T

T

Published online by Cambridge University Press: 19 June 2025

Edited by

Maria M. Delgado and

Simon Williams

Show author details

Maria M. Delgado: Affiliation:
Royal Central School of Speech and Drama, University of London
Simon Williams: Affiliation:
University of California, Santa Barbara

Book contents

Get access

Information

Type: Chapter
Information: The Cambridge Encyclopedia of Stage Directors , pp. 658 - 693

DOI: https://doi.org/10.1017/9781108115995 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2025

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.)

Book purchase

Temporarily unavailable

References

Feinberg, A., Embodied Memory: The Theatre of George Tabori (Iowa City, 1999)Google Scholar

Haas, B., Das Theater des George Tabori: Vom Verfremdungseffekt zur Postmoderne (Frankfurt, 2000)Google Scholar

Tairov, A., Notes of a Director, trans. and with an intro. by W. Kuhlke (Coral Gables, Florida, 1969)Google Scholar

Bari, P., ‘Meet Mohit Takalkar, the Accidental Director’, Hindusthan Times, 6 January 2019, https://tinyurl.com/msd56hew Google Scholar

Shanta, G., ‘Less Is More’, Pune Mirror, 19 November 2015Google Scholar

Eckersall, P., ‘Tour Performance “Tokyo/Olympics”: Digging the High Times of the 1960s’, Intersections: Gender and Sexuality in Asia and the Pacific 23 (January 2010), http://intersections.anu.edu.au/issue23/eckersall.htm Google Scholar

Eckersall, P., Fujii, S., Takayama, A., and Hayashi, T., ‘On the Dramaturgical Field in Port B’s Tokyo “Tour Performances”’, Performance Research 14.3 (2009): 28–43CrossRef Google Scholar

Iwaki, K., ‘Akira Takayama [Port B]’, in Tokyo Theatre Today: Conversations with Eight Emerging Theatre Artists (Tokyo, 2012)Google Scholar

Bajo Martínez, M. J., ‘José Tamayo y el TEU de Granada’, Anales de la Literatura Española 29–30 (2018): 77–96Google Scholar

Iwaki, K., ‘Creating Illusionary Spaces: The World of Tanino Kuro’, Performing Arts Network Japan, 9 August 2011Google Scholar

Iwaki, K., ‘Kuro Tanino [Niwa Gekidan Penino]’, in Tokyo Theatre Today: Conversations with Eight Emerging Theatre Artists (Tokyo, 2012)Google Scholar

Sebaly, A., ‘Penino Envy: Kuro Tanino on the Architecture of the Inner Life’, Fourth Wall, 13 January 2014, https://walkerart.org/magazine/kuro-tanino-phallic-symbols-penino Google Scholar

Katyal, A., Habib Tanvir: Towards an Inclusive Theatre (New Delhi, 2012)Google Scholar

Malick, J., ‘Refashioning Modernity: Habib Tanvir and His Naya Theatre’, in Diverse Pursuits: Essays on Drama and Theatre (Delhi, 2020)Google Scholar

Carrasco, M. and Díaz Pérez, E., Salvador Távora: el sentimiento trágico de Andalucía (Seville, 2005)Google Scholar

Távora, S. and La Cuadra de Sevilla, Tres décadas de creación teatral (Madrid, 2006)Google Scholar

Maufort, M. and O’Donnell, D. (eds.), Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (Brussels, 2007)Google Scholar

Gussow, M., ‘Review/Stage Design; Julie Taymor’s Theater Imaginings’, The New York Times, 25 November 1988Google Scholar

Shewey, D., ‘Bali High: “Way of Snow”: Teatr Loh at Ark Theater, 131 Spring Street’, Soho News, 1980, www.donshewey.com/theater_reviews/way_of_snow.html Google Scholar

Karaboğa, K., Tragedya ile Sınırları Asmak: Theodoros Terzopoulos (Istanbul, 2008)Google Scholar

Sener, S., Dünden Bugüne Tiyatro Düsüncesi (Ankara, 1998)Google Scholar

Studio Oyuncuları, ‘Şahika Tekand’, https://studiooyunculari.com/en/sahika-tekand-en/Google Scholar

Ülgen, T., ‘Stüdyo Oyuncuları ve Oidipus Üçlemesi’, Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi 11 (2007): 25–51Google Scholar

Pauls, A, ‘Kidnapping Reality: An Interview with Vivi Tellas’, in Martin, C. (ed.), Dramaturgy of the Real on the World Stage (Basingstoke and New York, 2010), pp. 246–58Google Scholar

Tellas, V., Biodrama. Proyecto Archivos. Seis documetales escénicos, ed. by Brownell, P. and Hernández, P. (Córdoba, 2017)Google Scholar

https://vivitellas.com/Google Scholar

Pearson, M., Mickery: An Imperfect Archaeology (Amsterdam, 2011)CrossRef Google Scholar

Sas, M., Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return (Cambridge, 2001)Google Scholar

Sorgenfrei, C. F., Unspeakable Acts: The Avant-Garde Theater of Terayama Shūji and Postwar Japan (Honolulu, 2005)Google Scholar

Sampatakakis, G., Geometrontas to Chaos: Morfi kai Metafysiki sto Theatro tou Theodorou Terzopoulou (Athens, 2007)Google Scholar

‘A Woman’s Challenge’, The Malta Independent on Sunday, 17 March 2013Google Scholar

Xuereb, P., Curtain Up! Theatre in Malta 1963–2015 (Malta, 2017)Google Scholar

Besuelle, C., ‘Défaire le jeu: Étude à partir de quelques gestes d’acteur/rice/s et de danseur/euses dans la création contemporaine flamande’, unpublished dissertation (Université de Lille, 2021)Google Scholar

Van den Dries, L. and Crombez, T., ‘Jan Fabre and tg STAN: Two Models of Postdramatic Theatre in the Avant-Garde Tradition’, Contemporary Theatre Review 20.4 (2010): 421–31CrossRef Google Scholar

Boenisch, P. M., Directing Scenes and Senses: The Thinking of Regie (Manchester, 2015)CrossRef Google Scholar

Carlson, M., Theatre Is More Beautiful than War: German Stage Directing in the Late Twentieth Century (Iowa, 2009)Google Scholar

Schütt, H. D., Michael Thalheimer: Porträt eines Regisseurs (Berlin, 2017)Google Scholar

Thiyam, R., interview with Kavita Nagpal, in Paul, R. (ed.), Contemporary Indian Theatre: Interviews with Playwrights and Directors (Delhi, 1989)Google Scholar

Lapeña-Bonifacio, A., The Seditious Tagalog Playwrights: Early American Occupation (Manila, 1972)Google Scholar

Robertson, E., ‘Liesl Tommy: “Let Your Instincts Take Over”’, The Talks, 2023, https://the-talks.com/interview/liesl-tommy/Google Scholar

Tovstonogov, G., The Profession of the Stage Director, trans. by B. Bean (Moscow, 1972)Google Scholar

Jakovljević, B., Alienation Effects: Performance and Self-Management in Yugoslavia 1941–91 (Ann Arbor, 2016)CrossRef Google Scholar

Bingham, M., The Great Lover: The Life and Art of Herbert Beerbohm Tree (London, 1978)Google Scholar

Montgomery, D., ‘Jorge Ali Triana Brings Gabriel Garcia Marquez [sic] Tale to GALA Hispanic Theatre’, Washington Post, 31 January 2011, https://tinyurl.com/23wdzjhd Google Scholar

Panyane, M., ‘Changing the Face of Contemporary Theatre’, IOL, 24 July 2018, https://tinyurl.com/mwr5zstr Google Scholar

Tsubouchi, S., The Essence of the Novel [1885], trans. by N. Gottlieb (St Lucia, Queensland, 1983)Google Scholar

Senda, A., The Voyage of Contemporary Japanese Theatre, trans. by J. T. Rimer (Honolulu, 1997)Google Scholar

Zheng, G., ‘Maturing Shingeki Theatre’, in Salz, J. (ed.), A History of Japanese Theatre (Cambridge, 2018)Google Scholar

Dawud, Abd al-Ghani, Zaki Tulaymat (Cairo, 1997)Google Scholar

Paavolainen, P., Turkan pitkä juoksu (Helsinki, 1987)Google Scholar

Accessibility standard: Unknown

Why this information is here

This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.

Accessibility Information

Accessibility compliance for the PDF of this book is currently unknown and may be updated in the future.