Skip to main content Accessibility help
×
Hostname: page-component-cb9f654ff-hqlzj Total loading time: 0 Render date: 2025-08-05T16:14:42.862Z Has data issue: false hasContentIssue false

B

Published online by Cambridge University Press:  19 June 2025

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

Information

Type
Chapter
Information
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

Gwalter, M. E., ‘Empfindsamkeiten im Heu. Stefan Bachmann und seine Goethe-Inszenierung in Berlin’, Neue Zürcher Zeitung, 8 October 1996Google Scholar
Schlienger, A., ‘Alles Verlierer’, Neue Zürcher Zeitung, 20 November 2000Google Scholar
Wilmes, H., ‘“Ich lasse den Druck abperlen”: Kölns künftiger Schauspielchef Stefan Bachmann im Gespräch’, Kölnische Rundschau, 28 March 2013Google Scholar
Kruger, A., ‘Gazing at Exhibit A: Interview with Brett Bailey’, Liminalities: A Journal of Performance Studies 9.1 (2013): 1–13Google Scholar
Astles, C., ‘Barcelona: Earth, Puppets and Embodiment’, in Counsell, C. and Mock, R. (eds.), Performance, Embodiment and Cultural Memory (Newcastle upon Tyne, 2009)Google Scholar
Baixas, J. and Baixas, M., Desordre general: Joan Baixas en el 50 aniversari del Teatre de la Claca (Barcelona, 2018)Google Scholar
Roy, S., ‘Ajitesh Bandyopadhyay, Nandikar, and the World: Staging World Literature in Bengali’, South Asian Review 41.3–4 (2020): 316–35CrossRefGoogle Scholar
Barba, E. with Savarese, N., A Dictionary of Theatre Anthropology: The Secret Art of the Performer, 2nd edn (London, 2005)Google Scholar
Kuhlmann, A. and Ledger, A. J., ‘The Tree of Performance Knowledge: Eugenio Barba’, in Allain, P. (ed.), The Great European Stage Directors, Vol. 5: Grotowski, Brook and Barba (London, 2019)Google Scholar
Barletta, L., Viejo y nuevo teatro: crítica y teoría (Buenos Aires, 1960)Google Scholar
Pellettieri, O. (ed.), Teatro del Pueblo: una utopía concretada (Buenos Aires, 2006)Google Scholar
CENDREV, Mário Barradas, um homem no teatro (Évora, 2006)Google Scholar
Varela, L., ‘Mário Barradas, um homem de teatro e de escola’, in Mário Barradas, um homem no teatro (Évora, 2006)Google Scholar
Zurbach, C., ‘CENDREV, 1975–2005: Thirty Years of Theatrical Decentralization’, Western European Stages, Special Issue: Theatre in Portugal 18.1 (2006): 23–30Google Scholar
Barrault, J.-L., Reflections on the Theatre (London, 1952)Google Scholar
Barrault, J.-L., Memories of Tomorrow (New York, 1974)Google Scholar
Barthes, R., Œuvres complètes, I (Paris, 2002)Google Scholar
Barsacq, J.-L., Place Dancourt: La vie, l’œuvre et l’Atelier d’André Barsacq (Paris, 2005)Google Scholar
Bartís, R., Cancha con niebla. Teatro perdido: fragmentos (Buenos Aires, 2003)Google Scholar
Blanc, N., ‘El teatro no se hace solo con ideas’, La Nación, 12 January 2008Google Scholar
Tahan Ferreyra, H., ‘Interview with Ricardo Bartís: The Dead and the Actor’, The Theatre Times, 18 July 2016, https://thetheatretimes.com/interview-ricardo-bartis-dead-actor/Google Scholar
Barton, J., Playing Shakespeare (London, 1984)CrossRefGoogle Scholar
Greenwald, M. J., Directions by Indirections: John Barton of the Royal Shakespeare Company (Newark, 1986)Google Scholar
Litvin, M., ‘Theater Director as Unelected Representative: Sulayman Al-Bassam’s [sic] Arab Shakespeare Trilogy’ and ‘For the Record: Conversation with Sulayman Al-Bassam’, in Huang, A. and Rivlin, E. (eds.), Shakespeare and the Ethics of Appropriation (New York, 2014)Google Scholar
Baty, G., Picon-Vallin, B., and Lieber, G., Gaston Baty (Paris, 2016)Google Scholar
Climenhaga, R., The Pina Bausch Sourcebook: The Making of Tanztheater (New York, 2013)Google Scholar
Fernandes, C., Pina Bausch and the Wuppertal Dance Theater: The Aesthetics of Repetition and Transformation (New York, 2001)Google Scholar
Servos, N. (ed.), Pina Bausch Wuppertal Dance Theater or the Art of Training a Goldfish: Excursions into Dance (Cologne, 1984)Google Scholar
Servos, N., Bandoneon: Working with Pina Bausch (London, 2016)Google Scholar
Beck, J., The Life of the Theatre (Pompton Plains, 2004)Google Scholar
Rochlin, S. (dir.), Signal through the Flames (Mystic Fire Video: New York, 1983)Google Scholar
Tytell, J., The Living Theatre: Art, Exile, and Outrage (New York, 1995)Google Scholar
Knowlson, J., ‘Beckett as Director: The Manuscript Production Notebooks and Critical Interpretation’, Modern Drama 30.4 (1987): 451–65CrossRefGoogle Scholar
McMullen, A., ‘Samuel Beckett as Director: The Art of Mastering Failure’, in Pilling, J. (ed.), Cambridge Companion to Beckett (Cambridge, 1994)Google Scholar
Höbel, W., Karin Beier: Den Aufstand proben (Cologne, 2013)Google Scholar
Marker, L., David Belasco: Naturalism in the American Theatre (Princeton, 1975)Google Scholar
Timberlake, C., The Bishop of Broadway: The Life and Work of David Belasco (New York, 1954)Google Scholar
George, D., Sergi Belbel and Catalan Theatre: Text, Performance and Identity (Martlesham, 2010)Google Scholar
Orozco, L., Teatro y política: Barcelona (1980–2000) (Madrid, 2007)Google Scholar
Bell, J., On Shakespeare (Sydney, 2011)Google Scholar
Giacché, P., Carmelo Bene: antropologia di una macchina attoriale (Milan, 2007)Google Scholar
Benmussa, S., Benmussa Directs: Playscript 91 (Dallas, 1979)Google Scholar
Chowdhury, D., ‘Applying/Contesting the Brechtian “Model”: Calcutta Repertory Theatre’s Galileor Jibon (Life of Galileo)’, Asian Theatre Journal 36.2 (2019): 439–52CrossRefGoogle Scholar
Esleben, J. with Rohmer, R. and John, D. G., Fritz Bennewitz in India: Intercultural Theatre with Brecht and Shakespeare (Toronto, 2016)CrossRefGoogle Scholar
John, D. G., Bennewitz, Goethe, ‘Faust’: German and Intercultural Stagings (Toronto, 2012)CrossRefGoogle Scholar
de Bosio, G., ‘Riflessioni sul mondo e l’opera di Angelo Beolco detto il Ruzante’, in Ferrone, S., Zorzi, L., and Innamorati, G. (eds.), Il teatro del Cinquecento: I luoghi, i testi, gli attori (Perugia, 2008)Google Scholar
Barnett, D., A History of the Berliner Ensemble (Cambridge, 2015)CrossRefGoogle Scholar
Bradley, L., Brecht and Political Theatre: ‘The Mother’ on Stage (Oxford, 2006)CrossRefGoogle Scholar
Hallén, D., ‘Dramatisk sensation i Göteborg’, Aftonbladet, 30 September 1946Google Scholar
Hoogland, R., ‘Öm som en tigermoder’, Sveriges Radio, 10 March 1990Google Scholar
, L.-L. and Marker, F. J., Ingmar Bergman: Four Decades in the Theater (Cambridge, 1982)Google Scholar
Bixler, J. (ed.), Sediciosas seducciones: sexo, poder y palabras en el teatro de Sabina Berman (Mexico City, 2004)Google Scholar
Burgess, R. D., The New Dramatists of Mexico, 1967–1985 (Lexington, 1991)Google Scholar
Besson, B., Jahre mit Brecht (Willisau, 1990)Google Scholar
Gros, B., Benno Besson: Maître de stage (Carnières-Morlanwelz, 1999)Google Scholar
Neubert-Herwig, C., Benno Besson: Theaterspielen in acht Ländern (Berlin, 1998)Google Scholar
Salino, B., ‘Benno Besson, metteur en scène’, Le Monde, 24 February 2006, https://tinyurl.com/283ch9ssGoogle Scholar
Bahram, B., A Study on Iranian Theatre (Tehran, 1965)Google Scholar
Delgado, M. M., ‘Journeys of Cultural Transference: Calixto Bieito’s Multilingual Shakespeares’, The Modern Language Review 101.1 (2006): 106–50CrossRefGoogle Scholar
Delgado, M. M., ‘Calixto Bieito: Staging Excess in, across and through Europe’, in Delgado, M. M. and Rebellato, D. (eds.), Contemporary European Theatre Directors (Abingdon, 2020)CrossRefGoogle Scholar
Blakemore, M., Stage Blood: Five Tempestuous Years in the Early Life of the National Theatre (London, 2013)Google Scholar
Aslan, O., Roger Blin and Twentieth-Century Playwrights (Cambridge, 1988)Google Scholar
Batty, M., Roger Blin: Collaborations and Methodologies (Oxford, 2007)Google Scholar
Genet, J., Lettres à Roger Blin (Paris, 1966)Google Scholar
Breden, S., The Creative Process of Els Joglars and Teatro de la Abadía: Beyond the Playwright (Woodbridge, 2014)CrossRefGoogle Scholar
Delgado, M., ‘Calixto Bieito: Reimagining the Text for the Age in which It Is Being Staged – An Interview’, Contemporary Theatre Review 13.3 (2003): 59–66CrossRefGoogle Scholar
Feldman, S., ‘National Theater/National Identity: Els Joglars and the Question of Cultural Politics in Catalonia’, Gestos 25.13 (1998): 80–96Google Scholar
Betti, M. S., ‘O impulso e o salto: Boal em Nova Iorque (1953–1955)’, Revista Sala Preta 15.1 (2015): 157–79Google Scholar
Boal, A., Theater of the Oppressed, trans. by C. A. and M.-O. Leal McBride (London, 1979)Google Scholar
Boal, A., The Rainbow of Desire: The Boal Method of Theatre and Therapy, trans. by A. Jackson (London, 1992)Google Scholar
Bogart, A., ‘Copy, Transform, Combine’, PAJ: A Journal of Performance and Art 40.1 (2018): 5–10Google Scholar
Bogdanov, M., Shakespeare – The Director’s Cut: Essays on the Tragedies, Comedies and Histories (Edinburgh, 2013)Google Scholar
Bogdanov, M., Theatre: The Director’s Cue – Thoughts and Reminiscences (Edinburgh, 2013)Google Scholar
Raszewski, Z., Bogusławski (Warsaw, 1972)Google Scholar
Loynd, R., ‘Nicaraguan Exports His Own Revolutionary Theater’, Los Angeles Times, 28 July 1990, www.latimes.com/archives/la-xpm-1990-07-28-ca-667-story.htmlGoogle Scholar
Bondy, L., La Fête de l’instant: Dialogues avec Georges Banu (Arles, 2012)Google Scholar
Kammertöns, H.-B. and Lebert, S., ‘“Ich habe mich mein Leben lang gern verzettelt”: Der Regisseur Luc Bondy über Liebe, Krankheit, empörte Opernbesucher und seinen Freund Peter Handke’, ZEITmagazin, 30 December 2009Google Scholar
Layton, G. (ed.), In die Luft schreiben: Luc Bondy und sein Theater (Berlin, 2017)Google Scholar
Stadelmaier, G., ‘Liebesspieler. Zum Tod von Luc Bondy’, Frankfurter Allgemeine Zeitung, 29 November 2015Google Scholar
Völker, K., ‘Luc Bondy (17. Juli 1948–28. November 2015)’, Akademie der Künste, https://tinyurl.com/2xamhjywGoogle Scholar
McFeely, D., Dion Boucicault: Irish Identity on Stage (Cambridge, 2012)CrossRefGoogle Scholar
Brown, I. (ed.), The Edinburgh Companion to Scottish Drama (Edinburgh, 2011)CrossRefGoogle Scholar
Smallwood, R., Players of Shakespeare 6 (Cambridge, 2004)Google Scholar
Dunham, B., Danny Boyle: Interviews (Jackson, MS, 2011)Google Scholar
Higgins, C., ‘Oscar-Winner Danny Boyle to Return to Theatre’, The Guardian, 22 January 2021, www.theguardian.com/film/2010/jan/21/danny-boyle-national-theatreGoogle Scholar
Taylor, J., ‘Arise, Sir Danny? No Thanks Ma’am, Says “Man of the People” Boyle’, Independent, 16 December 2012, https://tinyurl.com/4a25af85Google Scholar
Bradwell, M., The Reluctant Escapologist: Adventures in Alternative Theatre (London, 2010)Google Scholar
Pedullà, G., Il teatro italiano nel tempo del fascismo (Corazzano, 2009)Google Scholar
Claus, H., The Theatre Director Otto Brahm (Ann Arbor, 1981)Google Scholar
Fetting, H. (ed.), Otto Brahm: Theater – Dramatiker – Schauspieler (Berlin, 1961)Google Scholar
Bradby, D., Beckett, Waiting for Godot (Cambridge, 2001)Google Scholar
Solorzano, C. and Holmberg, A. (eds.), World Encyclopedia of Contemporary Theatre: The Americas, vol. II (London, 2014)Google Scholar
Barnett, D., A History of the Berliner Ensemble (Cambridge, 2015)CrossRefGoogle Scholar
Mumford, M., Bertolt Brecht (Abingdon, 2009)Google Scholar
Parker, S., Bertolt Brecht: A Literary Life (London, 2014)CrossRefGoogle Scholar
Wekwerth, M., ‘Die letzten Gespräche’, in Wekwerth, Schriften. Arbeit mit Brecht (Berlin, 1975), pp. 76–9Google Scholar
Breth, A., Frei für den Moment: Regie und Lebenskunst. Gespräche mit Irene Bazinger (Berlin, 2009)Google Scholar
Carlson, M., ‘Andrea Breth’, in Theatre Is More Beautiful than War: German Stage Directing in the Late Twentieth Century (Iowa, 2009)Google Scholar
Dermutz, K., Andrea Breth: Der Augenblick der Liebe (Vienna, 2004)Google Scholar
Stadelmeier, G., ‘Laudatio auf Andrea Berth. Sie hat ihr Ohr am Puls der Dichter’, FAZ, 18 November 2015, https://bit.ly/4eBedxqGoogle Scholar
Wilink, A., ‘Die Seelenforscherin’, Die Welt, 1 January 2012, www.welt.de/print/wams/nrw/article13791889/Seelenforscherin.htmlGoogle Scholar
Browning, K. (dir.), The Gospel at Colonus (Thirteen: New York, 1985)Google Scholar
Smith Fischer, I., Mabou Mines: Making Avant-Garde Theatre in the 1970s (Ann Arbor, 2014)Google Scholar
Lee Breuer’, interview with Goldberg, M., Bomb 56, 1 July 1996, https://bombmagazine.org/articles/lee-breuer/Google Scholar
King-Dorset, R., Black British Theatre Pioneers (Jefferson, North Carolina, 2014)Google Scholar
Teatro Bando (various authors). Afectos e reflexos de um trajecto (Palmela, 2009)Google Scholar
Brites, J., ‘Illuminer le mot pour le révéler sur scène’, in Santos, A. C. et al. (eds.), Parcours de génétique théâtrale: Du laboratoire d’écriture à la scène (Paris, 2018), pp. 357–87Google Scholar
Santos, A. C. and Brilhante, M. J., ‘Repérage du training dans le processus de création de Inferno de O Bando: La conscience de l’acteur’, Revista Brasileira de Estudos da Presença 10.4 (2020): 101–16. https://seer.ufrgs.br/index.php/presenca/article/view/100111Google Scholar
Banu, G., Peter Brook: Vers un théâtre premier (Paris, 2005)Google Scholar
Brook, P., The Empty Space (London, 1968)Google Scholar
Kustow, M., Peter Brook (London, 2005)Google Scholar
Williams, D., Peter Brook and the Mahabharata: Critical Perspectives (London, 1994)Google Scholar
Stevenson, R. and Wallace, G. (eds.), Scottish Theatre since the Seventies (Edinburgh, 1996)Google Scholar
Jaramillo, M. and Osorio, B., ‘El legado de Enrique Buenaventura’, Revista de Estudios Sociales 17 (2004): 107–14Google Scholar
Lefebvre, P., ‘Du metteur en scène comme passoire: Entretien avec Paul Buissonneau’, Jeu 28 (1983): 26–39Google Scholar
‘Paul Buissonneau’, The Canadian Encyclopedia, www.thecanadianencyclopedia.ca/en/article/paul-buissonneauGoogle Scholar
Alwin Bully Treats Theatre with Respect’, TheDominican.net 1.40 (2003), https://thedominican.net/articles/bully.htmGoogle Scholar
‘Alwin Bully – The Man and His Mission’, The Sun Dominica, 2 November 2016Google Scholar
Jockims, T. L., ‘Shakespeare in Bosnia: Staging Hamlet and Othello in Sarajevo’, Shakespeare Bulletin 26.2 (2008): 166–74CrossRefGoogle Scholar
Klaić, D., ‘Post-Yugoslav Theater Exile: Transitory, Partial and Digital’, in Neubauer, J. and Török, B. Z. (eds.), The Exile and Return of Writers from East-Central Europe: A Compendium (Berlin and New York, 2009)Google Scholar
Thaxter, J., ‘Blood Wedding’, The Stage, 9 July 1998Google Scholar
Burian, E. F., Emil František Burian a jeho program poetického divadlo (Prague, 1981)Google Scholar
Srba, B., Inscenační tvorba E. F. Buriana, 1939–1941 (Prague, 1980)Google Scholar
Butusov, Y., ‘Directing as an Art of Composition’, in Radosavljević, D. (ed.), The Contemporary Ensemble: Interviews with Theatre-Makers (Abingdon and New York, 2013)Google Scholar

Accessibility standard: Unknown

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

Save book to Kindle

To save this book 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 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.

  • B
  • Edited by Maria M. Delgado, Royal Central School of Speech and Drama, University of London, Simon Williams, University of California, Santa Barbara
  • Book: The Cambridge Encyclopedia of Stage Directors
  • Online publication: 19 June 2025
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.

  • B
  • Edited by Maria M. Delgado, Royal Central School of Speech and Drama, University of London, Simon Williams, University of California, Santa Barbara
  • Book: The Cambridge Encyclopedia of Stage Directors
  • Online publication: 19 June 2025
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.

  • B
  • Edited by Maria M. Delgado, Royal Central School of Speech and Drama, University of London, Simon Williams, University of California, Santa Barbara
  • Book: The Cambridge Encyclopedia of Stage Directors
  • Online publication: 19 June 2025
Available formats
×