Skip to main content
×
×
Home
Stage Fright, Animals, and Other Theatrical Problems
  • Get access
    Check if you have access via personal or institutional login
  • Cited by 66
  • Cited by
    This book has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Balkin, Sarah 2018. ‘The Thin Air of Reality’. Performance Research, Vol. 23, Issue. 3, p. 124.

    Grant, Teresa Ramos Gay, Ignacio and Alonso Recarte, Claudia 2018. Introduction: real animals on the stage. Studies in Theatre and Performance, Vol. 38, Issue. 2, p. 103.

    Paavolainen, Teemu 2018. Theatricality and Performativity. p. 47.

    Senior, Adele 2018. Editorial. Performance Research, Vol. 23, Issue. 1, p. 1.

    Lisle, Debbie 2018. Failing worse? Science, security and the birth of a border technology. European Journal of International Relations, Vol. 24, Issue. 4, p. 887.

    Ramos-Gay, Ignacio 2018. ‘Des singes, c’était le narcisse’: class, imitation and performing monkeys in late-eighteenth century Paris. Studies in Theatre and Performance, Vol. 38, Issue. 2, p. 130.

    Edinborough, Campbell 2018. Using the method to be myself: adapting and appropriating historical training approaches for interactive performance. Theatre, Dance and Performance Training, Vol. 9, Issue. 2, p. 174.

    Grant, Teresa 2018. ‘A pleasant tragicomedy, the cat being scap’t’?: William Sampson’s The Vow Breaker (1636) and the instability of genre. Studies in Theatre and Performance, Vol. 38, Issue. 2, p. 113.

    Senior, Adele 2018. ‘Age Transvestism’ in Contemporary Performance and Live Art With Children. Performance Research, Vol. 23, Issue. 1, p. 26.

    Quigley, Karen 2018. Departure points: beginning training in sited-based performance practices. Theatre, Dance and Performance Training, Vol. 9, Issue. 2, p. 251.

    Parker-Starbuck, Jennifer 2018. There is a whale in the room: Pina Bausch’s animals on stage. Studies in Theatre and Performance, Vol. 38, Issue. 2, p. 165.

    Biggin, Rose 2017. Immersive Theatre and Audience Experience. p. 1.

    Lupton, Julia Reinhard 2017. The Palgrave Handbook of Affect Studies and Textual Criticism. p. 155.

    2017. Improvisation and Social Aesthetics. p. 309.

    Bryx, Adam and Reynolds, Bryan 2017. Intermedial Theater. p. 77.

    Paavolainen, Teemu 2017. Fabric Philosophy: The “Texture” of Theatricality and Performativity. Performance Philosophy, Vol. 2, Issue. 2, p. 172.

    Matthews, Alison E. 2017. Giving service and provoking rupture: the post-Fordist performer at work. Studies in Theatre and Performance, Vol. 37, Issue. 1, p. 139.

    Alston, Adam 2016. Beyond Immersive Theatre. p. 183.

    LePage, Louise 2016. Twenty-First Century Drama. p. 279.

    Hay, Chris 2016. Knowledge, Creativity and Failure. p. 75.

    ×
  • Export citation
  • Recommend to librarian
  • Recommend this book

    Email your librarian or administrator to recommend adding this book to your organisation's collection.

    Stage Fright, Animals, and Other Theatrical Problems
    • Online ISBN: 9780511617669
    • Book DOI: https://doi.org/10.1017/CBO9780511617669
    Please enter your name
    Please enter a valid email address
    Who would you like to send this to *
    ×
  • Buy the print book

Book description

Why do actors get stage fright? What is so embarrassing about joining in? Why not work with animals and children, and why is it so hard not to collapse into helpless laughter when things go wrong? In trying to answer these questions - usually ignored by theatre scholarship but of enduring interest to theatre professionals and audiences alike - Nicholas Ridout attempts to explain the relationship between these apparently unwanted and anomalous phenomena and the wider social and political meanings of the modern theatre. This book focuses on the theatrical encounter - those events in which actor and audience come face to face in a strangely compromised and alienated intimacy - arguing that the modern theatre has become a place where we entertain ourselves by experimenting with our feelings about work, social relations and about feelings themselves.

Reviews

'… an intelligent and likeable study that merely attempts a virtually holistic understanding of theatre in its fullest possible contest.'

Source: The Times Literary Supplement

'In the intellectual energy of the connections it makes, and in the purposeful play of its attentive unfolding of the insistently overlooked and repressed within theatre, this volume makes a significant contribution to a growing body of recent and related British scholarship.'

Source: Contemporary Theatre Review

Refine List
Actions for selected content:
Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive
  • Send content to

    To send 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 sending content to .

    To send content items to your Kindle, first ensure no-reply@cambridge.org 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 sending to your Kindle.

    Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent 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.

    Please be advised that item(s) you selected are not available.
    You are about to send
    ×

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×
Bibliography
Bibliography
Aaron, Stephen, Stage Fright: Its Role in Acting (Chicago and London: University of Chicago Press, 1986).
Adorno, Theodor and Horkheimer, Max, The Dialectic of Enlightenment, trans. John Cumming (London: Verso, 1997).
Aeschylus, , Oresteia: The Eumenides, trans. Richmond Lattimore (Chicago: University of Chicago Press, 1953).
Agamben, Giorgio, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen (Stanford: Stanford University Press, 1998).
Agamben, GiorgioRemnants of Auschwitz: The Witness and the Archive, trans. Daniel Heller-Roazen (New York: Zone Books, 1999).
Agamben, GiorgioMeans Without End: Notes on Politics, trans. Vincenzo Binetti and Cesare Casarino (Minneapolis and London: University of Minnesota Press, 2000).
Agamben, GiorgioL'aperto: l'uomo e l'animale (Torino: Bollati Boringhieri, 2002).
Archer, William, Masks or Faces? A study in the psychology of acting (London: Longman, 1888).
Aristotle, , The Politics, trans. Ernest Baker (Oxford: Clarendon Press, 1948).
Aristotle, The Poetics, trans. Malcolm Heath (Harmondsworth: Penguin Books, 1996).
Auslander, Philip, From Acting to Performance: Essays in Modernism and Postmodernism (New York and London: Routledge, 1997).
Artaud, Antonin, The Theatre and Its Double, trans. Victor Corti (Montreuil, London, New York: Calder, 1993).
Johann Jakob, Bachofen, Mutterrecht. English. Selections, An English Translation of Bachofen's Mutterrecht (Mother Right) (1861): a study of the religious and juridical aspects of gynecocracy in the ancient world, trans. Edward Partenheimer (Lewiston, NY: Edwin Mellen Press, 2003).
Baker, Steve, The Postmodern Animal (London: Reaktion Books, 2000).
Bakhtin, Mikhail, Rabelais and His World, trans. Hélène Iswolsky (Bloomington and Indianapolis: Indiana University Press, 1984).
Banes, Sally, Terpsichore in Sneakers: Postmodern Dance (Middletown, CT: Wesleyan University Press, 1987).
Banes, SallyWriting Dancing in the Age of Postmodernism (Hanover, NH: Wesleyan University Press/University Press of New England, 1994).
Barber, Stephen, Antonin Artaud: Blows and Bombs (London: Faber and Faber, 1993).
Barish, Jonas, The Antitheatrical Prejudice (Berkeley and Los Angeles: University of California Press, 1981).
Barker, Howard, Arguments for a Theatre (London: Calder, 1989).
Barthes, Roland, Critical Essays, trans. Richard Howard (Evanston: Northwestern University Press, 1972).
The Rustle of Language, trans. Richard Howard (Berkeley and Los Angeles: University of California Press, 1989).
Bataille, Georges, The Accursed Share, Volume I, trans. Robert Hurley (New York: Zone Books, 1988).
Bataille, GeorgesA Bataille Reader, eds. Fred Botting and Scott Wilson (Oxford: Blackwell, 1997).
Bayly, Simon, ‘A Pathognomy of Performance: Theatre, Philosophy and the Ethics of Interruption’, Ph.D. dissertation, University of Surrey, 2002.
Benedetti, Jean, ed. The Moscow Art Theatre Letters (London: Methuen, 1991).
Benedict, Ruth, The Chrysanthemum and the Sword: Patterns of Japanese Culture (London: Routledge and Kegan Paul, 1977).
Benjamin, Walter, Illuminations, trans. Harry Zohn (London: Fontana, 1973).
Benjamin, WalterCharles Baudelaire, trans. Harry Zohn (London and New York: Verso, 1997).
Benjamin, WalterThe Origin of German Tragic Drama, trans. John Osborne (London and New York: Verso, 1998).
Benjamin, WalterUnderstanding Brecht, trans. Anna Bostock (London and New York: Verso, 1998).
Bennett, Susan, Theatre Audiences: A Theory of Production and Reception (London and New York: Routledge, 1997).
Bennington, Geoffrey, Lyotard: Writing the Event (Manchester: Manchester University Press, 1988).
Berger, Harry Jr., Imaginary Audition: Shakespeare on Stage and Page (Berkeley and Los Angeles: University of California Press, 1989).
Bergson, Henri, Laughter: An Essay on The Meaning of the Comic, trans. Cloudesley Brereton and Fred Rothwell (New York: Macmillan, 1911).
Berman, Marshall, All That Is Solid Melts Into Air: The Experience of Modernity (London and New York: Verso, 1983).
Bernasconi, Robert and Critchley, Simon, eds. Re-reading Levinas (London: Athlone, 1991).
Billington, Michael, ‘Bleak Russians at the Purcell Room’, The Guardian, January 15, 2001.
Blau, Herbert, The Audience (Baltimore and London: The Johns Hopkins University Press, 1990).
Branagh, Kenneth, Beginning (London: Pan Books, 1990).
Brandt, George, ed. Modern Theories of Drama (Oxford: Clarendon Press, 1988).
Brecht, Bertolt, Brecht on Theatre: The Development of an Aesthetic, trans. John Willett (London: Methuen, 1964).
Bresson, Robert, Notes on the Cinematographer, trans. Jonathan Griffin (London: Quartet Encounters, 1986).
Buck-Morss, Susan, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 1989).
Campbell, Patrick and Kear, Adrian, Psychoanalysis and Performance (London and New York: Routledge, 2000).
Carlson, Marvin, Places of Performance (Ithaca: Cornell University Press, 1989).
Carlson, MarvinPerformance: a critical introduction (London and New York: Routledge, 1996).
Castellucci, Claudia and Castellucci, Romeo, Les pèlerins de la matière: théorie et praxis du théâtre. Écrits de la Socìetas Raffaello Sanzio, trans. Karin Espinosa (Besançon: Les Solitaires Intempestifs, 2001).
Castellucci, Romeo, ‘The Animal Being on Stage’, trans. Carolina Melis, Valentina Valentini and Ric Allsopp, in Performance Research 5:2 On Animals (2000), 23–28.
Castellucci, Claudia, Romeo, Castellucci and Guidi, Chiara, Epopea delle polvere (Milan: Socìetas Raffaello Sanzio/Ubulibri, 2001).
Ching, James, Performer and Audience: An Investigation into the psychological causes of Anxiety and Nervousness in Playing, Singing or Speaking Before an Audience (Oxford: Hall the Publisher Ltd., 1947).
Chothia, Jean, André Antoine (Cambridge: Cambridge University Press, 1991).
Cole, T., Democritus and the Sources of Greek Anthropology (Ann Arbor: Michigan University Press, 1967).
Connor, Steven, Theory and Cultural Value (Oxford: Blackwell, 1992).
Connor, StevenPostmodernist Culture (Oxford: Blackwell, 1997).
Connor, Steven ‘The Shakes: Conditions of Tremor’, www.bbk.ac.uk/eh/eng/skc/shakes
Conrad, Peter, ‘Shakespeare Made Sick’, The Observer, June 6, 1999.
Counsell, Colin, Signs of Performance: An Introduction to Twentieth Century Theatre (London: Routledge, 1996).
Critchley, Simon, Ethics-Politics-Subjectivity: Essays on Derrida, Levinas and Contemporary French Thought (London and New York: Verso, 1999).
Darwin, Charles, The Expression of Emotion in Man and Animals, ed. Paul Ekman (London: HarperCollins, 1998).
Davis, D. Diane, Breaking Up [at] Totality: A Rhetoric of Laughter (Carbondale and Edwardsville: Southern Illinois University Press, 2000).
Deleuze, Gilles, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (London: Athlone, 1986).
Deleuze, GillesCinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (London: Athlone, 1989).
Deleuze, Gilles and Guattari, Félix, Anti-Oedipus: Capitalism and Schizophrenia, trans. Robert Hurley, Mark Seem and Helen R. Lane (London: Athlone, 1984).
Deleuze, Gilles and Guattari, FélixKafka: Toward a Minor Literature, trans. Dana Polan (Minneapolis and London: University of Minnesota Press, 1986).
Deleuze, Gilles and Guattari, FélixA Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (London: Athlone, 1988).
Man, Paul, The Rhetoric of Romanticism (New York: Columbia University Press, 1984).
Man, PaulAesthetic Ideology (Minneapolis and London: University of Minnesota Press, 1996).
Derrida, Jacques, Writing and Difference, trans. Alan Bass (London and Henley: Routledge and Kegan Paul, 1978).
Derrida, JacquesThe Animal That Therefore I Am (More to Follow)’, trans. David Wills, Critical Inquiry 28:2 (2002), 369–418.
Detienne, Marcel and Vernant, Jean-Pierre, eds. The Cuisine of Sacrifice Among the Greeks, trans. Paula Wissing (Chicago and London: University of Chicago Press, 1989).
Diamond, Elin, ed. Performance and Cultural Politics (London and New York: Routledge, 1996).
Diderot, Denis, Selected Writings on Art and Literature, trans. Geofrrey Bremner (Harmondsworth: Penguin Books, 2001).
Eagleton, Terry, Walter Benjamin or Towards a Revolutionary Criticism (London: Verso, 1981).
Eagleton, TerryThe Ideology of the Aesthetic (Oxford: Blackwell, 1990).
Eagleton, TerrySweet Violence: The Idea of the Tragic (Oxford: Blackwell, 2003).
Easterling, P. E., ed. The Cambridge Companion to Greek Tragedy (Cambridge: Cambridge University Press, 1997).
Ekman, Paul, Emotion in the Human Face (Cambridge: Cambridge University Press, 1982).
Escolme, Bridget, Talking to the Audience: Shakespeare, Performance, Self (London and New York: Routledge, 2005).
Etchells, Tim, ‘On the Skids: Some Years of Acting Animals’, Performance Research5:2: On Animals (2000), pp. 55–60.
Farmer, John S. and William Ernest Henley, , Slang and Its Analogues Past and Present, New York: Kraus Reprint Corporation, 1965.
Ferenczi, Sandor, Further Contributions to the Theory and Technique of Psychoanalysis (New York: Basic Books, 1952).
Foley, Helene P., Ritual Irony: poetry and sacrifice in Euripides (Ithaca: Cornell University Press, 1985).
Foreman, Richard, Unbalancing Acts: Foundations for a Theater (New York: Theatre Communications Group, 1992).
Freud, Sigmund, On Metapsychology: The Theory of Psychoanalysis, trans. James Strachey et al., (Harmondsworth: Penguin, 1984).
Freud, SigmundPre-Psycho-Analytic Publications and Unpublished Drafts, trans. James Strachey et al. (London: Vintage, 2001).
Fried, Michael, Art and Objecthood: Essays and Reviews (Chicago and London: University of Chicago Press, 1998).
Gabbard, Glen O., ‘Stage Fright’, International Journal of Psychoanalysis, 60 (1979), 383–392.
Gabbard, Glen O.Further contributions to the understanding of stage fright: Narcissistic issues’, Journal of the American Pyschoanalytic Association, 31 (1983), 423–441.
Garner, Stanton B. Jr, Bodied Spaces: Phenomenology and Performance in Contemporary Drama (Ithaca and London: Cornell Univesity Press, 1994).
Geertz, Clifford, The Interpretation of Culture (New York: Basic Books, 1973).
Geertz, CliffordWorks and Lives: The Anthropologist and Author (Cambridge: Polity Press, 1989).
Goffman, Erving, Interaction Ritual: Essays in Face-to-face Behaviour (London: Allen Lane, 1972).
Goldhill, Simon and Osborne, Robin, eds. Performance Culture and Athenian Democracy (Cambridge: Cambridge University Press, 1999).
Gombrich, E. H., Aby Warburg: an intellectual biography (London: The Warburg Institute, 1970).
Gurr, Andrew, The Shakespearean Stage 1574–1642 (Cambridge: Cambridge University Press, 1992).
Harrison, Charles and Wood, Paul, Art in Theory: An Anthology of Changing Ideas, 1900–1990 (Oxford: Blackwell, 1992).
Harvey, David, The Condition of Postmodernity (Oxford: Blackwell, 1990).
Havas, Kato, Stage Fright: its causes and cures, with special reference to violin playing (London: Bosworth, 1973).
Heathfield, Adrian, ‘Last Laughs’, performance/paper, Queen Mary University of London, February 2003.
Hegel, G. W. F., Introductory Lectures on Aesthetics, trans. Bernard Bosanquet (Harmondsworth: Penguin Books, 1993).
Heidergger, Martin, The Fundamental Concepts of Metaphysics, trans. William McNeill and Nicholas Walker (Bloomington and Indianapolis: Indiana University Press, 1995).
Hodge, Alison, ed. Twentieth Century Actor Training (London and New York: Routledge, 2000).
Hunt, H. Ernest, Nerve Control: The Cure of Nervousness and Stage Fright (London: William Richer and Son Ltd., 1915).
Ibsen, Henrik, Ghosts, trans. Michael Meyer (London: Eyre Methuen, 1973).
Jackson, Shannon, ‘Professing Performance: Disciplinary Genealogies’, TDR 45:1 (2001), 84–95.
James, Henry, The Tragic Muse (New York: Charles Scribner's Sons, 1936).
Jameson, Fredric, The Political Unconcious: Narrative as a Socially Symbolic Act (London: Routledge, 1996).
Jarvis, Simon, Adorno: a critical introduction (Cambridge: Polity Press, 1998).
Joubert, Laurent, Treatise on Laughter, trans. Gregory David de Rocher (Auburn: The University of Alabama Press, 1980).
Kant, Immanuel, Critique of Judgement, trans. Werner S. Pluhar (Indianapolis and Cambridge: Hackett, 1987).
Kaplan, Donald, ‘On Stage Fright’, TDR 14:1 (1969), 60–83.
Nick, Kaye, Postmodernism and Performance (Basingstoke and London: Macmillan, 1994).
Kaye, Nick, ed. Art Into Theatre: Performance Interviews and Documents (Amsterdam: Harwood Academic Publishers, 1996).
Kelly, Veronica and Mücke, Dorothea, eds. Body and Text in the Eighteenth Century (Stanford: Stanford University Press, 1994).
Kershaw, Baz, The Radical in Performance: Between Brecht and Baudrillard (Routledge: London and New York, 1999).
Keyssar, Helene, ‘I Love You. Who Are You? The Strategy of Drama in Recognition Scenes’, PMLA 92 (1977), 297–306.
Kielblock, Adolph, The Stage Fright, or How to Face an Audience (Boston: Press of Geo. H. Ellis, 1891).
Kleist, , , Heinrich, Selected Writings, ed. and trans. David Constantine (London: J. M. Dent, 1997).
Konijn, Elly A., Acting Emotions: Shaping Emotions on Stage (Amsterdam: Amsterdam University Press, 2000).
Krauss, Rosalind, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1986).
Kristeva, Julia, Powers of Horror: An Essay in Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982).
Leacroft, Richard, The Development of the English Playhouse (London and New York: Methuen, 1988).
Levinas, Emmanuel, Totality and Infinity, trans. Alphonso Lingis (Pittsburgh: Duquesne University Press, 1969).
Levinas, EmmanuelDe l'évasion (Paris: Fata Morgana, 1982).
Lynd, Helen Merrell, Shame and the Search for Identity (London: Routledge and Kegan Paul, 1958).
Lyotard, Jean-François, The Inhuman: Reflections on Time, trans. Geoffrey Bennington and Rachel Bowlby (Cambridge: Polity Press, 1991).
Lyotard, Jean-FrançoisLibidinal Economy, trans. Ian Hamilton Grant (London: Athlone, 1993).
Marx, Karl and Engels, Friedrich, The German Ideology (London: Lawrence and Wishart, 1982).
Mauss, Marcel, The Gift: The Form and Reason for Exchange in Archaic Societies, trans. W. D. Halls (London: Routledge, 1990).
McKenzie, Jon, Perform or Else: From Discipline to Performance (London and New York: Routledge, 2001).
Menon, V. K. Krishna, A Theory of Laughter with special relation to Comedy and Tragedy (London: George Allen and Unwin Ltd., 1931).
Morreal, John, ed. The Philosophy of Laughter and Humor (Albany: State University of New York Press, 1987).
Mullin, Donald C., The Development of the Playhouse (Berkeley and Los Angeles: University of California Press, 1970).
Murray, Timothy, ed. Mimesis, Masochism and Mime: The Politics of Theatricality in Contemporary French Thought (Ann Arbor: University of Michigan Press, 1997).
Nietzsche, Friedrich, The Birth of Tragedy from the Spirit of Music, trans. Francis Golffing (Garden City: Doubleday, 1956).
Partridge, Eric, A Dictionary of Slang and Unconventional English, ed. Paul Beale (London and New York: Routledge, 1994).
Pearson, Keith Ansell, Germinal Life: the difference and repetition of Deleuze (London: Routledge, 1999).
Peterson, Michael, ‘Stubborn as a Mule: Non-Human Performers and the Limits of Semiotics’, unpublished paper given at the American Society for Theatre Research Annual Conference, CUNY Graduate Center, New York, November 2000.
Penzel, Frederick, Stage Lighting Before Electricity (Middleton, CT: Wesleyan University Press, 1978).
Phelan, Peggy, Unmarked: the politics of performance (London and New York: Routledge 1993).
Phelan, Peggy and Lane, Jill, The Ends of Performance (New York and London: New York University Press, 1998).
Plato, , Protagoras, trans. C. C. W. Taylor (Oxford: Oxford University Press, 1981).
Plato, The Republic, trans. Desmond Lee (Harmondsworth: Penguin Books, 1987).
Pontbriand, Chantal, ‘The eye finds no fixed point on which to rest …’, trans. C. R. Parsons, Modern Drama 25:1 (1982), 154–162.
Preziosi, Donald, ed. The Art of Art History: a critical anthology (Oxford: Oxford University Press, 1998).
Proust, Marcel, Remembrance of Things Past, Volume I, trans. C. K. Scott Moncrieff and Terence Kilmartin (Harmondsworth: Penguin Books, 1983).
Puchner, Martin, Stage Fright: Modernism, Antitheatricality and Drama (Baltimore: Johns Hopkins University Press, 2002).
Read, Alan, The Theatre and Everyday Life: An Ethics of Performance (London and New York: Routledge, 1993).
Read, Alan ‘Prodigious Performance: Infants, Animals and Other Anomalies’, Inaugural Lecture, Roehampton, University of Surrey, 2002.
Rees, Terence, Theatre Lighting in the Age of Gas (London: The Society for Theatre Research, 1978).
Ricks, Christopher, Keats and Embarrassment (Oxford: Clarendon Press, 1974).
Ritchie, W., Nervousness and Stage Fright: A Never-failing Remedy (45, Radnor Drive, Liscard, Cheshire: W. Ritchie 1915).
Ridout, Nicholas, ‘Who Does Cathy Naden Think She Is?’, unpublished paper given at the American Society for Theatre Research Annual Conference, CUNY Graduate Center, New York, November 2000.
Roach, Joseph, The Player's Passion: Studies in the Science of Acting (Ann Arbor: University of Michigan Press, 1993).
Sartre, Jean-Paul, Being and Nothingness: An Essay of Phenomenological Ontology, trans. Hazel E. Barnes (London: Routledge, 1989).
Sayre, Henry, The Object of Performance: The American Avant-Garde since 1970 (Chicago: Chicago University Press, 1989).
Schechner, Richard, Performance Theory (New York and London: Routledge, 1988).
Schechner, RichardPerformance Studies (New York and London: Routledge, 2002).
Schechner, Richard and Appel, Willa, eds. By Means of Performance: intercultural studies of theatre and ritual (Cambridge: Cambridge University Press, 1990).
Schivelbusch, Wolfgang, Disenchanted Night: The Industrialisation of Light in the Nineteenth Century (Berkeley and Los Angeles: University of California Press, 1995).
Schneider, Rebecca, The Explicit Body in Performance (London and New York: Routledge, 1997).
Sennett, Richard, The Fall of Public Man (New York and London: W. W. Norton, 1992).
Sennett, RichardFlesh and Stone: The Body and the City in Western Civilization (Harmondsworth: Penguin Books, 2002).
Shakespeare, William, The Complete Works (New York: Viking, 1977).
Simpson, J. A. and Weiner, E. S. C., eds. Oxford English Dictionary, Second Edition (Oxford: Clarendon Press, 1989).
Smith, Anne-Marie, Julia Kristeva: Speaking the Unspeakable (London: Pluto, 1998).
Sontag, Susan, Against Interpretation (London: Vintage, 1994).
Stanislavski, Constantin, An Actor Prepares, trans. Elizabeth Reynolds Hapgood (London: Methuen, 1988).
States, Bert O., ‘Phenomenology of the Curtain Call’, Hudson Review 34 (1981), 371–380.
States, Bert O.The Dog on Stage: Theatre as Phenomenon’, New Literary History, XIV (1983) 373–388.
States, Bert O.Great Reckonings in Little Rooms: The Phenomenology of Theater (Berkeley and Los Angeles: University of California Press, 1985).
Tomkins, Silvan, Affect, Imagery, Consciousness, Volume 2, The Negative Affects (New York: Springer, 1963).
Turner, Victor, From Ritual to Theatre: The Human Seriousness of Play (New York: Performing Asts Journal Press, 1982).
Turner, VictorThe Anthropology of Performance (New York: PAJ Publications, 1986).
Vernant, Jean-Pierre and Vidal-Nacquet, Pierre, Myth and Tragedy in Ancient Greece, trans. Janet Lloyd (New York: Zone Books, 1990).
Walkerdine, Valerie, Daddy's Girl: Young Girls and Popular Culture (Cambridge, MA: Harvard University Press, 1997).
Wentworth, Marold and Flexner, Stuart Berg, eds. A Dictionary of American Slang, Second Supplemented Edition (New York: Thomas Y Crowell, 1975).
Williams, David, ‘The Right Horse, the Animal Eye – Bartabas and Théâtre Zingaro’, Performance Research 5:2 On Animals (2000), 29–40.
Worthen, W. B., Shakespeare and the Authority of Performance (Cambridge: Cambridge University Press, 1997).
Wurmser, Léon, The Masks of Shame (Northvale, NJ: James Aronson Inc., 1994).
Zarrilli, Phillip B., ed. Acting (Re)Considered: Theories and Practices (London and New York: Routledge, 1995).

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed