Skip to main content Accessibility help
×
  • Cited by 7
Publisher:
Cambridge University Press
Online publication date:
October 2014
Print publication year:
2014
Online ISBN:
9781139939607

Book description

As a serious drama set in an ordinary middle-class home, Ibsen's A Doll's House established a new politics of the interior that was to have a lasting impact upon twentieth-century drama. In this innovative study, Nicholas Grene traces the changing forms of the home on the stage through nine of the greatest of modern plays and playwrights. From Chekhov's The Cherry Orchard through to Williams' A Streetcar Named Desire, domestic spaces and personal crises have been employed to express wider social conditions and themes of class, gender and family. In the later twentieth century and beyond, the most radically experimental dramatists created their own challenging theatrical interiors, including Beckett in Endgame, Pinter in The Homecoming and Parks in Topdog/Underdog. Grene analyses the full significance of these versions of domestic spaces to offer fresh insights into the portrayal of the naturalistic environment in modern drama.

Awards

Shortlisted for the 2014 Society for Theatre Research Theatre Book Prize

Reviews

'Suggestive and insightful.'

Source: Irish Times

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

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.
×

Contents

Bibliography

Adorno, Theodor W., ‘Trying to Understand Endgame’, trans. Michael T. Jones, http://people.missouristate.edu/WilliamBurling/612%20Drama/Adorno%20Endgame.pdf.
Alexander, Doris, Eugene O’Neill’s Last Plays (Athens: University of Georgia Press, 2005).
Allen, David, Performing Chekhov (London: Routledge, 2000).
Allt, Peter, and Russell K. Alspach (eds.), The Variorum Edition of the Poems of W.B. Yeats (New York: Macmillan, 1966).
Angel-Perez, Élisabeth, ‘Newton/notneW: comédie et chaomédie dans Arcadia de Tom Stoppard’, Modern Drama, 61.3 (2011), 326–39.
Ashwell, Lena, Myself a Player (London: Michael Joseph, 1936).
Atkinson, Brooks, ‘Theatre: Tragic Journey’, New York Times, 9 November 1956.
Bak, John S., ‘Criticism on A Streetcar Named Desire: A Bibliographic Survey 1947–2003’, Cercles: Revue Interdisciplinaire du Monde Anglophone, 10 (2004), 3–32, www.cercles.com/n10/bak.pdf.
Barber, John, ‘Beckett at His Best in “Endgame” Revived’, Daily Telegraph, 7 May 1976.
Beckett, Samuel, Complete Dramatic Works (London: Faber, 1986).
Beckett, Samuel, Eleutheria (Paris: Éditions de Minuit, 1995).
Beckett, Samuel, Eleutheria, trans. Barbara Wright (London: Faber, 1996).
Beckett, Samuel, Fin de partie (Paris: Editions de Minuit, 1957).
Beckett on Film, Tyrone Productions, DVD set, 2005.
Benedetti, Jean (ed. and trans.), The Moscow Art Theatre Letters (London: Methuen Drama, 1991).
Benjamin, Walter, Selected Writings, vol. 3: 1935–1938, ed. Howard Eiland and Michael W. Jennings, trans. Edmund Jephcott, Howard Eiland et al. (Cambridge, MA: Belknap Press of Harvard University Press, 2002).
Bentley, Eric (ed.), The Theory of the Modern Stage (Harmondsworth: Penguin, 1968).
Bergman, Ingmar, A Project for the Theatre, ed. Frederick J. Marker and Lise-Lone Marker (New York: Frederick Ungar, 1983).
Bigsby, C.W.E., A Critical Introduction to Twentieth-Century American Drama, II (Cambridge: Cambridge University Press, 1984).
Billington, Michael, ‘Endgame’, Guardian, 7 May 1976.
Billington, Michael, The Life and Work of Harold Pinter (London: Faber, 1996).
Billington, Michael, State of the Nation (London: Faber, 2007).
Blades, Larry, ‘The Returning Vet’s Experience in A Streetcar Named Desire: Stanley as a Decommissioned Warrior Under Stress’, The Tennessee Williams Annual Review, 10 (2009), www.tennesseewilliamsstudies.org/journal/work.php?ID=89.
Bloom, Harold (ed.), Harold Pinter (New York: Chelsea House, 1987).
Bloom, Harold, Tennessee Williams’s A Streetcar Named Desire (New York: Bloom’s Literary Criticism, 2009).
Brantley, Ben, ‘Brothers in a Game Where the Hand Is Faster Than the Eye’, New York Times, 27 July 2001.
Brantley, Ben, ‘Not to Worry, Mr Lincoln, It’s Just a Con Trick’, New York Times, 8 April 2002.
Breuer, Lee, ‘Looking for a Miracle: Reflecting on Ibsen’s A Doll’s House’, Mabou Mines DollHouse, DVD, 2008.
Brustein, Robert, ‘A Homeboy Godot’, New Republic, 13 May 2002.
Brustein, Robert, The Theatre of Revolt (London: Methuen, 1965).
Bryden, Mary (ed.), Beckett and Music (Oxford: Clarendon Press, 1998).
Bryson, Bill, At Home: A Short History of Private Life (London: Doubleday, 2010).
Chaudhuri, Una, Staging Place (Ann Arbor: University of Michigan Press, 1997).
Chaudhuri, Una, ‘Topdog/Underdog’, Theatre Journal, 54.2 (2002), 289–92.
Cheever, John, The Journals (London: Vintage, 2010 [1991]).
Chekhov, Anton, Plays, trans. Michael Frayn (London: Methuen, 1988).
Chekhov, Anton, Vishnevii Sad, ed. Donald R. Hitchcock (London: Bristol Classical Press, 1992).
Chothia, Jean, Forging a Language (Cambridge: Cambridge University Press, 1979).
Churchill, Caryl, Love and Information (London: Nick Hern Books, 2012).
Clum, John M., Acting Gay: Male Homosexuality in Modern Drama (New York: Columbia University Press, 1992).
Cole, Susan Letzler, Playwrights in Rehearsal (New York: Routledge, 2001).
Cole, Toby, and Helen Krich Chinoy (eds.), Directors on Directing (London: Peter Owen and Vision Press, 1964).
Connor, Steven, ‘“On such and such a day … in such a world”: Beckett’s Radical Finitude’, Samuel Beckett Today/Aujourd’hui: Borderless Beckett/Beckett sans frontières, 19 (2008), 35–50.
Conolly, L.W., The Shaw Festival: The First Fifty Years (Don Mills, ON: Oxford University Press, 2011).
Delaney, Paul (ed.), Tom Stoppard in Conversation (Ann Arbor: University of Michigan Press, 1994).
Delaney, Shelagh, A Taste of Honey (London: Methuen, 1982 [1959]).
Dent, Alan (ed.), Bernard Shaw and Mrs Patrick Campbell: Their Correspondence (London: Victor Gollancz, 1952).
Diderot, Denis, Writings on the Theatre, ed. F.C. Green (Cambridge: Cambridge University Press, 1936).
Dugdale, John (comp.), File on Shepard (London: Methuen Drama, 1989).
Durbach, Errol, A Doll’s House: Ibsen’s Myth of Transformation (Boston: Twayne, 1991).
Egan, Michael (ed.), Henrik Ibsen: The Critical Heritage (London: Routledge, 1972).
Esslin, Martin, Pinter the Playwright (London: Methuen, 1982).
Esslin, Martin, The Theatre of the Absurd, rev. edn. (Harmondsworth: Penguin, 1968).
Feingold, Michael, ‘Shorter Darker Day’, Village Voice, 13 May 1986.
Ferguson, Robert, Henrik Ibsen (London: Richard Cohen, 1996).
Fleming, John, Tom Stoppard’s Arcadia (London: Continuum, 2008).
Floyd, Virginia, Eugene O’Neill at Work (New York: Frederick Ungar, 1981).
Floyd, Virginia (ed.), Eugene O’Neill: A World View (New York: Frederick Ungar, 1979).
Freedman, Ariela, ‘Zeppelin Fictions and the British Home Front’, Journal of Modern Literature, 27.3 (2004), 47–63.
Furie, Artemis, ‘Topdog/Underdog’, Show Business, 12 April 2002.
Gardner, Brian (ed.), Up the Line to Death: The War Poets 1914–1918, rev. edn. (London: Methuen, 1976).
Gardner, Lynn, ‘Mabou Mines DollHouse’, Guardian, 27 August 2007.
Geis, Deborah R., Suzan-Lori Parks (Ann Arbor: University of Michigan Press, 2008).
Gelb, Arthur, and Barbara Gelb, O’Neill (New York: Harper Row, 1987 [1962]).
Gibbs, A.M., Bernard Shaw: A Life (Gainesville: University Press of Florida, 2005).
Gibbs, Wolcott, ‘The Theatre’, The New Yorker, 24 November 1956.
Gill, Brendan, ‘Unhappy Tyrones’, The New Yorker, 12 May 1986.
Glaspell, Susan, The Complete Plays, ed. Linda Ben-Zvi and J. Ellen Gainor(Jefferson, NC: McFarland, 2010).
Gleick, James, Chaos: Making a New Science (London: Heinemann, 1988).
Goldman, William, The Season: A Candid Look at Broadway (New York: Limelight Editions, 1984 [1969]).
Gontarski, S.E., The Intent of Undoing in Samuel Beckett’s Dramatic Texts (Bloomington: Indiana University Press, 1985).
Gontarski, S.E. (ed.), The Theatrical Notebooks of Samuel Beckett, I: Endgame (London: Faber, 1992).
Goodman, Randolph, Drama on Stage (New York: Holt, Rinehart and Winston, 1961).
Gottlieb, Vera, and Paul Allain (eds.), The Cambridge Companion to Chekhov (Cambridge: Cambridge University Press, 2000).
Grene, Nicholas, Bernard Shaw: A Critical View (Basingstoke: Macmillan, 1984).
Grene, Nicholas, ‘The Hibernicisation of En Attendant Godot’, Etudes irlandaises, 33.2 (2008), 135–44.
Grene, Nicholas, The Politics of Irish Drama (Cambridge: Cambridge University Press, 1999).
Gussow, Mel, Conversations with Stoppard (London: Nick Hern, 1995).
Harmon, Maurice (ed.), No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge, MA: Harvard University Press, 2000).
Haugen, Einar, Ibsen’s Drama: Author to Audience (Minneapolis: University of Minnesota Press, 1979).
Hayman, Ronald, Tennessee Williams: Everyone Else Is an Audience (New Haven, CT: Yale University Press, 1993).
Hews, Henry, ‘Probing Pinter’s Play’, Saturday Review, 8 April 1967.
Hingley, Ronald (ed. and trans.), The Oxford Chekhov, 9 vols. (London: Oxford University Press, 1964–75).
Hobson, Harold, ‘Pinter Minus the Moral’, Sunday Times, 6 June 1965.
Holroyd, Michael, Bernard Shaw, 5 vols. (London: Chatto and Windus, 1988–92).
Hooper, Michael S.D., Sexual Politics in the Work of Tennessee Williams (Cambridge: Cambridge University Press, 2012).
Hope-Wallace, Philip, ‘The Homecoming at the Aldwych Theatre’, Guardian, 4 June 1965.
Hornby, Richard, Patterns in Ibsen’s Middle Plays (Lewisburg: Bucknell University Press, 1981).
Hughes, Elinor, ‘Long Day’s Journey into Night’, Boston Herald, 16 October 1956.
Hunter, Jim, Tom Stoppard (London: Faber, 2000).
Hyde, Mary (ed.), Bernard Shaw & Alfred Douglas: A Correspondence (London: John Murray, 1982).
Ibsen, Henrik, A Doll’s House, adapted by Simon Stephens (London: Bloomsbury Methuen Drama, 2012).
Jiji, Vera M., ‘Pinter’s Four Dimensional House: The Homecoming’, Modern Drama (1974), 17.4, 433–42.
Johns, Ian, ‘Topdog/Underdog’, The Times, 13 August 2003.
Kalb, Jonathan, Beckett in Performance (Cambridge: Cambridge University Press, 1989).
Kalb, Jonathan, ‘Nora the Killer Doll’, New York Times, 7 November 2004.
Kazan, Elia, A Life (London: André Deutsch, 1988).
Kennedy, Dennis (ed.), Oxford Encyclopedia of Theatre and Performance, 2 vols. (Oxford: Oxford University Press, 2003).
Kerr, Walter, ‘The Theater: Pinter’s “Homecoming”’, New York Times, 6 January 1967.
Kingston, Jeremy, Punch, 16 June 1965.
Kolin, Philip C., Williams: A Streetcar Named Desire (Cambridge: Cambridge University Press, 2000).
Kolin, Philip C. (ed.), Confronting Tennessee Williams’s A Streetcar Named Desire (Westport, CT: Greenwood Press, 1993).
Kolin, Philip C., and Harvey Young (eds.), Suzan-Lori Parks in Person (New York: Routledge, 2014).
Kramer, Mimi, ‘The New Sardoodledom’, New York Press, 1–7 August 2001.
Lahr, John, and Anthea Lahr (eds.), A Casebook on Harold Pinter’s The Homecoming (London: Davis-Poynter, 1973).
Laurence, Dan H., and Nicholas Grene (eds.), Shaw, Lady Gregory and the Abbey: A Correspondence and a Record (Gerrards Cross: Colin Smythe, 1993).
Lefèbvre, Henri, The Production of Space, trans. Donald Nicholson-Smith (Oxford: Blackwell, 1991).
Letts, Tracy, August: Osage County (London: Nick Hern Books, 2008).
Lewis, Peter, ‘Play It Again Sam’, Daily Mail, 7 May 1976.
Liu, Haiping, and Lowell Swortzell (eds.), Eugene O’Neill in China (New York: Greenwood Press, 1992).
Loehlin, James N., Chekhov: The Cherry Orchard (Cambridge: Cambridge University Press, 2006).
Londré, Felicia Hardison, ‘Poetry in the Plumbing: Stylistic Clash and Reconciliation in Recent American Stagings of A Streetcar Named Desire’, Cercles: Revue Interdisciplinaire du Monde Anglophone, 10 (2004), 124–35, www.cercles.com/n10/londre.pdf.
Majors, Richard, and Janet Mancini Bilson, Cool Pose: The Dilemma of Black Manhood in America (New York: Lexington Books, 1992).
Maley, Patrick, ‘What Is and What Aint: Topdog/Underdog and the American Hustle’, Modern Drama, 56.2 (2013), 186–205.
Manheim, Michael, Eugene O’Neill’s New Language of Kinship (Syracuse: Syracuse University Press, 1982).
Manheim, Michael (ed.), The Cambridge Companion to Eugene O’Neill (Cambridge: Cambridge University Press, 1998).
Marker, Frederick J., and Lise-Lone Marker, Ibsen’s Lively Art: A Performance Study of the Major Plays (Cambridge: Cambridge University Press, 1989).
Maurin, Frédéric, ‘“Oh! You do have a bathroom! First door to the right at the top of the stairs?”: la salle de bains dans la mise en scène d’Un tramway nommé désir’, Études Anglaises, 6.1 (2011), 86–100.
McAuley, Gay, Space in Performance (Ann Arbor: University of Michigan Press, 1999).
McFarlane, James Walter (ed.), The Oxford Ibsen, 8 vols. (London: Oxford University Press, 1960–77).
McMillan, Dougald, and Martha Fehsenfeld, Beckett in the Theatre (London: John Calder; New York: Riverrun Press, 1988).
McVay, Gordon (ed. and trans.), Chekhov: A Life in Letters (London: Folio Society, 1994).
Meisel, Martin, ‘The Last Waltz: Tom Stoppard’s Poetics of Science’, The Wordsworth Circle, 38.1/2 (2007), 13–20.
Meisel, Martin, Shaw and the Nineteenth-Century Theater (Princeton: Princeton University Press, 1963).
Meisel, Martin, ‘Shaw, Stoppard, and “Audible Intelligibility”’, SHAW: The Annual of Bernard Shaw Studies, 27 (2007), 42–58.
Mercier, Vivian, Beckett/Beckett (New York: Oxford University Press, 1977).
Meyer, Michael, Ibsen (Stroud: Sutton Publishing, 2004).
Mielzener, Jo, Designing for the Theatre (New York: Bramhall House, 1965).
Miller, Arthur, Collected Plays (London: Cresset, 1958).
Moi, Toril, Henrik Ibsen and the Birth of Modernism (Oxford: Oxford University Press, 2006).
Morgan, Margery, The Shavian Playground (London: Methuen, 1972).
Murphy, Brenda, O’Neill: Long Day’s Journey into Night (Cambridge: Cambridge University Press, 2001).
Murphy, Brenda, Tennessee Williams and Elia Kazan (Cambridge: Cambridge University Press, 1992).
Murphy, Tom, Plays: Two (London: Methuen Drama, 1993).
Murphy, Tom, The Cherry Orchard (London: Methuen Drama, 2004).
Nadel, Ira, Double Act: A Life of Tom Stoppard (London: Methuen, 2004).
Nolte, Hans-Heinrich, ‘Female Entrepreneurs in Nineteenth-Century Russia, Business History, 52.4 (2010), 678–79.
Norris, Margot, Suspicious Readings of Joyce’s Dubliners (Philadelphia: University of Pennsylvania Press, 2003).
Northam, John, Ibsen’s Dramatic Method (London: Faber, 1953).
O’Casey, Sean, Seven Plays (Basingstoke: Macmillan, 1985).
Oddey, Allison, and Christine White (eds.), The Potentials of Spaces (Bristol: Intellect, 2006).
O’Neill, Eugene, Complete Plays, 3 vols. (New York: Library of America, 1988).
O’Neill, Eugene, ‘Strindberg and Our Theatre’, Provincetown Playbill 1 (1923–24), www.imagi-nation.com/moonstruck/clsc34w1.html.
O’Toole, Fintan, The Politics of Magic (Dublin: Raven Arts, 1987).
Panovsky, Erwin, Meaning in the Visual Arts (Harmondsworth: Penguin, 1993 [1955]).
Parks, Suzan-Lori, The America Play and Other Works (New York: Theatre Communications Group, 1995).
Parks, Suzan-Lori, Topdog Underdog (New York: Theatre Communications Group, 2002).
Perrot, Michelle (ed.), A History of Private Life, 4: From the Fires of the Revolution to the Great War, trans. Arthur Goldhammer (Cambridge MA: Belknap Press, Harvard University Press, 1990).
Pinget, Robert, La manivelle/The Old Tune (Paris: Editions de Minuit, 1960).
Pinter, Harold, ‘Art, Truth & Politics’, PMLA, 121.3 (2006), 811–18.
Pinter, Harold, ‘Early Draft, The Homecoming: Amended Version’, Pinter Review, 1995–96, 200–7.
Pinter, Harold, ‘Early Typed Draft, The Homecoming’, Pinter Review, 1995–96, 16–27.
Pinter, Harold, ‘First Draft, The Homecoming’, Pinter Review, 1997–98, 1–30.
Pinter, Harold, The Homecoming, dir. Peter Hall, American Film Theatre, 1973.
Pinter, Harold, Plays, 4 vols. (London: Faber, 1991–93).
Pitcher, Harvey, The Chekhov Play (London: Chatto and Windus, 1973).
Porter, Laurin, ‘“Why do I feel so lonely?” Literary Allusions and Gendered Space in Long Day’s Journey into Night’, Eugene O’Neill Review, 30 (2008), 37–47.
Postlewait, Thomas, ‘Spatial Order and Meaning in the Theatre: The Case of Tennessee Williams’, Assaph: Studies in the Theatre, 10 (1994), 45–73.
Pountney, Rosemary, Theatre of Shadows: Samuel Beckett’s Drama 1956–76 (Gerrards Cross: Colin Smythe; Totowa, NJ: Barnes and Noble, 1988).
Prentice, Penelope, The Pinter Ethic (New York: Garland, 2000).
Puchner, Martin, ‘Toying with Ibsen’, www.hotreview.org/articles/toyingwithibsen.htm.
Quigley, Austin, The Modern Stage and Other Worlds (New York: Methuen, 1985).
Raby, David, Cambridge Companion to Harold Pinter (Cambridge: Cambridge University Press, 2001).
Raleigh, John Henry, ‘O’Neill’s Long Day’s Journey into Night and New England Irish-Catholicism’, Partisan Review, 26.4 (1959), 573–92.
Rayfield, Donald, Anton Chekhov: A Life (London: HarperCollins, 1997).
Rebellato, Dan, 1956 and All That: The Making of Modern British Theatre (London: Routledge, 1999).
Rice, Charles, The Emergence of the Interior (London: Routledge, 2007).
Rich, Frank, ‘The Stars Align for “Long Day’s Journey”’, New York Times, 15 June 1988.
Rich, Frank, ‘Stoppard’s Real Thing in London’, New York Times, 23 June 1983.
Robinson, Marc, The American Play 1787–2000 (New Haven, CT: Yale University Press, 2009).
Robinson, Marc (ed.), The Theater of Maria Irene Fornes (Baltimore: Johns Hopkins University Press, 1999).
Rustin, Susanna, ‘Why A Doll’s House by Henrik Ibsen Is More Relevant Than Ever’, The Guardian, 10 August 2013.
Rybczynski, Wytold. Home: A Short History of an Idea (London: Heinemann, 1988).
Sakellaridou, Elizabeth, Pinter’s Female Portraits (Basingstoke: Macmillan, 1988).
Sartre, Jean-Paul, In Camera and Other Plays, trans. Kitty Black and Stuart Gilbert (Harmondsworth: Penguin, 1982).
Scolnicov, Hanna, ‘”Before” and “After” in Stoppard’sArcadia, Modern Drama, 47.3 (2004), 480–94.
Senelick, Laurence, The Chekhov Theatre (Cambridge: Cambridge University Press, 1997).
Shakespeare, William, The Complete Works, ed. Stanley Wells and Gary Taylor (Oxford: Clarendon Press, 1988).
Shaughnessy, Edward L., Down the Nights and Down the Days: Eugene O’Neill’s Catholic Sensibility (Notre Dame: University of Notre Dame Press, 1996).
Shaw, Bernard, Arms and the Man: A Facsimile of the Holograph Manuscript, int. Norma Jenckes (New York: Garland, 1981).
Shaw, Bernard, Collected Letters, 4 vols., ed. Dan H. Laurence (London: Max Reinhardt, 1965–88).
Shaw, Bernard, Complete Plays with Their Prefaces, 7 vols. (London: Max Reinhardt, the Bodley Head, 1970–74).
Shaw, Bernard, The Diaries 1885–1897, 2 vols., ed. Stanley Weintraub (University Park: Pennsylvania State University Press, 1986).
Shaw, Bernard, Heartbreak House: A Facsimile of the Revised Typescript, int. Stanley Weintraub and Anne Wright (New York: Garland, 1981).
Sheaffer, Louis, O’Neill: Son and Artist (London: Paul Elek, 1973).
Sheaffer, Louis, O’Neill: Son and Playwright (London: Dent, 1968).
Shepherd-Barr, Kirsten, Ibsen and Early Modernist Theatre 1890–1900 (Westport, CT: Greenwood Press, 1997).
Shorter, Eric, ‘Insignificance of Mankind by Beckett’, Daily Telegraph, 10 July 1964.
Shuttleworth, Ian, ‘Bleeding Nora’, FT Magazine, 31 January 2004.
Smith, Harry W., ‘Tennessee Williams and Jo Mielziner: The Memory Plays’, Theatre Survey, 23 (1982), 223–35.
Smith, Tim, ‘Everyman Theatre Offers Local Premiere of Gritty ‘Topdog/Underdog’, Baltimore Sun, 2 May 2013.
Solomon, Alisa, Re-Dressing the Canon: Essays on Theater and Gender (London: Routledge, 1997).
Spoto, Donald, The Kindness of Strangers: The Life of Tennessee Williams (London: Methuen Drama, 1990 [1985]).
States, Bert O., Great Reckonings in Little Rooms (Berkeley: University of California Press, 1985).
Stierstorfer, Klaus, Constructions of Home: Interdisciplinary Studies in Architecture, Law and Literature (New York: AMS Press, 2010).
Stoppard, Tom, After Magritte (London: Faber, 1971).
Stoppard, Tom, Arcadia (London: Faber, 1993).
Stoppard, Tom, The Invention of Love (London: Faber, 1997).
Stoppard, Tom, The Real Thing (London: Faber, 1982).
Stoppard, Tom, Travesties (London: Faber, 1975).
Strindberg, August, Miss Julie and Other Plays, trans. Michael Robinson (Oxford: Oxford University Press, 1998).
Styan, J.L., Chekhov in Performance (Cambridge: Cambridge University Press, 1971).
Tharpe, Jac (ed.), Tennessee Williams: A Tribute (Jackson: University Press of Mississippi, 1977).
Todd, Andrew, and Jean-Guy Lecat, The Open Circle: Peter Brook’s Theatre Environments (London: Faber, 2003).
Tőrnqvist, Egil, Ibsen: A Doll’s House (Cambridge: Cambridge University Press, 1995).
Trewin, J.C., ‘Mr Pinter Says That There’s No Place Like Home’, Illustrated London News, 19 June 1965.
Trussler, Simon, The Plays of Harold Pinter (London: Victor Gollancz, 1973).
Tynan, Kenneth, ‘A Philosophy of Despair’, Observer, 7 April 1957.
Tynan, Kenneth, Show People (London: Weidenfeld and Nicholson, 1979).
Tynan, Kenneth, ‘Slamm’s Last Knock’, Observer, 2 November 1958.
Ubersfeld, Anne, L’ecole du spectateur (Paris: Editions sociales, 1982).
Ubersfeld, Anne, Lire le théâtre (Paris: Editions sociales, 1977).
Ubersfeld, Anne, Reading Theatre, trans. Frank Collins (Toronto: University of Toronto Press, 1999).
Wardle, Irving, ‘Cutting out the Talk on the Way to Apocalypse’, The Times, 11 March 1983.
Weintraub, Stanley, Bernard Shaw 1914–1918: Journey to Heartbreak (London: Routledge & Kegan Paul, 1973).
Wetmore, Kevin J., and Alycia Smith-Howard (eds.), Suzan-Lori Parks: A Casebook (London: Routledge, 2007).
Wilder, Thornton, Our Town and Other Plays (London: Penguin, 2000 [1938]).
Wiles, David, A Short History of Western Performance Space (Cambridge: Cambridge University Press, 2003).
Williams, Raymond, and Marie Axton (eds.), English Drama: Forms and Development (Cambridge: Cambridge University Press, 1977).
Williams, Tennessee, Memoirs (London: Penguin, 2006 [1975]).
Williams, Tennessee, Plays 1937–1955 (New York: Library of America, 2000.
Williams, Tennessee, Plays 1957–1980 (New York: Library of America, 2000).
Williams, Tennessee, A Streetcar Named Desire: A Play in Three Acts (New York: Dramatists Play Service, 1953).
Williams, Tennessee, A Streetcar Named Desire: A Play in Three Acts, Lord Chamberlain’s copy, British Library LCP /1949/2, III-1–6.
Williams, Tennessee, A Streetcar Named Desire: A Play in Three Acts, unpublished TS promptbook, New York Library of the Performing Arts, NCOF + 93–1105.
Williams, Tennessee, A Streetcar Named Desire and Other Plays, ed. E. Martin Browne (London: Penguin, 1962).
Wisenthal, J.L. (ed.), Shaw and Ibsen: Bernard Shaw’s The Quintessence of Ibsenism and Related Writings (Toronto: University of Toronto Press, 1979).
‘A World Out of Orbit’, Times, 4 June 1965.
Worth, Katharine, Samuel Beckett’s Theatre (Oxford: Clarendon Press, 1999).
Wright, Anne, Literature of Crisis, 1910–22 (London: Macmillan, 1984).
Yeats, W.B. (ed.), The Oxford Book of Modern Verse (Oxford: Clarendon Press, 1936).
Zola, Émile, Le naturalisme au théâtre: les théories et les exemples (Paris: Charpentier, 1881).

Metrics

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.