. edn, Frankfurt-on-Main: Suhrkamp, 1963).Google Scholar
Brecht, Bertolt,Briefe, ed. Glaeser, Günter, 2 vols. (Frankfurt-on-Main: Suhrkamp, 1981).Google Scholar
Brecht, Bertolt,Gesammelte Werke, ed. Hauptmann, Elisabeth, 8 vols. (Frankfurt-on-Main: Suhrkamp, 1967).Google Scholar
Brecht, Bertolt,Journals 1934–1955, ed. Willett, John (London: Methuen, 1993).Google Scholar
Brecht, Bertolt, The Messingkauf Dialogues, trans. John Willett (1965; London: Methuen, 1994).Google Scholar
Brecht, Bertolt,Werke, ed. Hecht, Werner, Knopf, Jan, Mittenzwei, Werner and Müller, Klaus-Detlef, 30 vols. (Berlin: Aufbau Verlag; Frankfurt-on-Main: Suhrkamp, 1988–98).Google Scholar
Brockett, Oscar G., The Essential Theatre (1976; 6th edn, New York: Harcourt Brace, 1996).Google Scholar
Brook, Peter, The Empty Space (1968; Harmondsworth: Penguin, 1990).Google Scholar
Brooker, Peter, Bertolt Brecht: Dialectics, Poetry, Politics (London: Croom Helm, 1988).Google Scholar
Bunge, Hans, ed., Brechts Lai-Tu: Erinnerungen und Notate von Ruth Berlau (1981; 2nd edn, Darmstadt: Hermann Luchterhand, 1985).Google Scholar
Bunn, Alfred, The Stage: Both Before and Behind the Curtain, 3 vols. (London: Richard Bentley, 1840).Google Scholar
Burling, William J., A Checklist of New Plays and Entertainments on the London Stage 1700–1732 (Rutherford: Fairleigh Dickinson University Press, 1993).Google Scholar
Byron, George Gordon, Lord, Letters and Journals, ed. Marchand, Leslie A., 12 vols. (London: John Murray, 1973–82).Google Scholar
Callow, Simon, ed., The National: The Theatre and its Work 1963–1997 (London: Nick Hern Books/Royal National Theatre, 1997).Google Scholar
Cardullo, Bert, ed., What is Dramaturgy? (New York: Peter Lang, 1995) [American University Studies, series 26, vol. 20].Google Scholar
Carson, Neil, A Companion to Henslowe's Diary (Cambridge: Cambridge University Press, 1988).CrossRefGoogle Scholar
Chambers, E. K., William Shakespeare: A Study of Facts and Problems, 2 vols. (Oxford: Clarendon Press, 1930).Google Scholar
Chothia, Jean, English Drama of the Early Modern Period (London and New York: Longman, 1996) [Longman Literature in English Series].Google Scholar
Cibber, Colley, An Apology for the Life of Colley Cibber, ed. Fone, B. R. S (Ann Arbor: University of Michigan Press, 1968).Google Scholar
Cochrane, Claire, The Birmingham Rep (Birmingham: Sir Barry Jackson Trust, 2003).Google Scholar
Cole, J. W., The Life and Theatrical Times of Charles Kean, F. S. A., 2 vols. (London: Richard Bentley, 1859).Google Scholar
Cook, Dutton, On the Stage, 2 vols. (London: Sampson, Low, Marston, Searle and Rivington, 1883).Google Scholar
Cook, Judith, The National Theatre (London: Harrap, 1976).Google Scholar
Craig, Gordon, Henry Irving (London: J. M. Dent and Sons, 1930).Google Scholar
Davies, Thomas, Memoirs of the Life of David Garrick, 2 vols. (London: [n.p.] 1780).Google Scholar
Dexter, John, The Honourable Beast (London: Nick Hern Books, 1993).Google Scholar
Dibdin, Thomas, The Reminiscences of Thomas Dibdin, 2 vols. (London: Henry Colburn, 1827).Google Scholar
Dickson, Keith A., Towards Utopia: A Study of Brecht (Oxford: Clarendon Press, 1978).Google Scholar
Doty, Gresdna A. and Harbin, Billy J., eds., Inside the Royal Court Theatre, 1956–1981 (Baton Rouge: Louisiana State University Press, 1990).Google Scholar
Downes, John, Roscius Anglicanus, ed. Milhous, Judith and Hume, Robert D. (London: Society for Theatre Research, 1987).Google Scholar
Dukore, Bernard F., Bernard Shaw, Director (London: Allen and Unwin, 1971).Google Scholar
Eddershaw, Margaret, Performing Brecht: Forty Years of British Performances (London: Routledge, 1996).CrossRefGoogle Scholar
Edgar, David, ed., State of Play (London: Faber and Faber, 1999).Google Scholar
Egan, Michael, ed., Ibsen: The Critical Heritage (London: Routledge and Kegan Paul, 1972).CrossRefGoogle Scholar
Elsom, John, Post-War British Theatre Criticism (London: Routledge and Kegan Paul, 1981).Google Scholar
Elsom, John and Tomalin, Nicholas, The History of the National Theatre (London: Jonathan Cape, 1978).Google Scholar
Esslin, Martin, Brecht: A Choice of Evils (London: Eyre and Spottiswoode, 1959).Google Scholar
Filon, Augustin, The English Stage, trans. Frederic Whyte (London: John Milne; New York: Dodd, Mead and Co., 1897).Google Scholar
Findlater, Richard, ed., At the Royal Court: 25 Years of the English Stage Company (Derby: Amber Lane, 1981).Google Scholar
Fitzball, Edward, Thirty-Five Years of a Dramatic Author's Life, 2 vols. (London: T. C. Newby, 1859).Google Scholar
Fitzgerald, Percy, Henry Irving. Twenty Years at the Lyceum (London: Chapman and Hall, 1893).Google Scholar
Foulkes, Richard, ed., Shakespeare and the Victorian Stage (Cambridge: Cambridge University Press, 1986).Google Scholar
Foulkes, Richard, ed.,British Theatre in the 1890s (Cambridge: Cambridge University Press, 1992).Google Scholar
Fuegi, John, Bertolt Brecht: Chaos, According to Plan (Cambridge: Cambridge University Press, 1987).Google Scholar
Fuegi, John, Brecht and Company: Sex, Politics, and the Making of the Modern Drama (New York: Grove Press, 1994).Google Scholar
Fuegi, John, Bahr, Gisela and Willett, John, eds., Brecht, Women, Politics (Detroit: Wayne State University Press, 1983).Google Scholar
Garrick, David, The Letters of David Garrick, ed. Little, David M. and Kahrl, George M., 3 vols. (Oxford: Oxford University Press, 1963).Google Scholar
Gaskill, William, A Sense of direction (London: Faber and Faber, 1988).Google Scholar
Gentleman, FrancisThe Modish Wife … to Which is Prefixed a Summary View of the Stage (1775; New York: Readex Microprints, 1963).Google Scholar
Gottlieb, Vera and Chambers, Colin, eds., Theatre in a Cool Climate (Oxford: Amber Lane, 1999).Google Scholar
Gray, Charles Harold, Theatrical Criticism in London to 1795 (New York: Columbia University Press, 1931).Google Scholar
Gray, Ronald, Brecht the Dramatist (Cambridge: Cambridge University Press, 1976).Google Scholar
Hall, Peter, Making an Exhibition of Myself (London: Sinclair-Stevenson, 1993).Google Scholar
Hall, Peter,Peter Hall's Diaries, ed. Goodwin, John (London: Hamish Hamilton, 1983).Google Scholar
Hanssen, Paula, Elisabeth Hauptmann: Brecht's Silent Collaborator (New York: Peter Lang, 1994) [New York Ottendorfer Series].Google Scholar
Harrold, Charles Frederick, Carlyle and German Thought 1819–1834 (London: Archon, 1963).Google Scholar
Hauptmann, Elisabeth, Julia ohne Romeo, ed. Eggert, Rosemarie and Hill, Rosemarie (Berlin: Aufbau Verlag, 1977).Google Scholar
Hayman, Ronald, ed., The German Theatre (London: Oswald Wolf, 1975).Google Scholar
Hecht, Werner, ed., Alles was Brecht ist, 3rd edn (Frankfurt-on-Main: Suhrkamp, 1998).Google Scholar
Hecht, Werner, Brecht Chronik 1898–1956 (Frankfurt-on-Main: Suhrkamp, 1997).Google Scholar
Highfill, Philip H., Burnim, Kalman A. and Langhans, Edward A., A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and other Stage Personnel in London 1660–1800, 16 vols. (Carbondale: Southern Illinois University Press, 1973–93).Google Scholar
Hill, Aaron and Popple, William, The Prompter, ed. Appleton, William W. and Burnim, Kalman A. (New York: Benjamin Bloom, 1966).Google Scholar
Holland, Peter, The Ornament of Action (Cambridge: Cambridge University Press, 1979).Google Scholar
Hume, Robert D., The Development of English Drama in the Late Seventeenth Century (Oxford: Clarendon Press, 1976).Google Scholar
Hume, Robert D., Henry Fielding and the London Theatre 1728–1737 (Oxford: Clarendon Press, 1988).Google Scholar
Hume, Robert D., ed., The London Theatre World 1660–1800 (Carbondale: Southern Illinois University Press/London and Amsterdam: Feffer and Simons, 1980).Google Scholar
Hunt, Leigh, Autobiography of Leigh Hunt, ed. Ingpen, Roger, 2 vols. (London: Archibald Constable and Co., 1903).Google Scholar
Hutchison, Robert, The Politics of the Arts Council (London: Sinclair Browne, 1982).Google Scholar
Innes, Christopher, Erwin Piscator's Political Theatre: The Development of Modern German Drama (Cambridge: Cambridge University Press, 1972).Google Scholar
Innes, Christopher, Modern German Drama: A Study in Form (Cambridge: Cambridge University Press, 1979).Google Scholar
Innes, Christopher, ed., The Cambridge Companion to George Bernard Shaw (Cambridge: Cambridge University Press, 1998).CrossRefGoogle Scholar
Itzin, Catherine, Stages in the Revolution (London: Methuen, 1980).Google Scholar
Jackson, Russell, ed., Victorian Theatre (London: A. and C. Black, 1989).Google Scholar
Johnson, John, The Lord Chamberlain's Blue Pencil (London: Hodder and Stoughton, 1990).Google Scholar
Jonas, Susan, Proehl, Geoff and Lupu, Michael, eds., Dramaturgy in American Theater: A Source Book (New York: Harcourt Brace, 1997).Google Scholar
Jones, H. A., Renascence of the English Drama (London and New York: Macmillan, 1895).Google Scholar
Joseph, Stephen, New Theatre Forms (London: Isaac Pitman and Sons, 1968).Google Scholar
Joseph, Stephen, The Story of the Playhouse in England (London: Barrie and Rockliff, 1963).Google Scholar
Joseph, Stephen, Theatre in the Round (London: Barrie and Rockliff, 1967).Google Scholar
Kebir, Sabine, Ein akzeptabler Mann? Brecht und die Frauen (Berlin: Aufbau Verlag, 1998).Google Scholar
Kebir, Sabine, Helene Weigel: Abstieg in den Ruhm (Berlin: Aufbau Verlag, 2002).Google Scholar
Kebir, Sabine, Ich Fragte Nicht Nach Meinem Anteil: Elisabeth Hauptmanns Arbeit mit Bertolt Brecht (Berlin: Aufbau Verlag, 1997).Google Scholar
Kennedy, Dennis, Granville Barker and the Dream of Theatre (1985; repr. with corr., Cambridge: Cambridge University Press, 1989).Google Scholar
Kleber, Pia and Visser, Colin, Reinterpreting Brecht: His Influence on Contemporary Drama and Film (Cambridge: Cambridge University Press, 1990).Google Scholar
Klotz, C. A., ed., Deutsche Bibliothek der schönen Wissenschaften (Halle, 1769).Google Scholar
Knopf, Jan, Bertolt Brecht. Eine Forschungsbericht. Fragwürdiges in der Brechtforschung (Frankfurt-on-Main: Fischer, 1974).Google Scholar
Knopf, Jan, Brecht-Handbuch. Lyrik, Epik, Schriften. Eine Asthetik der Widersprüche (Stuttgart: J. B. Metzler, 1984).Google Scholar
Knopf, Jan, Brecht-Handbuch: Theater. Eine Asthetik der Widersprüche (Stuttgart: J. B. Metzler, 1980).CrossRefGoogle Scholar
Kruger, Loren, The National Stage (Chicago: University of Chicago Press, 1992).Google Scholar
Kruger, Loren, Post-Imperial Brecht: Politics and Performance, East and South (Cambridge: Cambridge University Press, 2004).Google Scholar
Kustow, Michael, Theatre@risk (London: Methuen, 2000).Google Scholar
Lamport, F. J., German Classical Drama (1990; Cambridge: Cambridge University Press, 1992).Google Scholar
Lamport, F. J., Lessing and the Drama (Oxford: Clarendon Press, 1981).Google Scholar
Latham, R. C. and Matthews, W., eds., The Diary of Samuel Pepys, volume x, Companion (London: HarperCollins, 1995).Google Scholar
Lennard, John and Luckhurst, Mary, The Drama Handbook: A Guide to Reading Plays (Oxford: Oxford University Press, 2002).Google Scholar
Lessing, G. E., Hamburgische Dramaturgie, in Lessing's Werke, ed. Petersen, J. and Olshausen, W., 25 vols. (Berlin: Bong and Co., 1925).Google Scholar
Lessing, G. E.Hamburgische Dramaturgie, ed. Berghahn, Klaus L. (Stuttgart: Reklam, 1981).Google Scholar
Lessing, G. E.Sämtliche Schriften, ed. Lachmann, K., 23 vols. (Berlin: Muncker, 1886–1924).Google Scholar
Lessing, G. E.,Selected Prose Works, ed. Bell, E., trans. E. C. Beasley and Helen Zimmern (London: George Bell and Sons, 1879).Google Scholar
Littlewood, Joan, Joan's Book (London: Minerva, 1995).Google Scholar
Lyon, James K., Bertolt Brecht in America (Princeton: Princeton University Press, 1980).Google Scholar
MacCarthy, Desmond, The Court Theatre 1904–1907 (London: A. H. Bullen, 1907).Google Scholar
Macready, William Charles, The Diaries, ed. Toynbee, William, 2 vols. (London: Chapman and Hall, 1912).Google Scholar
Macready, William Charles,Reminiscences and Selections from his Diaries and Letters, ed. Pollock, Frederick, 2 vols. (London: Macmillan, 1875).Google Scholar
Marshall, Norman, The Producer and the Play (1957; 2nd edn, London: MacDonald, 1962).Google Scholar
Martin-Harvey, John, The Autobiography of Sir John Martin-Harvey (London: Sampson, Low, Marston and Co., 1933).Google Scholar
Marx, Karl and Engels, Friedrich, Marx-Engels-Werke, Institut für Marxismus-Leninismus beim Zentralkommittee der Sozialistische Einheitspartei Deutschlands, 43 vols. (Berlin: Dietz Verlag, 1958).Google Scholar
Mason, A. E. W., Sir George Alexander and the St James Theatre (London: Macmillan, 1935).Google Scholar
Mayer, Hans, Erinnerung an Brecht (Frankfurt-on-Main: Suhrkamp, 1996).Google Scholar
McCabe, Terry, Mis-directing the Play (Chicago: Ivan R. Dee, 2001).Google Scholar
Melville, Lewis, The Life and Letters of Tobias Smollett (New York: Kennikat Press, 1966).Google Scholar
Mews, Siegfried, ed., A Bertolt Brecht Reference Companion (Westport, CT, and London: Greenwood Press, 1997).Google Scholar
Milhous, Judith D. and Hume, Robert D., Producible Interpretation (Carbondale: Southern Illinois University Press, 1985).Google Scholar
Milhous, Judith D. and Hume, Robert D., A Register of English Theatrical Documents 1660–1737, 2 vols. (Carbondale: Southern Illinois University Press, 1991).Google Scholar
Milibrand, Ralph, Parliamentary Socialism (London: Merlin Press, 1979).Google Scholar
Mittenzwei, Werner, Das Leben Bertolt Brecht, 2 vols. (Berlin: Aufbau Verlag, 1986).Google Scholar
Mittenzwei, Werner, Wer war Brecht (Berlin: Aufbau Verlag, 1977).Google Scholar
Münsterer, Hanns Otto, The Young Brecht, 2nd edn, trans. Tom Kuhn and Karen Leeder (London: Libris, 1992).Google Scholar
Nagler, A. M., A Source Book in Theatrical History (New York: Dover Press, 1959).Google Scholar
Needle, Jan and Thomson, Peter, Brecht (Oxford: Basil Blackwell, 1981).Google Scholar
Olivier, Laurence, Confessions of an Actor (1982; London: Orion Books, 1994).Google Scholar
Parsons, Mrs Clement, Garrick and his Circle (London: Methuen, 1906).Google Scholar
Paulin, Roger, Ludwig Tieck: A Literary Biography (Oxford: Clarendon Press, 1985).Google Scholar
Pavis, Patrice, Dictionary of the Theatre (Paris: Dunod, 1996; trans. Christine Shantz, Toronto: University of Toronto Press, 1998).Google Scholar
Pemberton, T. Edgar, Sir Charles Wyndham (London: Hutchison and Co., 1904).Google Scholar
Pickard-Cambridge, Arthur, The Dramatic Festivals of Athens, 2nd edn, rev. John Gould and D. M. Lewis (Oxford: Clarendon Press, 1988).Google Scholar
Piscator, Erwin, Das Politische Theater (1929; rev. Felix Gasbarra, Hamburg: Rowohlt, 1963).Google Scholar
Piscator, Erwin,Schriften, ed. Hoffmann, Ludwig, 2 vols. (Berlin: Henschelverlag, 1968).Google Scholar
[Platt, Agnes,] Anonymous (London: John Murray, 1936).Google Scholar
Purdom, C. B., Harley Granville Barker: Man of the Theatre, Dramatist and Scholar (Westport, CT: Greenwood Press, 1956).Google Scholar
Reinelt, Janelle, After Brecht. British Epic Theatre (Ann Arbor: University of Michigan Press, 1994).Google Scholar
Richards, Kenneth and Thomson, Peter, Essays on Nineteenth-Century British Theatre (London: Methuen, 1971).Google Scholar
Rilla, Paul, Lessing und sein Zeitalter (Berlin: Aufbau Verlag, 1981).Google Scholar
Roberts, Philip, The Royal Court and the Modern Stage (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar
Roberts, Philip, The Royal Court Theatre 1965–1972 (Cambridge: Cambridge University Press, 1986).Google Scholar
Robertson, J. D., Lessing's Dramatic Theory (Cambridge: Cambridge University Press, 1939).Google Scholar
Rouse, John, Brecht and the West German Theatre (Ann Arbor: UMI Research Press, 1989) [Theatre and Dramatic Studies, no. 62].Google Scholar
Rowell, George, The Old Vic Theatre: A History (Cambridge: Cambridge University Press, 1993).Google Scholar
Rowell, George, The Victorian Theatre: A Survey (Oxford: Clarendon Press, 1956).Google Scholar
Rowell, George and Jackson, Anthony, The Repertory Movement. A History of Regional Theatre in Britain (Cambridge: Cambridge University Press, 1984).Google Scholar
Rülicke-Weiler, Käthe, Die Dramaturgie Brechts (Berlin: Henschelverlag, 1966).Google Scholar
Christopher, St John, ed., Ellen Terry and Bernard Shaw. A Correspondence (London: Constable and Co., 1931).Google Scholar
Salberg, Derek, My Love Affair with a Theatre (Luton: Cortney Publications, 1978).Google Scholar
Salmon, Eric, Granville Barker: A Secret Life (London: William Heinemann, 1983).Google Scholar
Salmon, Eric, Granville Barker and his Correspondents (Detroit: Wayne State University Press, 1986).Google Scholar
Schiller, Friedrich, Der Briefwechsel zwischen Schiller und Goethe, ed. Staiger, Emil (Frankfurt-on-Main: Insel, 1966).Google Scholar
Schiller, Friedrich,Sämtliche Werke, ed. Fricke, Gerhard and Göpfert, Herbert G., 5 vols. (Munich: Karl Hanser, 1980).Google Scholar
Schnapp, Jeffrey T., Staging Fascism (Stanford: Stanford University Press, 1996).Google Scholar
Shaw, George Bernard, Bernard Shaw's Letters to Granville Barker, ed. Purdom, C. B. (London: Phoenix, 1956).Google Scholar
Shaw, George Bernard,Collected Letters 1874–1897, ed. Laurence, Dan H. (London: Max Reinhardt, 1965).Google Scholar
Shaw, George Bernard, Major Critical Essays (1932; standard edn, London: Constable and Co., 1947).Google Scholar
Shaw, George Bernard, Our Theatres in the Nineties (1932; 3 vols., standard edn, London: Constable and Co., 1948).Google Scholar
Shellard, Dominic, Kenneth Tynan: A Life (New Haven: Yale University Press, 2003).Google Scholar
Senelick, Laurence, ed., National Theatre in Northern and Eastern Europe (Cambridge: Cambridge University Press, 1991).Google Scholar
Smith, Chris, Creative Britain (London: Faber and Faber, 1998).Google Scholar
Smollett, Tobias, The Letters of Tobias Smollett, ed. Knapp, Lewis M. (Oxford: Clarendon Press, 1970).Google Scholar
Stafford-Clark, Max, Letters to George: The Account of a Rehearsal (London: Nick Hern Books, 1997).Google Scholar
Steinmetz, Horst, Lessing – ein unpoetischer Dichter (Frankfurt and Bonn: Athenäum, 1969).Google Scholar
Steinmetz, Horst, ed., Schriften zur Literatur (Stuttgart: Reklam, 1982).Google Scholar
Steinweg, Reiner, Das Lehrstück. Brechts Theorie einer ästhetischen Erziehung (Stuttgart: J. B. Metzler, 1972).Google Scholar
Steinweg, Reiner, ed., Auf Anregung Bertolt Brechts: Lehrstücke mit Schülern, Arbeitern, Theaterleuten (Frankfurt-on-Main: Suhrkamp, 1978).Google Scholar
Steinweg, Reiner, Brechts Modell der Lehrstücke. Zeugnisse, Diskussionen, Erfahrungen (Frankfurt-on-Main: Suhrkamp, 1976).Google Scholar
Stephens, John Russell, The Profession of the Playwright: British Theatre 1800–1900 (Cambridge: Cambridge University Press, 1992).CrossRefGoogle Scholar
Stern, Carola, Männer lieben anders: Helene Weigel und Bertolt Brecht (Berlin: Rowohlt, 2000).Google Scholar
Stern, Tiffany, Rehearsal from Shakespeare to Sheridan (Oxford: Oxford University Press, 2000).Google Scholar
Suvin, Darko, To Brecht and Beyond: Soundings in Modern Dramaturgy (Brighton: Harvester Press, 1984).Google Scholar
Taylor, George, Players and Performances in the Victorian Theatre (Manchester: Manchester University Press, 1989).Google Scholar
Taylor, John Russell, Anger and After: A Guide to the New British Drama (Harmondsworth: Penguin [Pelican], 1963).Google Scholar
Taylor, John Russell, The Penguin Dictionary of the Theatre (Harmondsworth: Penguin, 1966; London: Methuen, 1967).Google Scholar
Thomas, David, ed., Restoration and Georgian England 1660–1788 (Cambridge: Cambridge University Press, 1989) [Theatre in Europe: A Documentary History Series].Google Scholar
Thomson, Peter and Sacks, Glendyr, eds., The Cambridge Companion to Brecht (Cambridge: Cambridge University Press, 1994).CrossRefGoogle Scholar
Trewin, John Courtenay, The Theatre Since 1900 (London: Andrew Dakers, 1951).Google Scholar
Trewin, John Courtenay and Trewin, Wendy, The Arts Theatre London 1927–1981 (London: Society for Theatre Research, 1986).Google Scholar
Tynan, Kathleen, The Life of Kenneth Tynan (London: Methuen, 1988).Google Scholar
Tynan, Kathleen, ed., Kenneth Tynan: Letters (London: Weidenfeld and Nicolson, 1994).Google Scholar
Tynan, Kenneth, Curtains (London: Longmans, 1961).Google Scholar
Tynan, Kenneth, He That Plays The King (London: Longmans, Green and Co., 1950).Google Scholar
Tynan, Kenneth,Profiles, eds. Tynan, Kathleen and Eban, Ernie (London: Nick Hern Books, 1989).Google Scholar
Tynan, Kenneth, Tynan Right and Left (London: Longman, 1967).Google Scholar
Tynan, Kenneth, A View of the English Stage (London: Davis-Poynter, 1975).Google Scholar
Tynan, Kenneth, ed., Othello (London: Rupert Hart-Davis, 1965).Google Scholar
Tynan, Kenneth, ed.,The Recruiting Officer (London: Rupert Hart-Davis, 1965).Google Scholar
Lennep, William, Avery, Emmet L., Scouten, Arthur H., Stone, George Winchester and Hogan, Charles Beecher, The London Stage 1660–1800, 11 vols. (Carbondale: Southern Illinois University Press, 1965–8).Google Scholar
Völker, Klaus, Brecht, trans. John Nowell (London: Marion Boyars, 1979).Google Scholar
Völker, Klaus, Brecht-Chronik (Munich: Carl Hanser, 1971).Google Scholar
Weigel, Hélène, Briefwechsel 1935–1971, ed. Mahlke, Stefan (Berlin: Theater der Zeit, 2000).Google Scholar
Wekwerth, Manfred, Notate: Über die Arbeit des Berliner Ensembles 1956–1966 (Frankfurt-on-Main: Suhrkamp, 1967).Google Scholar
Wekwerth, Manfred, Schriften: Arbeit mit Brecht (Berlin: Henschelverlag, 1975).Google Scholar
White, Martin, Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice and Performance (London and New York: Routledge, 1998).Google Scholar
Whitebrook, Peter, William Archer: A Biography (London: Methuen, 1993).Google Scholar
Whitworth, Geoffrey, The Making of a National Theatre (London: Faber and Faber, 1951).Google Scholar
Wilke, Judith, ed., Hélène Weigel 100 (Madison: University of Wisconsin Press, 2000) [Brecht Yearbook 25].Google Scholar
Willet, John, The Theatre of Bertolt Brecht: A Study from Eight Aspects (1959; 3rd edn, London: Methuen, 1967).Google Scholar
Willet, John, The Theatre of the Weimar Republic (New York and London: Holmes and Meier, 1988).Google Scholar
Willet, John, ed., Brecht Then and Now, damals und heute (Madison: University of Wisconsin Press, 1995) [Brecht Yearbook 20].Google Scholar
Winston, James, Drury Lane Journal. Selections from James Winston's Diaries 1819–1827, ed. Nelson, Alfred L. and Cross, Gilbert B. (London: Society of Theatre Research, 1974).Google Scholar
Witt, Hubert, ed., Brecht As They Knew Him (trans. John Peet, 1974; 3rd edn, London: Lawrence and Wishart, 1980).Google Scholar
Wizisla, Erdmut, ed., 1898 Bertolt Brecht 1998 (Berlin: Akademie der Künste, 1998).Google Scholar
Zeydel, Edwin H., Ludwig Tieck, The German Romanticist (Princeton: Princeton University Press, 1935).Google Scholar
Zimmern, Helen, G. E. Lessing: His Life and Works (London: Longmans, Green and Co., 1878).Google Scholar
Alexander, Francis, ed., The Chelsea Centre Annual Report (1998).
Archer, William, ‘The Mausoleum of Ibsen’, Fortnightly Review 54 (July 1893): 77–91.Google Scholar
Arnold, Matthew, ‘The French Play in London’, Nineteenth Century 6 (August 1879): 228–43.Google Scholar
Barker, Harley Granville, ‘At the Moscow Art Theatre’, Seven Arts 2 (1917): 659–61.Google Scholar
Barker, Harley Granville, ‘Repertory Theatres’, New Quarterly 2 (1909): 491–504.Google Scholar
Barker, Harley Granville, ‘Two German Theatres’, Fortnightly Review 89 (January–June 1911): 60–70.Google Scholar
Billington, Michael, ‘Hindsight sagas’, Guardian, 29.12.1999, G2, pp. 10–11.
Billington, Michael,‘The other Marx brother’, Guardian, 10.2.1998, G2, p. 9.
Burnand, F. C., ‘Authors and Managers’, Theatre (February–July 1879): 17.Google Scholar
Canaris, Volker, ‘Style and the Director,’ trans. Claudia Rosoux, in Hayman, ed., German Theatre, pp. 250–1.
Chandos, Oliver Lyttelton, Viscount, Letter to the Editor, in The Times, 2.5.1967.
Crawfurd, Oswald, ‘The London Stage’, Fortnightly Review 47 (April 1890): 499–516.Google Scholar
Crawfurd, Oswald, ‘The London Stage, II. A Rejoinder’, Fortnightly Review 47 (June 1890): 931–6.Google Scholar
Crawfurd, Oswald, ‘The London Stage’, Fortnightly Review 48 (August 1890): 315–316.Google Scholar
Craze, Tony, ed., Going Black Under the Skin (London: New Playwrights Trust, 1997).Google Scholar
Deeney, John, ed., The Mentoring Scheme for Women Writers (London: New Playwrights Trust, 1996).Google Scholar
Finegan, J. J., ‘All about “Juno”: a job well done’, Evening Herald, 7.5.1966, p. 8.
Girault, Alain, ed.-in-chief, ‘Dramaturgie’, Théâtre/public 67 (January–February 1986).Google Scholar
Holland, Peter, ‘David Garrick: 3rdly, as an Author’, Studies in Eighteenth Century Culture 25: 39–62.CrossRef
Holland, Peter,‘Theatre’, in Latham and Matthews, eds., Samuel Pepys: Companion, pp. 431–45.
Hunt, Leigh, ‘Rules for the Theatrical Critic of a Newspaper’, in Archer and Lowe, eds., Dramatic Essays, pp. 124–7.
Irving, Henry, ‘Actor-Managers II’, Nineteenth Century 27 (June 1890): 1052–3.Google Scholar
Jones, H. A., ‘The Actor-Manager’, Fortnightly Review 48 (July 1890): 1–18.Google Scholar
Kott, Jan, ‘The Dramaturg’, New Theatre Quarterly 6.21 (February 1990): 3–4.CrossRefGoogle Scholar
Luckett, Richard, ‘Plays’, in Latham and Matthews, eds., Samuel Pepys: Companion, pp. 337–42.
Luckhurst, Mary, ‘Mentors or Censors?’, New Playwrights Trust (Writernet) News 123 (February 1999): 3–4.Google Scholar
Marowitz, Charles, ‘Talk with Tynan’, Encore 10.44 (July/August 1963): 7–27.Google Scholar
McDonald, Jan, ‘Shaw and the Court Theatre’, in Innes, ed., Cambridge Companion to Shaw, pp. 261–83.
Meth, Jonathan, ed., Commissioning the Future (London: New Playwrights Trust, 1997).Google Scholar
Milhous, Judith, ‘Thomas Betterton's Playwriting’, Bulletin of the New York Public Library 77 (1974): 375–92.Google Scholar
Münsterer, Hans Otto, ‘Recollections of Brecht in 1919 in Augsburg’, in Witt, ed., Brecht As They Knew Him, pp. 23–31.
Piscator, Erwin, ‘Über Grundlagen und Aufgaben des Proletarischen Theaters’, in Piscator, Schriften, ii, 9–12.
Reade, Simon, ‘Young Blood’, Time Out, 3–10.9.1997, p. 139.
Rees, Jasper, ‘Stage Fright’, London Evening Standard, 26.11.1999, ES, pp. 48–52.
Seymour, Alan, ‘Theatre 1965’, London Magazine 5.5 (August 1965): 49–55.Google Scholar
Stoker, Bram, ‘Actor-Managers I’, Nineteenth Century 27 (June 1890): 1040–51.Google Scholar
Tenschert, Joachim, ‘Qu'est-ce qu'un dramaturge?’, Théâtre Populaire 38 (1960): 41–8.Google Scholar
Tree, H. Beerbohm, ‘The London Stage, I. A Reply’, Fortnightly Review 47 (June 1890): 922–31.Google Scholar
Tree, H. Beerbohm, ‘The London Stage, II. A Stage Reply’, Fortnightly Review 48 (July 1890): 18–21.Google Scholar
Tynan, Kenneth, ‘The National Theatre: A Speech to the Royal Society of Arts’, in Tynan, View of the English Stage, pp. 352–64.
Tynan, Kenneth,Letters to the Editor, The Times, 4.5.1967 and 7.5.1967.
Kerkhoven, Marianne, ed.-in-chief, ‘Über Dramaturgie/On dramaturgy/A propos de dramaturgie/Over dramaturgie’, Theaterschrift 5–6 (1993).Google Scholar
Veltman, Chloe, ‘dramaturg. dramawot?’, New Playwrights Trust (Writernet) News 119 (1998): 7–8.Google Scholar
Weber Carl, ‘Brecht and the Berliner Ensemble – the Making of a Model’, in Thomson and Sacks, eds., Cambridge Companion to Brecht, pp. 167–84.
Willett, John, ‘Bacon ohne Shakespeare? The problem of Mitarbeit’, in Fuegi et al., eds., Brecht, Women, Politics, pp. 121–37.
Wilson, Effingham, ‘Proposition for a National Theatre’, in Whitworth, National Theatre, pp. 26–9.
Wilson, Effingham, A House for Shakespeare; a Proposition for the Consideration of the Nation (London: Mr Hurst, King William Street, Strand, 1848).Google Scholar
Wilson, Effingham, A House for Shakespeare; a Proposition for the Consideration of the Nation (London: Mr Mitchell, Red Lion Court, Fleet Street, 1848).Google Scholar
Wyndham, Charles, ‘Actor-Managers III’, The Nineteenth Century 27 (June 1890): 1054–8.Google Scholar
1832 Report from the Select Committee on Dramatic Literature, in Stage and Theatre I (Shannon: Irish University Press, 1968) [British Parliamentary Papers].
1866 Report from the Select Committee on Theatrical Licences and Regulations, in Stage and Theatre II (Shannon: Irish University Press, 1970) [British Parliamentary Papers].
Addenbrooke, David, The Royal Shakespeare Company (London: William Kimber, 1974).Google Scholar
Archer, William, About The Theatre (London: T. Fisher Unwin, 1886).Google Scholar
Archer, William, English Dramatists of Today (London: Sampson Low, Marston, Searle and Rivington, 1882).Google Scholar
Archer, William, The Old Drama and the New (London: William Heinemann, 1923).Google Scholar
Archer, William, Play-making (1912; 4th edn, London: Chapman and Hall, 1930).Google Scholar
Archer, William and Barker, H. Granville, Scheme and Estimates for a National Theatre (London: Duckworth and Co., 1907).Google Scholar
Archer, William and Lowe, Robert W., eds., Dramatic Essays (London: Walter Scott, 1894).Google Scholar
Aristotle, Poetics, general ed. Goold, G. P., trans. and ed. Stephen Halliwell (Cambridge, MA: Harvard University Press, 1995) [Loeb Classical Library].Google Scholar
Aston, Elaine, Feminist Theatre Practice: A Handbook (London: Routledge, 1999).Google Scholar
Bahr, Ehrhard, ed., Was ist Aufklärung? (Stuttgart: Reclam, 1974).Google Scholar
Bancroft, Marie and Bancroft, Squire, The Bancrofts (London: John Murray, 1909).Google Scholar
Barker, Harley Granville(-), The Exemplary Theatre (London: Chatto and Windus, 1922).Google Scholar
Barker, Harley Granville(-), A National Theatre (London: Sidgwick and Jackson, 1930).Google Scholar
Bartram, Graham and Waine, Anthony, Brecht in Perspective (Harlow: Longman, 1982).Google Scholar
Bate, Jonathan, Shakespearean Constitutions: Politics, Theatre, Criticism 1730–1830 (Oxford: Clarendon Press, 1989).Google Scholar
Beauman, Sally, The Royal Shakespeare Company: A History of Ten Decades (Oxford: Oxford University Press, 1982).Google Scholar
Beerbohm, Max, ed., Herbert Beerbohm Tree (London: Hutchinson and Co., 1920).Google Scholar
Benjamin, Walter, Understanding Brecht, trans. Anna Bostock (1966; London and New York: Verso, 1983).Google Scholar
Bentley, Eric, The Brecht Memoir, 2nd edn (Manchester: Carcanet, 1989).Google Scholar
Bentley, Gerald Eades, The Profession of Dramatist in Shakespeare's Time 1590–1642 (Princeton: Princeton University Press, 1971).Google Scholar
Bentley, Gerald Eades, The Profession of Player in Shakespeare's Time (Princeton: Princeton University Press, 1984).Google Scholar
Bentley, Gerald Eades, Shakespeare and his Theatre (Lincoln: University of Nebraska Press, 1964).Google Scholar
Berlau, Ruth, Brecht, Bertolt, Hubalek, Claus, Palitzsch, Peter and Rülicke, Käthe, eds., Theaterarbeit 6: Aufführungen des Berliner Ensemble (Dresden: Desdner Verlag, 1952).Google Scholar
Bly, Mark, ed., The Production Notebooks (New York: Theatre Communications Group, 1996) [Theatre in Process].Google Scholar
Booth, Michael R., Theatre in the Victorian Age (Cambridge: Cambridge University Press, 1991).Google Scholar
Borsa, Mario, The English Stage of Today, trans. and ed. Brinton, Selwyn (London and New York: John Lane, 1908).Google Scholar
Brecht, Bertolt, Bertolt Brecht Letters 1913–1956, trans. Ralph Manheim, ed. Willett, John (London: Methuen, 1990).Google Scholar
Brecht, Bertolt,Brecht on Theatre, trans. and ed. Willett, John (1964; London: Methuen, 1987).Google Scholar
Brecht, Bertolt,Brecht: Schriften zum Theater, ed. Hecht, Werner (1957; 6 vols., rev. edn, Frankfurt-on-Main: Suhrkamp, 1963).Google Scholar
Brecht, Bertolt,Briefe, ed. Glaeser, Günter, 2 vols. (Frankfurt-on-Main: Suhrkamp, 1981).Google Scholar
Brecht, Bertolt,Gesammelte Werke, ed. Hauptmann, Elisabeth, 8 vols. (Frankfurt-on-Main: Suhrkamp, 1967).Google Scholar
Brecht, Bertolt,Journals 1934–1955, ed. Willett, John (London: Methuen, 1993).Google Scholar
Brecht, Bertolt, The Messingkauf Dialogues, trans. John Willett (1965; London: Methuen, 1994).Google Scholar
Brecht, Bertolt,Werke, ed. Hecht, Werner, Knopf, Jan, Mittenzwei, Werner and Müller, Klaus-Detlef, 30 vols. (Berlin: Aufbau Verlag; Frankfurt-on-Main: Suhrkamp, 1988–98).Google Scholar
Brockett, Oscar G., The Essential Theatre (1976; 6th edn, New York: Harcourt Brace, 1996).Google Scholar
Brook, Peter, The Empty Space (1968; Harmondsworth: Penguin, 1990).Google Scholar
Brooker, Peter, Bertolt Brecht: Dialectics, Poetry, Politics (London: Croom Helm, 1988).Google Scholar
Bunge, Hans, ed., Brechts Lai-Tu: Erinnerungen und Notate von Ruth Berlau (1981; 2nd edn, Darmstadt: Hermann Luchterhand, 1985).Google Scholar
Bunn, Alfred, The Stage: Both Before and Behind the Curtain, 3 vols. (London: Richard Bentley, 1840).Google Scholar
Burling, William J., A Checklist of New Plays and Entertainments on the London Stage 1700–1732 (Rutherford: Fairleigh Dickinson University Press, 1993).Google Scholar
Byron, George Gordon, Lord, Letters and Journals, ed. Marchand, Leslie A., 12 vols. (London: John Murray, 1973–82).Google Scholar
Callow, Simon, ed., The National: The Theatre and its Work 1963–1997 (London: Nick Hern Books/Royal National Theatre, 1997).Google Scholar
Cardullo, Bert, ed., What is Dramaturgy? (New York: Peter Lang, 1995) [American University Studies, series 26, vol. 20].Google Scholar
Carson, Neil, A Companion to Henslowe's Diary (Cambridge: Cambridge University Press, 1988).CrossRefGoogle Scholar
Chambers, E. K., William Shakespeare: A Study of Facts and Problems, 2 vols. (Oxford: Clarendon Press, 1930).Google Scholar
Chothia, Jean, English Drama of the Early Modern Period (London and New York: Longman, 1996) [Longman Literature in English Series].Google Scholar
Cibber, Colley, An Apology for the Life of Colley Cibber, ed. Fone, B. R. S (Ann Arbor: University of Michigan Press, 1968).Google Scholar
Cochrane, Claire, The Birmingham Rep (Birmingham: Sir Barry Jackson Trust, 2003).Google Scholar
Cole, J. W., The Life and Theatrical Times of Charles Kean, F. S. A., 2 vols. (London: Richard Bentley, 1859).Google Scholar
Cook, Dutton, On the Stage, 2 vols. (London: Sampson, Low, Marston, Searle and Rivington, 1883).Google Scholar
Cook, Judith, The National Theatre (London: Harrap, 1976).Google Scholar
Craig, Gordon, Henry Irving (London: J. M. Dent and Sons, 1930).Google Scholar
Davies, Thomas, Memoirs of the Life of David Garrick, 2 vols. (London: [n.p.] 1780).Google Scholar
Dexter, John, The Honourable Beast (London: Nick Hern Books, 1993).Google Scholar
Dibdin, Thomas, The Reminiscences of Thomas Dibdin, 2 vols. (London: Henry Colburn, 1827).Google Scholar
Dickson, Keith A., Towards Utopia: A Study of Brecht (Oxford: Clarendon Press, 1978).Google Scholar
Doty, Gresdna A. and Harbin, Billy J., eds., Inside the Royal Court Theatre, 1956–1981 (Baton Rouge: Louisiana State University Press, 1990).Google Scholar
Downes, John, Roscius Anglicanus, ed. Milhous, Judith and Hume, Robert D. (London: Society for Theatre Research, 1987).Google Scholar
Dukore, Bernard F., Bernard Shaw, Director (London: Allen and Unwin, 1971).Google Scholar
Eddershaw, Margaret, Performing Brecht: Forty Years of British Performances (London: Routledge, 1996).CrossRefGoogle Scholar
Edgar, David, ed., State of Play (London: Faber and Faber, 1999).Google Scholar
Egan, Michael, ed., Ibsen: The Critical Heritage (London: Routledge and Kegan Paul, 1972).CrossRefGoogle Scholar
Elsom, John, Post-War British Theatre Criticism (London: Routledge and Kegan Paul, 1981).Google Scholar
Elsom, John and Tomalin, Nicholas, The History of the National Theatre (London: Jonathan Cape, 1978).Google Scholar
Esslin, Martin, Brecht: A Choice of Evils (London: Eyre and Spottiswoode, 1959).Google Scholar
Filon, Augustin, The English Stage, trans. Frederic Whyte (London: John Milne; New York: Dodd, Mead and Co., 1897).Google Scholar
Findlater, Richard, ed., At the Royal Court: 25 Years of the English Stage Company (Derby: Amber Lane, 1981).Google Scholar
Fitzball, Edward, Thirty-Five Years of a Dramatic Author's Life, 2 vols. (London: T. C. Newby, 1859).Google Scholar
Fitzgerald, Percy, Henry Irving. Twenty Years at the Lyceum (London: Chapman and Hall, 1893).Google Scholar
Foulkes, Richard, ed., Shakespeare and the Victorian Stage (Cambridge: Cambridge University Press, 1986).Google Scholar
Foulkes, Richard, ed.,British Theatre in the 1890s (Cambridge: Cambridge University Press, 1992).Google Scholar
Fuegi, John, Bertolt Brecht: Chaos, According to Plan (Cambridge: Cambridge University Press, 1987).Google Scholar
Fuegi, John, Brecht and Company: Sex, Politics, and the Making of the Modern Drama (New York: Grove Press, 1994).Google Scholar
Fuegi, John, Bahr, Gisela and Willett, John, eds., Brecht, Women, Politics (Detroit: Wayne State University Press, 1983).Google Scholar
Garrick, David, The Letters of David Garrick, ed. Little, David M. and Kahrl, George M., 3 vols. (Oxford: Oxford University Press, 1963).Google Scholar
Gaskill, William, A Sense of direction (London: Faber and Faber, 1988).Google Scholar
Gentleman, FrancisThe Modish Wife … to Which is Prefixed a Summary View of the Stage (1775; New York: Readex Microprints, 1963).Google Scholar
Gottlieb, Vera and Chambers, Colin, eds., Theatre in a Cool Climate (Oxford: Amber Lane, 1999).Google Scholar
Gray, Charles Harold, Theatrical Criticism in London to 1795 (New York: Columbia University Press, 1931).Google Scholar
Gray, Ronald, Brecht the Dramatist (Cambridge: Cambridge University Press, 1976).Google Scholar
Hall, Peter, Making an Exhibition of Myself (London: Sinclair-Stevenson, 1993).Google Scholar
Hall, Peter,Peter Hall's Diaries, ed. Goodwin, John (London: Hamish Hamilton, 1983).Google Scholar
Hanssen, Paula, Elisabeth Hauptmann: Brecht's Silent Collaborator (New York: Peter Lang, 1994) [New York Ottendorfer Series].Google Scholar
Harrold, Charles Frederick, Carlyle and German Thought 1819–1834 (London: Archon, 1963).Google Scholar
Hauptmann, Elisabeth, Julia ohne Romeo, ed. Eggert, Rosemarie and Hill, Rosemarie (Berlin: Aufbau Verlag, 1977).Google Scholar
Hayman, Ronald, ed., The German Theatre (London: Oswald Wolf, 1975).Google Scholar
Hecht, Werner, ed., Alles was Brecht ist, 3rd edn (Frankfurt-on-Main: Suhrkamp, 1998).Google Scholar
Hecht, Werner, Brecht Chronik 1898–1956 (Frankfurt-on-Main: Suhrkamp, 1997).Google Scholar
Highfill, Philip H., Burnim, Kalman A. and Langhans, Edward A., A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and other Stage Personnel in London 1660–1800, 16 vols. (Carbondale: Southern Illinois University Press, 1973–93).Google Scholar
Hill, Aaron and Popple, William, The Prompter, ed. Appleton, William W. and Burnim, Kalman A. (New York: Benjamin Bloom, 1966).Google Scholar
Holland, Peter, The Ornament of Action (Cambridge: Cambridge University Press, 1979).Google Scholar
Hume, Robert D., The Development of English Drama in the Late Seventeenth Century (Oxford: Clarendon Press, 1976).Google Scholar
Hume, Robert D., Henry Fielding and the London Theatre 1728–1737 (Oxford: Clarendon Press, 1988).Google Scholar
Hume, Robert D., ed., The London Theatre World 1660–1800 (Carbondale: Southern Illinois University Press/London and Amsterdam: Feffer and Simons, 1980).Google Scholar
Hunt, Leigh, Autobiography of Leigh Hunt, ed. Ingpen, Roger, 2 vols. (London: Archibald Constable and Co., 1903).Google Scholar
Hutchison, Robert, The Politics of the Arts Council (London: Sinclair Browne, 1982).Google Scholar
Innes, Christopher, Erwin Piscator's Political Theatre: The Development of Modern German Drama (Cambridge: Cambridge University Press, 1972).Google Scholar
Innes, Christopher, Modern German Drama: A Study in Form (Cambridge: Cambridge University Press, 1979).Google Scholar
Innes, Christopher, ed., The Cambridge Companion to George Bernard Shaw (Cambridge: Cambridge University Press, 1998).CrossRefGoogle Scholar
Itzin, Catherine, Stages in the Revolution (London: Methuen, 1980).Google Scholar
Jackson, Russell, ed., Victorian Theatre (London: A. and C. Black, 1989).Google Scholar
Johnson, John, The Lord Chamberlain's Blue Pencil (London: Hodder and Stoughton, 1990).Google Scholar
Jonas, Susan, Proehl, Geoff and Lupu, Michael, eds., Dramaturgy in American Theater: A Source Book (New York: Harcourt Brace, 1997).Google Scholar
Jones, H. A., Renascence of the English Drama (London and New York: Macmillan, 1895).Google Scholar
Joseph, Stephen, New Theatre Forms (London: Isaac Pitman and Sons, 1968).Google Scholar
Joseph, Stephen, The Story of the Playhouse in England (London: Barrie and Rockliff, 1963).Google Scholar
Joseph, Stephen, Theatre in the Round (London: Barrie and Rockliff, 1967).Google Scholar
Kebir, Sabine, Ein akzeptabler Mann? Brecht und die Frauen (Berlin: Aufbau Verlag, 1998).Google Scholar
Kebir, Sabine, Helene Weigel: Abstieg in den Ruhm (Berlin: Aufbau Verlag, 2002).Google Scholar
Kebir, Sabine, Ich Fragte Nicht Nach Meinem Anteil: Elisabeth Hauptmanns Arbeit mit Bertolt Brecht (Berlin: Aufbau Verlag, 1997).Google Scholar
Kennedy, Dennis, Granville Barker and the Dream of Theatre (1985; repr. with corr., Cambridge: Cambridge University Press, 1989).Google Scholar
Kleber, Pia and Visser, Colin, Reinterpreting Brecht: His Influence on Contemporary Drama and Film (Cambridge: Cambridge University Press, 1990).Google Scholar
Klotz, C. A., ed., Deutsche Bibliothek der schönen Wissenschaften (Halle, 1769).Google Scholar
Knopf, Jan, Bertolt Brecht. Eine Forschungsbericht. Fragwürdiges in der Brechtforschung (Frankfurt-on-Main: Fischer, 1974).Google Scholar
Knopf, Jan, Brecht-Handbuch. Lyrik, Epik, Schriften. Eine Asthetik der Widersprüche (Stuttgart: J. B. Metzler, 1984).Google Scholar
Knopf, Jan, Brecht-Handbuch: Theater. Eine Asthetik der Widersprüche (Stuttgart: J. B. Metzler, 1980).CrossRefGoogle Scholar
Kruger, Loren, The National Stage (Chicago: University of Chicago Press, 1992).Google Scholar
Kruger, Loren, Post-Imperial Brecht: Politics and Performance, East and South (Cambridge: Cambridge University Press, 2004).Google Scholar
Kustow, Michael, Theatre@risk (London: Methuen, 2000).Google Scholar
Lamport, F. J., German Classical Drama (1990; Cambridge: Cambridge University Press, 1992).Google Scholar
Lamport, F. J., Lessing and the Drama (Oxford: Clarendon Press, 1981).Google Scholar
Latham, R. C. and Matthews, W., eds., The Diary of Samuel Pepys, volume x, Companion (London: HarperCollins, 1995).Google Scholar
Lennard, John and Luckhurst, Mary, The Drama Handbook: A Guide to Reading Plays (Oxford: Oxford University Press, 2002).Google Scholar
Lessing, G. E., Hamburgische Dramaturgie, in Lessing's Werke, ed. Petersen, J. and Olshausen, W., 25 vols. (Berlin: Bong and Co., 1925).Google Scholar
Lessing, G. E.Hamburgische Dramaturgie, ed. Berghahn, Klaus L. (Stuttgart: Reklam, 1981).Google Scholar
Lessing, G. E.Sämtliche Schriften, ed. Lachmann, K., 23 vols. (Berlin: Muncker, 1886–1924).Google Scholar
Lessing, G. E.,Selected Prose Works, ed. Bell, E., trans. E. C. Beasley and Helen Zimmern (London: George Bell and Sons, 1879).Google Scholar
Littlewood, Joan, Joan's Book (London: Minerva, 1995).Google Scholar
Lyon, James K., Bertolt Brecht in America (Princeton: Princeton University Press, 1980).Google Scholar
MacCarthy, Desmond, The Court Theatre 1904–1907 (London: A. H. Bullen, 1907).Google Scholar
Macready, William Charles, The Diaries, ed. Toynbee, William, 2 vols. (London: Chapman and Hall, 1912).Google Scholar
Macready, William Charles,Reminiscences and Selections from his Diaries and Letters, ed. Pollock, Frederick, 2 vols. (London: Macmillan, 1875).Google Scholar
Marshall, Norman, The Producer and the Play (1957; 2nd edn, London: MacDonald, 1962).Google Scholar
Martin-Harvey, John, The Autobiography of Sir John Martin-Harvey (London: Sampson, Low, Marston and Co., 1933).Google Scholar
Marx, Karl and Engels, Friedrich, Marx-Engels-Werke, Institut für Marxismus-Leninismus beim Zentralkommittee der Sozialistische Einheitspartei Deutschlands, 43 vols. (Berlin: Dietz Verlag, 1958).Google Scholar
Mason, A. E. W., Sir George Alexander and the St James Theatre (London: Macmillan, 1935).Google Scholar
Mayer, Hans, Erinnerung an Brecht (Frankfurt-on-Main: Suhrkamp, 1996).Google Scholar
McCabe, Terry, Mis-directing the Play (Chicago: Ivan R. Dee, 2001).Google Scholar
Melville, Lewis, The Life and Letters of Tobias Smollett (New York: Kennikat Press, 1966).Google Scholar
Mews, Siegfried, ed., A Bertolt Brecht Reference Companion (Westport, CT, and London: Greenwood Press, 1997).Google Scholar
Milhous, Judith D. and Hume, Robert D., Producible Interpretation (Carbondale: Southern Illinois University Press, 1985).Google Scholar
Milhous, Judith D. and Hume, Robert D., A Register of English Theatrical Documents 1660–1737, 2 vols. (Carbondale: Southern Illinois University Press, 1991).Google Scholar
Milibrand, Ralph, Parliamentary Socialism (London: Merlin Press, 1979).Google Scholar
Mittenzwei, Werner, Das Leben Bertolt Brecht, 2 vols. (Berlin: Aufbau Verlag, 1986).Google Scholar
Mittenzwei, Werner, Wer war Brecht (Berlin: Aufbau Verlag, 1977).Google Scholar
Münsterer, Hanns Otto, The Young Brecht, 2nd edn, trans. Tom Kuhn and Karen Leeder (London: Libris, 1992).Google Scholar
Nagler, A. M., A Source Book in Theatrical History (New York: Dover Press, 1959).Google Scholar
Needle, Jan and Thomson, Peter, Brecht (Oxford: Basil Blackwell, 1981).Google Scholar
Olivier, Laurence, Confessions of an Actor (1982; London: Orion Books, 1994).Google Scholar
Parsons, Mrs Clement, Garrick and his Circle (London: Methuen, 1906).Google Scholar
Paulin, Roger, Ludwig Tieck: A Literary Biography (Oxford: Clarendon Press, 1985).Google Scholar
Pavis, Patrice, Dictionary of the Theatre (Paris: Dunod, 1996; trans. Christine Shantz, Toronto: University of Toronto Press, 1998).Google Scholar
Pemberton, T. Edgar, Sir Charles Wyndham (London: Hutchison and Co., 1904).Google Scholar
Pickard-Cambridge, Arthur, The Dramatic Festivals of Athens, 2nd edn, rev. John Gould and D. M. Lewis (Oxford: Clarendon Press, 1988).Google Scholar
Piscator, Erwin, Das Politische Theater (1929; rev. Felix Gasbarra, Hamburg: Rowohlt, 1963).Google Scholar
Piscator, Erwin,Schriften, ed. Hoffmann, Ludwig, 2 vols. (Berlin: Henschelverlag, 1968).Google Scholar
[Platt, Agnes,] Anonymous (London: John Murray, 1936).Google Scholar
Purdom, C. B., Harley Granville Barker: Man of the Theatre, Dramatist and Scholar (Westport, CT: Greenwood Press, 1956).Google Scholar
Reinelt, Janelle, After Brecht. British Epic Theatre (Ann Arbor: University of Michigan Press, 1994).Google Scholar
Richards, Kenneth and Thomson, Peter, Essays on Nineteenth-Century British Theatre (London: Methuen, 1971).Google Scholar
Rilla, Paul, Lessing und sein Zeitalter (Berlin: Aufbau Verlag, 1981).Google Scholar
Roberts, Philip, The Royal Court and the Modern Stage (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar
Roberts, Philip, The Royal Court Theatre 1965–1972 (Cambridge: Cambridge University Press, 1986).Google Scholar
Robertson, J. D., Lessing's Dramatic Theory (Cambridge: Cambridge University Press, 1939).Google Scholar
Rouse, John, Brecht and the West German Theatre (Ann Arbor: UMI Research Press, 1989) [Theatre and Dramatic Studies, no. 62].Google Scholar
Rowell, George, The Old Vic Theatre: A History (Cambridge: Cambridge University Press, 1993).Google Scholar
Rowell, George, The Victorian Theatre: A Survey (Oxford: Clarendon Press, 1956).Google Scholar
Rowell, George and Jackson, Anthony, The Repertory Movement. A History of Regional Theatre in Britain (Cambridge: Cambridge University Press, 1984).Google Scholar
Rülicke-Weiler, Käthe, Die Dramaturgie Brechts (Berlin: Henschelverlag, 1966).Google Scholar
Christopher, St John, ed., Ellen Terry and Bernard Shaw. A Correspondence (London: Constable and Co., 1931).Google Scholar
Salberg, Derek, My Love Affair with a Theatre (Luton: Cortney Publications, 1978).Google Scholar
Salmon, Eric, Granville Barker: A Secret Life (London: William Heinemann, 1983).Google Scholar
Salmon, Eric, Granville Barker and his Correspondents (Detroit: Wayne State University Press, 1986).Google Scholar
Schiller, Friedrich, Der Briefwechsel zwischen Schiller und Goethe, ed. Staiger, Emil (Frankfurt-on-Main: Insel, 1966).Google Scholar
Schiller, Friedrich,Sämtliche Werke, ed. Fricke, Gerhard and Göpfert, Herbert G., 5 vols. (Munich: Karl Hanser, 1980).Google Scholar
Schnapp, Jeffrey T., Staging Fascism (Stanford: Stanford University Press, 1996).Google Scholar
Shaw, George Bernard, Bernard Shaw's Letters to Granville Barker, ed. Purdom, C. B. (London: Phoenix, 1956).Google Scholar
Shaw, George Bernard,Collected Letters 1874–1897, ed. Laurence, Dan H. (London: Max Reinhardt, 1965).Google Scholar
Shaw, George Bernard, Major Critical Essays (1932; standard edn, London: Constable and Co., 1947).Google Scholar
Shaw, George Bernard, Our Theatres in the Nineties (1932; 3 vols., standard edn, London: Constable and Co., 1948).Google Scholar
Shellard, Dominic, Kenneth Tynan: A Life (New Haven: Yale University Press, 2003).Google Scholar
Senelick, Laurence, ed., National Theatre in Northern and Eastern Europe (Cambridge: Cambridge University Press, 1991).Google Scholar
Smith, Chris, Creative Britain (London: Faber and Faber, 1998).Google Scholar
Smollett, Tobias, The Letters of Tobias Smollett, ed. Knapp, Lewis M. (Oxford: Clarendon Press, 1970).Google Scholar
Stafford-Clark, Max, Letters to George: The Account of a Rehearsal (London: Nick Hern Books, 1997).Google Scholar
Steinmetz, Horst, Lessing – ein unpoetischer Dichter (Frankfurt and Bonn: Athenäum, 1969).Google Scholar
Steinmetz, Horst, ed., Schriften zur Literatur (Stuttgart: Reklam, 1982).Google Scholar
Steinweg, Reiner, Das Lehrstück. Brechts Theorie einer ästhetischen Erziehung (Stuttgart: J. B. Metzler, 1972).Google Scholar
Steinweg, Reiner, ed., Auf Anregung Bertolt Brechts: Lehrstücke mit Schülern, Arbeitern, Theaterleuten (Frankfurt-on-Main: Suhrkamp, 1978).Google Scholar
Steinweg, Reiner, Brechts Modell der Lehrstücke. Zeugnisse, Diskussionen, Erfahrungen (Frankfurt-on-Main: Suhrkamp, 1976).Google Scholar
Stephens, John Russell, The Profession of the Playwright: British Theatre 1800–1900 (Cambridge: Cambridge University Press, 1992).CrossRefGoogle Scholar
Stern, Carola, Männer lieben anders: Helene Weigel und Bertolt Brecht (Berlin: Rowohlt, 2000).Google Scholar
Stern, Tiffany, Rehearsal from Shakespeare to Sheridan (Oxford: Oxford University Press, 2000).Google Scholar
Suvin, Darko, To Brecht and Beyond: Soundings in Modern Dramaturgy (Brighton: Harvester Press, 1984).Google Scholar
Taylor, George, Players and Performances in the Victorian Theatre (Manchester: Manchester University Press, 1989).Google Scholar
Taylor, John Russell, Anger and After: A Guide to the New British Drama (Harmondsworth: Penguin [Pelican], 1963).Google Scholar
Taylor, John Russell, The Penguin Dictionary of the Theatre (Harmondsworth: Penguin, 1966; London: Methuen, 1967).Google Scholar
Thomas, David, ed., Restoration and Georgian England 1660–1788 (Cambridge: Cambridge University Press, 1989) [Theatre in Europe: A Documentary History Series].Google Scholar
Thomson, Peter and Sacks, Glendyr, eds., The Cambridge Companion to Brecht (Cambridge: Cambridge University Press, 1994).CrossRefGoogle Scholar
Trewin, John Courtenay, The Theatre Since 1900 (London: Andrew Dakers, 1951).Google Scholar
Trewin, John Courtenay and Trewin, Wendy, The Arts Theatre London 1927–1981 (London: Society for Theatre Research, 1986).Google Scholar
Tynan, Kathleen, The Life of Kenneth Tynan (London: Methuen, 1988).Google Scholar
Tynan, Kathleen, ed., Kenneth Tynan: Letters (London: Weidenfeld and Nicolson, 1994).Google Scholar
Tynan, Kenneth, Curtains (London: Longmans, 1961).Google Scholar
Tynan, Kenneth, He That Plays The King (London: Longmans, Green and Co., 1950).Google Scholar
Tynan, Kenneth,Profiles, eds. Tynan, Kathleen and Eban, Ernie (London: Nick Hern Books, 1989).Google Scholar
Tynan, Kenneth, Tynan Right and Left (London: Longman, 1967).Google Scholar
Tynan, Kenneth, A View of the English Stage (London: Davis-Poynter, 1975).Google Scholar
Tynan, Kenneth, ed., Othello (London: Rupert Hart-Davis, 1965).Google Scholar
Tynan, Kenneth, ed.,The Recruiting Officer (London: Rupert Hart-Davis, 1965).Google Scholar
Lennep, William, Avery, Emmet L., Scouten, Arthur H., Stone, George Winchester and Hogan, Charles Beecher, The London Stage 1660–1800, 11 vols. (Carbondale: Southern Illinois University Press, 1965–8).Google Scholar
Völker, Klaus, Brecht, trans. John Nowell (London: Marion Boyars, 1979).Google Scholar
Völker, Klaus, Brecht-Chronik (Munich: Carl Hanser, 1971).Google Scholar
Weigel, Hélène, Briefwechsel 1935–1971, ed. Mahlke, Stefan (Berlin: Theater der Zeit, 2000).Google Scholar
Wekwerth, Manfred, Notate: Über die Arbeit des Berliner Ensembles 1956–1966 (Frankfurt-on-Main: Suhrkamp, 1967).Google Scholar
Wekwerth, Manfred, Schriften: Arbeit mit Brecht (Berlin: Henschelverlag, 1975).Google Scholar
White, Martin, Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice and Performance (London and New York: Routledge, 1998).Google Scholar
Whitebrook, Peter, William Archer: A Biography (London: Methuen, 1993).Google Scholar
Whitworth, Geoffrey, The Making of a National Theatre (London: Faber and Faber, 1951).Google Scholar
Wilke, Judith, ed., Hélène Weigel 100 (Madison: University of Wisconsin Press, 2000) [Brecht Yearbook 25].Google Scholar
Willet, John, The Theatre of Bertolt Brecht: A Study from Eight Aspects (1959; 3rd edn, London: Methuen, 1967).Google Scholar
Willet, John, The Theatre of the Weimar Republic (New York and London: Holmes and Meier, 1988).Google Scholar
Willet, John, ed., Brecht Then and Now, damals und heute (Madison: University of Wisconsin Press, 1995) [Brecht Yearbook 20].Google Scholar
Winston, James, Drury Lane Journal. Selections from James Winston's Diaries 1819–1827, ed. Nelson, Alfred L. and Cross, Gilbert B. (London: Society of Theatre Research, 1974).Google Scholar
Witt, Hubert, ed., Brecht As They Knew Him (trans. John Peet, 1974; 3rd edn, London: Lawrence and Wishart, 1980).Google Scholar
Wizisla, Erdmut, ed., 1898 Bertolt Brecht 1998 (Berlin: Akademie der Künste, 1998).Google Scholar
Zeydel, Edwin H., Ludwig Tieck, The German Romanticist (Princeton: Princeton University Press, 1935).Google Scholar
Zimmern, Helen, G. E. Lessing: His Life and Works (London: Longmans, Green and Co., 1878).Google Scholar
Die Mit-Arbeiterin – Gespräche mit Elisabeth Hauptmann, dir. Karlheinz Mund, first broadcast by Deutscher Fernsehfunk, channel 1, 3 December 1972.
Reputations: Kenneth Tynan, written and presented by Anthony Howard, first broadcast on BBC television, 25 July 1982.

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Select bibliography
  • Mary Luckhurst, University of York
  • Book: Dramaturgy
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511486050.009
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Select bibliography
  • Mary Luckhurst, University of York
  • Book: Dramaturgy
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511486050.009
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Select bibliography
  • Mary Luckhurst, University of York
  • Book: Dramaturgy
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511486050.009
Available formats
×