2007. The Royal Ballet: 75 Years. London: Faber and Faber.
Austin, Richard. 1980. Lynn Seymour: An Authorised Biography. London: Angus and Robertson.
Babb, Lawrence. 1943. “Sorrow and Love on the Elizabethan Stage.” The Shakespeare Association Bulletin
18 (3): 137–42.
Barnes, Clive. 1965a. “New ‘Romeo’ Wins London Ovation: Fonteyn and Nureyev a Hit in Royal Ballet Offering,” New York Times, 10 Feb: 48.
Barnes, Clive. 1965b. “‘Romeo and Juliet’ a Royal Ballet Hit,” New York Times, May 2: 28.
Barnes, Clive. 1966. “The Screen: Wherefore Art Thou Choreography?: Three Theaters Show ‘Romeo and Juliet’ Busy Cameras Upstage Fonteyn and Nureyev Fonteyn and Nureyev,” New York Times, 06 Oct.: 52.
Barnes, Clive. 1967. “Ballet: MacMillan's ‘Romeo and Juliet’: Fonteyn and Nureyev in Title Roles Royal Troupe Offers Rich Production.” New York Times. 20 May: 38.
Baudelaire, Charles. 2008. . The Flowers of Evil. Edited by McGowan, James N.. New York: Oxford.
Brown, Carolyn E.
1996. “Juliet's Taming of Romeo.” Studies in English Literature, 1500–1900 Tudor and Stuart Drama
36 (2): 333–55.
Craig, Hugh. 2012. “Authorship.” In Oxford Handbook of Shakespeare, edited by Kinney, Arthur, 15–30. Oxford: Oxford Press.
Crickmay, Anthony. 1980. Lynn Seymour: A Photographic Study. London: Studio Vista.
Daneman, Meredith. 2004. Margot Fonteyn: A Life. New York: Viking Press.
Dauenhauer, Bernard. 1980. Silence: The Phenomenon and its Ontological Significance. Bloomington: Indiana University Press.
de Grazia, Margreta. 1991. Shakespeare Verbatim. Oxford: Clarendon Press.
Ninette, De Valois. 1977. Step by Step: The Formation of an Establishment. London: W. H. Allen.
Edmondson, Paul, and Wells, Stanley. 2011. “The Limitations of the First Folio.” In Shakespeare Without Boundaries: Essays in Honor of Dieter Mehl, edited by Mehl, Dieter and Jansohn, Christa, 23–34. Lanham, MD: Rowman and Littlefield.
Erne, Lukas. 2007. The First Quarto of Romeo and Juliet. Cambridge: Cambridge University Press.
Felciano, Rita. 1998. “
Romeo and Juliet
.” In The International Encyclopedia of Dance
, edited by Cohen, Selma Jeanne and Dance Perspectives Foundation. Oxford: Oxford University Press.
Goldin-Meadow, Susan. 2005. Hearing Gesture: How Our Hands Help Us Think. Cambridge: Harvard Press.
Gurr, Andrew. 1992. The Shakespearean Stage, 1574–1642. Cambridge: Cambridge University Press.
Hughes, Allen. 1965. “‘Juliet’ Repeated by Royal Ballet: MacMillan Work Emerges as Series of Contrasts.” New York Times, April 23: 26.
Ioppolo, Grace. 1991. Revising Shakespeare. Cambridge: Harvard Press.
Irace, Kathleen O.
1994. Reforming the “Bad” Quartos: Performance and Provenance of Six Shakespearean First Editions. Newark, DE: University of Delaware Press.
Jowett, John. 2007. Shakespeare and Text. New York: Oxford University Press.
Kahn, Coppélia. 1983. “Coming of Age in Verona.” In The Woman's Part: Feminist Criticism of Shakespeare, edited by Swift Lenz, Carolyn Ruth, Greene, Gayle, and Neely, Carol Thomas, 171–93. Urbana: Illinois University Press.
Lavrovsky, Leonid.  2008. Romeo and Juliet. Bolshoi Ballet. West Long Branch, NY: Kultur Video.
MacMillan, Kenneth. 1964. Romeo and Juliet “Balcony Duet,” Premier. Produced by Till, Eric. Canadian Broadcasting Corporation Television.
MacMillan, Kenneth.  1999. Romeo and Juliet. Directed by Czinner, Paul. Margot Fonteyn and Rudolf Nureyev (dancers). West Long Branch, NY: Kultur Video.
MacMillan, Kenneth.  2003. Romeo and Juliet. Ferri, Alessandra and Corella, Angel (dancers). West Long Branch, NY: Kultur Video.
MacMillan, Kenneth.  2005. Romeo and Juliet. Ferri, Alessandra and Eagling, Wayne (dancers). West Long Branch, NY: Kultur Video.
Maguire, Laurie E.
1996. Shakespearean Suspect Texts: The ‘bad’ Quartos and their Contexts. Cambridge: Cambridge University Press.
Marcus, Leah. 1992. “The Shakespearean Editor as Shrew-Tamer.” English Literary Renaissance
McCulloch, Lynsey. 2013. “‘Here's that shall make you dance’: Movement and Meaning in Bern Ballett's Julia und Romeo
.” In Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance, edited by Brown, Sarah, Lublin, Robert, and McCulloch, Lynsey, 255–68. Basingstoke: Palgrave Macmillan.
Mitchell, W. T. J.
2002. “Showing Seeing: A Critique of Visual Culture.” In The Visual Culture Reader, edited by Mirzoeff, Nicholas, 86–101. New York: Routledge.
Newman, Barbara, ed. 1982. Striking a Balance. London: Elm Tree Books.
Orgel, Stephen. 2002. The Authentic Shakespeare and Other Problems of the Early Modern Stage. New York: Routledge.
Ovid. 1979. Ovid: The Art of Love, and Other Poems. Translated by Mozley, J. H.. Cambridge: Harvard University Press.
Parry, Jann. 2009. Different Drummer: The Life of Kenneth MacMillan. London: Faber and Faber.
Paskevska, Anna. 2005. Ballet Beyond Tradition. New York: Routledge.
Porter, Andrew. 1965a. “Romeo and Juliet,” Financial Times, 11 Feb.: 22.
Porter, Andrew. 1965b. “Romeo and Juliet,” Financial Times, 19 Feb.: 28.
Seymour, Lynn. 1984. Lynn: The Autobiography of Lynn Seymour. London: Granada Press, 1984.
Seymour, Lynn. 2002. “R&J Balcony Masterclass,” in Revealing MacMillan [Symposium]. With dancers Galeazzi, Mara and Watson, Edward and notator, Benesh with Hollander., Jacquie
London: Royal Academy of Dance. 12–13 October.
Shakespeare, William. 2000. Romeo and Juliet. Edited by Holland, Peter. New York: Penguin Books.
Shaw, Brandon. 2015. “Phantom Limbs and the Weight of Grief in Sasha Waltz's noBody
,” Theatre Journal
67 (1): 21–42.
Siddons, Henry.  1975. Illustrations of Gesture and Action. In Eyewitnesses of Shakespeare: First Hand Accounts of Performances, 1509–1890, edited by Salgado, Gamini. New York: Barnes and Noble.
Solway, Diane. 1998. Nureyev: His Life. William Morrow.
Smith, Emma. 2015.The Making of Shakespeare's First Folio. Chicago: University of Chicago.
Stallybrass, Peter, and Chartier, Roger. 2007. “Reading and Authorship: The Circulation of Shakespeare, 1590–1619.” In A Concise Companion to Shakespeare and the Text, edited by Murphy, Andrew. 35–56. Blackwell: Oxford.
Sulcas, Roslyn. 1995. “Kinetic Isometries: William Forsythe on His ‘Continuous Rethinking of the Ways in which. Movement Can Be Engendered and Composed.’” Dance International (summer): 4–9.
Thomson, Ann. 2012. “Quarto and Folio.” In The Oxford Handbook of Shakespeare, edited by Kinney, Arthur, 71–84. New York: Oxford University Press.
Volynsky, Akim.  2008. Ballet's Magic Kingdom Selected Writings on Dance in Russia, 1911–1925. Translated by Rabinowitz., Stanley J.
New Haven: Yale University Press.
Warburton, Edward C.
2011. “Of Meanings and Movements: Re-Languaging Embodiment in Dance Phenomenology and Cognition.” Dance Research Journal
43 (2): 65–83.
Watts, Victoria. 2013.”Archives of Embodiment: Visual Culture and the Practice of Score Reading.” In Dance on Its Own Terms: Histories and Methodologies, edited by Bales, Melanie and Eliot, Karen, 363–88. Oxford: Oxford University Press.
Watts, Victoria. 2010. “Dancing the Score: Dance Notation and Différence.” Dance Research
28 (1): 7–18.
West, Anthony James. 2007. “The Life of the First Folio in the Seventeenth and Eighteenth Centuries.” In A Concise Companion to Shakespeare and the Text, edited by Murphy, Andrew, 71–90. Blackwell: Oxford.