Adams, Hazard. The Book of Yeats’s Vision: Romantic Modern and Antithetical Tradition. Ann Arbor: University of Michigan Press, 1995.CrossRefGoogle Scholar

Adorno, Theodor W. Minima Moralia: Reflections from Damaged Life. Trans. Jephcott, E. F. N.. London: Verso, 2005.Google Scholar

Allen, Nicholas. Modernism, Ireland and Civil War. Cambridge: Cambridge University Press, 2009.Google Scholar

Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism, rev. ed. London: Verso, 1991.Google Scholar

Aristotle. Politics and Poetics. Trans. Jowett, Benjamin and Twining, Thomas. New York: Viking, 1974.Google Scholar

Arkins, Brian. Builders of My Soul: Greek and Roman Themes in Yeats. Gerrards Cross: Colin Smythe, 1990.Google Scholar

Arrington, Lauren. W. B. Yeats, the Abbey Theatre, Censorship, and the Irish State: Adding the Half-Pence to the Pence. Oxford: Oxford University Press, 2010.Google Scholar

Artaud, Antonin. Artaud on Theatre. Ed. Schumacher, Claude and Singleton, Brian. London: Methuen, 1989.Google Scholar

Artaud, Antonin. Selected Writings. Ed. Sontag, Susan, trans. Weaver, Helen. Berkeley: University of California Press, 1988.Google Scholar

Artaud, Antonin. Theatre and Its Double. Trans. Richard, Mary Caroline. New York: Grove Weidenfeld, 1958.Google Scholar

Badiou, Alain Being and Event II: The Logic of Worlds. Trans. Toscano, Alberto. London: Bloomsbury, 2019.Google Scholar

Badiou, Alain. Rhapsody for the Theatre: A Short Philosophical Treatise. Theatre Survey 49:2 (2008), 187–238.CrossRefGoogle Scholar

Badiou, Alain with Truong, Nicholas. In Praise of Theatre. Trans. Bielski, Andrew. London: Polity, 2015.Google Scholar

Balázs, Zsuzsanna. The Dramaturgy of Embeddings: Übermarionettes in W. B. Yeats’s and Luigi Pirandello’s Meta-Theatres. Australian Journal of Irish Studies 17 (2017), 23–45.Google Scholar

Balázs, Zsuzsanna. An Uncanny Myth of Ireland: The Spectralisation of Cuchulain’s Body in W. B. Yeats’s Plays. Études irlandaises 42:1 (2017), 61–75.CrossRefGoogle Scholar

Barthes, Roland. Critical Essays. Ed. and trans. Howard, Richard. Evanston, IL: Northwestern University Press, 1972.Google Scholar

Beckett, Samuel. The Letters of Samuel Beckett: Volume 1: 1929–1940. Ed. Fehsenfeld, Martha Dow and Overbeck, Lois More. Cambridge: Cambridge University Press, 2009.Google Scholar

Beltaine: The Organ of the Irish Literary Theatre: Number One to Number Three, May 1899 – April 1900. Intro. B.C. Bloomfield. Frank Cass Library of English Little Magazines. London: Frank Cass, 1970.Google Scholar

Bergson, Henri. Laughter. Trans. Brereton, Cloudesley and Rothwell, Fred. London: Macmillan, 1911.Google Scholar

Bergson, Henri. Matter and Memory. Trans. Paul, Nancy Margaret and Palmer, W. Scott. London: Allen & Unwin, 1919.Google Scholar

Blake, William. The Prophetic Books of William Blake: Jerusalem. Ed. Maclagan, E. R. D. and Russell, A. G. B.. London: A. H. Bullen, 1904.Google Scholar

Bradford, Curtis. W. B. Yeats: The Writing of the Player Queen. DeKalb, IL: Northern Illinois University Press, 1977.Google Scholar

Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. Willett, John. New York: Hill and Wang, 1957.Google Scholar

Brook, Peter. The Empty Space. Harmondsworth: Penguin, 1968.Google Scholar

Brown, Terence. The Life of W. B. Yeats: A Critical Biography. Dublin: Gill and Macmillan, 1999.Google Scholar

Carruthers, Ian. A Translation of Fifteen Pages of Itō Michio’s Autobiography, ‘Utsukushiku naru kyôshitsu.’ Canadian Journal of Irish Studies 2:1 (1976), 32–43.Google Scholar

Cave, Richard Allen. Collaborations: Ninette de Valois and W. B. Yeats. Binsted, Hampshire: Dance Books, 2011.Google Scholar

Cave, Richard Allen. Notes for Further Research: A Stage Setting by W. B. Yeats. Canadian Journal of Irish Studies 32:2 (2006), 54–7.Google Scholar

Cave, Richard Allen. Staging The King’s Threshold. Yeats Annual 13 (1998), 158–77.CrossRefGoogle Scholar

Chapman, Wayne K. Yeats’s ‘Theatre of Beauty’ and the Masque Tradition. Yeats: An Annual of Critical and Textual Studies 7 (1989), 42–56.Google Scholar

Chapman, Wayne K. Yeats’s White Vellum Notebook, 1930–1933. International Yeats Studies 2:2 (2018), Article 4, 40–59.CrossRefGoogle Scholar

Chaudhry, Yug Mohit. Yeats, the Irish Literary Revival and the Politics of Print. Cork: Cork University Press, 2001.Google Scholar

Clark, David R., with Clark, Rosalind. W. B. Yeats and the Theatre of Desolate Reality. Washington, DC: Catholic University Press of America, 1993.Google Scholar

Clyde, Tom. Irish Literary Magazines: An Outline History and Descriptive Bibliography. Dublin: Irish Academic Press, 2003.Google Scholar

Craig, Edward Gordon. The Actor and the Über-Marionette. The Mask: The Journal of the Art of the Theatre 1:1 (1908), 3–15.Google Scholar

Craig, Edward Gordon. After the Practice the Theory. The Mask: The Journal of the Art of the Theatre 1:1 (1908), 2.Google Scholar

Craig, Edward Gordon. The Artists of the Theatre of the Future. The Mask: The Journal of the Art of the Theatre 1:3/4 (1908), 57–70.Google Scholar

Craig, Edward Gordon. Editorial. The Mask: The Journal of the Art of the Theatre 1:1 (1908), 24.Google Scholar

Craig, Edward Gordon. On the Art of the Theatre. London: Heinemann, 1912.Google Scholar

Craig, Edward Gordon [attrib.]. Review of Lafcadio Hearn in Japan by Yone Noguchi. The Mask: The Journal of the Art of the Theatre 4:1 (1911), 53.Google Scholar

Craig, Edward Gordon. Scene. London: H. Milford, Oxford University Press, 1923.Google Scholar

Cumberland, Richard. Memoirs of Richard Cumberland, vol. II. London: Lackington, Allen & Co., 1807.Google Scholar

Cumont, Francis. Astrology and Religion among the Greeks and Romans. New York and London: G. P. Putnams, 1912.Google Scholar

Darracott, Joseph. The World of Charles Ricketts. New York: Methuen, 1980.Google Scholar

de Beistegui, Miguel. The Deleuzian Reversal of Platonism. In The Cambridge Companion to Deleuze, ed. Smith, Daniel W. and Somers-Hall, Henry. Cambridge: Cambridge University Press, 2012, 55–81.CrossRefGoogle Scholar

Deak, Frantisek. Symbolist Theatre: The Formation of an Avant-Garde. London: Johns Hopkins University Press, 1993.Google Scholar

Dean, Julian Breandán. The ‘Supernatural Artist’ and the Tarot Fool: Transnational Esotericism in W. B. Yeats’s On Baile’s Strand. Modern Drama 63:1 (Spring 2020), 1–20.CrossRefGoogle Scholar

Deleuze, Gilles. Bergsonism. Trans. Tomlinson, Hugh. New York: Zone, 1991.Google Scholar

Deleuze, Gilles. Nietzsche and Philosophy. Trans. Tomlinson, Hugh. New York: Columbia, 1983.Google Scholar

Derrida, Jacques. Of Grammatology. Trans. Chakravorty Spivak, Gayatri. Baltimore, MD: Johns Hopkins University Press, 1976.Google Scholar

Derrida, Jacques. Speech and Phenomena: And Other Essays on Husserl’s Theory of Signs. Trans. Allison, David B. and Garver, Newton. Evanston IL: Northwestern University Press, 1973.Google Scholar

Derrida, Jacques. Writing and Difference. Trans. Bass, Alan. London: Routledge, 2008.Google Scholar

de Valois, Ninette. Step by Step: The Formation of an Establishment. London: W. H. Allen, 1977.Google Scholar

Donaldson, John William (ed.). The Theatre of the Greeks, 3rd. ed. Cambridge: J. & J. J. Deighton, 1830.Google Scholar

Donnelly, John J. Subjective Concepts of Humans. New York: International Press, 1922.Google Scholar

Dorn, Karen. Dialogue into Movement: W. B. Yeats’s Theatre Collaboration with Gordon Craig. In Yeats and Theatre, ed. O’Driscoll, Robert and Reynolds, Lorna. London: Macmillan, 1975, 109–36.Google Scholar

Dorn, Karen. Players and a Painted Stage: The Theatre of W. B. Yeats. Brighton: Harvester, 1984.Google Scholar

Dwan, David. Yeats, Heidegger and the Problem of Modern Subjectivism. Paragraph 25:1 (2002), 74–91.CrossRefGoogle Scholar

Eagleton, Terry. Heathcliff and the Great Hunger: Studies in Irish Culture. London: Verso, 1995.Google Scholar

Eaves, Gregory N. The Anti-Theatre and Its Double. Yeats Annual 13 (1998), 34–61.CrossRefGoogle Scholar

Eglinton, John. What Should Be the Subjects of National Drama? In Field Day Anthology of Irish Writing, vol. II. Ed. Deane, Seamus. Derry: Field Day, 1991.Google Scholar

Eliot, T. S. Selected Prose. Ed. Hayward, John. Harmondsworth: Penguin, 1953.Google Scholar

Eliot, T. S. Tradition and the Individual Talent. The Egoist 6:4, 54–5 and 6:5 (1919), 72–3.Google Scholar

Ellis, Havelock. Friedrich Nietzsche – 1. The Savoy 2 (1896), 79–94.Google Scholar

Ellis, Sylvia C. The Plays of W. B. Yeats: Yeats and the Dancer. London: Macmillan, 1995.Google Scholar

Engelberg, Edward. The Vast Design: Patterns in W. B. Yeats’s Aesthetic, 2nd ed. Washington, DC: Catholic University Press, 1988.Google Scholar

Esslin, Martin. The Theatre of the Absurd, rev. ed. Harmondsworth: Pelican, 1968.Google Scholar

Fay, Gerard. The Abbey Theatre: Cradle of Genius. Dublin, Clonmore and Reynolds, 1958.Google Scholar

Fay, Frank J. Towards a National Theatre: The Dramatic Criticism of Frank J. Fay. Ed. Hogan, Robert. Dublin: Dolmen Press, 1970.Google Scholar

Fenollosa, Ernest and Pound, Ezra. ‘Noh’ or Accomplishment: A Study of the Classical Stage of Japan. London: Macmillan, 1916.Google Scholar

Fischer-Lichte, Erika. The Semiotics of Theater. Trans. Gaines, Jeremy and Jones, Doris L.. Bloomington, IN: Indiana University Press, 1992.Google Scholar

Flannery, James W. W. B. Yeats and the Idea of a Theatre: The Early Abbey in Theory and Practice. New Haven: Yale University Press, 1976.Google Scholar

Foster, John Burt, Jr. Lidless Eyes, Stony Places, Vibrant Spectators: Nietzschean Tragedy in Yeats’s Lyric Poetry. In Nietzsche and the Rebirth of the Tragic, ed. Ann, Mary Witt, Frese. Cranbury, NY: Associated University Presses, 2007, 104–26.Google Scholar

Foster, R. F. Fascism. In Yeats in Context, ed. Holdeman, David and Levitas, Ben. Cambridge: Cambridge University Press, 2010, 213–23.Google Scholar

Foster, R. F. W. B. Yeats: A Life: Vol. I: The Apprentice Mage. Oxford: Oxford University Press, 1997.Google Scholar

Foster, R. F. W. B. Yeats: A Life: Vol. II: The Arch-Poet. Oxford: Oxford University Press, 2003.Google Scholar

Frazer, James George. The Golden Bough: A Study in Magic and Religion. The Magic Art and the Evolution of Kings, vol. I, 3rd ed. London: Macmillan, 1911.Google Scholar

Frazier, Adrian. Behind the Scenes: Yeats, Horniman and the Struggle for the Abbey Theatre. Berkeley, University of California Press, 1990.CrossRefGoogle Scholar

Friedman, Barton R. Adventures in the Deeps of the Mind: The Cuchulain Cycle of W. B. Yeats. Princeton: Princeton University Press, 1977.Google Scholar

Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton: Princeton University Press, 1957.Google Scholar

Frye, Northrop. Yeats and the Language of Symbolism. University of Toronto Quarterly 17:1 (1946), 1–17.CrossRefGoogle Scholar

Gale, Maggie B. and Deeney, John F. with Rebellato, Dan (eds.). The Routledge Drama Anthology and Sourcebook: From Modernism to Contemporary Performance. London: Routledge, 2010.Google Scholar

Genet, Jacqueline. Villiers de l’Isle-Adam and Yeats. In Yeats the European, ed. Jeffares, A. Norman. Gerrards Cross: Colin Smythe, 1989.Google Scholar

Gibson, Matthew. Classical Philosophy. In Yeats in Context, ed. Holdeman, David and Levitas, Ben. Cambridge: Cambridge University Press, 2010, 276–87.Google Scholar

Goodall, Jane. Artaud and the Gnostic Drama. Oxford: Clarendon, 1994.Google Scholar

Gould, Warwick. The Mask before The Mask. Yeats Annual 19 (2013), 3–47.Google Scholar

Grant, Alexander. Aristotle. Edinburgh: J. Blackwood, 1910.Google Scholar

Grant, Stuart. Heidegger’s Augenblick as the Moment of Performance. In Performance and Temporalisation: Time Happens, ed. Grant, Stuart, McNeilly, Jodie, and Veerapen, Maeva. London: Palgrave Macmillan, 2015, 213–29.Google Scholar

Gregory, Augusta. Lady Gregory’s Journals: Volume Two: Books Thirty to Forty-Four 21 February 1925 – 9 May 1932. Ed. Murphy, Daniel J.. Gerrards Cross: Colin Smythe, 1987.Google Scholar

Gregory, Augusta. Our Irish Theatre. Colin Smythe: Gerrards Cross, 1972.Google Scholar

Grene, Nicholas. The Abbey: National Theatre or Little Theatre? Journal of Irish Scottish Studies 1:1 (2007), 211–20.CrossRefGoogle Scholar

Grene, Nicholas. The Politics of Irish Drama: Plays in Context from Boucicault to Friel. Cambridge: Cambridge University Press, 1999.Google Scholar

Grene, Nicholas. Yeats’s Poetic Codes. Oxford: Oxford University Press, 2008.CrossRefGoogle Scholar

Grotowski, Jerzy. Towards a Poor Theatre. Ed. Barba, Eugenio. London: Bloomsbury, 1991.Google Scholar

Gwynn, Stephen. An Uncommercial Theatre. Fortnightly Review 72 (1902), 1044–54.Google Scholar

Harper, George Mills. The Mingling of Heaven and Earth: Yeats’s Theory of Theatre, Dublin: Dolmen, 1975.Google Scholar

Haswell, Janis. Resurrecting Calvary: A Reconstructive Interpretation of W. B. Yeats’s Play and Its Making. Yeats Annual 15 (2002), 159–89.Google Scholar

Heidegger, Martin. Being and Time. Trans. Macquarrie, John and Robinson, Edwards. Oxford: Blackwell, 1962.Google Scholar

Heidegger, Martin. Introduction to Metaphysics. Trans. Fried, Gregory and Polt, Richard, 2nd ed. Yale: Yale University Press, 2014.Google Scholar

Heidegger, Martin. Off the Beaten Track. Ed. and trans. Young, Julian and Haynes, Kenneth. Cambridge: Cambridge University Press, 2002.Google Scholar

Heidegger, Martin. On the Way to Language. Trans. Hertz, Peter D.. New York: Harper Collins, 1971.Google Scholar

Heidegger, Martin and Fink, Eugen. Heraclitus Seminar. Trans. Seibert, Charles H.. Evanston, Il: Northwestern University Press, 1993.Google Scholar

Hogan, Robert and Kilroy, James (eds.). The Irish Literary Theatre: 1899–1901. The Modern Irish Drama: A Documentary History I. Dublin: Dolmen, 1975.Google Scholar

Hogan, Robert and Kilroy, James (eds.). Laying the Foundations: 1902–1904. The Modern Irish Drama: A Documentary History II. Dublin: Dolmen, 1976.Google Scholar

Hone, Joseph. W. B. Yeats: 1865–1939. London: Macmillan, 1943.Google Scholar

Howes, Marjorie. Yeats’s Nations: Gender, Class and Irishness. Cambridge: Cambridge University Press, 1996.CrossRefGoogle Scholar

Husserl, Edmund. Ideas: General Introduction to Pure Phenomenology. Trans. Boyce Gibson, W. R.. London: Routledge, 2012.CrossRefGoogle Scholar

Ingelbien, Raphael. Symbolism at the Periphery: Yeats, Maeterlinck, and Cultural Nationalism. Comparative Literature 42:3 (2005), 183–204.CrossRefGoogle Scholar

Jameson, Fredric. Brecht and Method. London: Verso, 1999.Google Scholar

Jaques-Dalcroze, Émile. Rhythm, Music and Education. Trans. Rubinstein, Harold F.. London: G.P. Putnam, 1921.CrossRefGoogle Scholar

Jarry, Alfred. Selected Works of Alfred Jarry. Ed. Shattuck, Roger and Watson Taylor, Simon. London: Methuen, 1965.Google Scholar

Joyce, James, and Skeffington, F. J. C.. Two Essays. A Forgotten Aspect of the University Question, by F. J. C. Skeffington; and The Day of the Rabblement, by James A. Joyce. Dublin: Gerrard Bros, 1901.Google Scholar

Kelly, John. A W. B. Yeats Chronology. London: Palgrave Macmillan, 2003.CrossRefGoogle Scholar

Kennedy, Dennis. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity, Cambridge: Cambridge University Press, 2009.Google Scholar

Kiberd, Declan. Inventing Ireland: The Literature of the Modern Nation. London: Vintage, 1996.Google Scholar

Kierkegaard, Søren. Crisis in the Life of an Actress, and Other Essays on Drama. Trans. and intro. Crites, Stephen. London: Collins, 1967.Google Scholar

Kilroy, James (ed.). The ‘Playboy’ Riots. Dublin: Dolmen, 1971.Google Scholar

Klankert, Tanja. Strange Relations: Cultural Translation of Noh Theatre in Ezra Pound’s Dance Poems and W. B. Yeats’s At the Hawk’s Well. Word and Text IV:2 (December 2014), 98–111.Google Scholar

Kuhn, Elizabeth. Toward an Anti-Humanism of Life: The Modernism of Nietzsche, Hulme and Yeats. In Journal of Modern Literature 34:4(2011), 1–19.CrossRefGoogle Scholar

Large, Duncan. Nietzsche and/in/on Translation. Journal of Nietzsche Studies 43:1 (Spring 2012), 57–67.CrossRefGoogle Scholar

Lecoq, Jacques. The Moving Body. Trans. Bradby, David. London: Methuen, 2000.CrossRefGoogle Scholar

Lehmann, Hans-Thies. Postdramatic Theatre. Trans. Jürs-Munby, Karen. London: Routledge, 2006.CrossRefGoogle Scholar

Lehmann, Hans-Thies. Tragedy and Dramatic Theatre. Trans. Butler, Eric. London: Routledge, 2016.Google Scholar

Lentricchia, Frank. The Gaiety of Language: An Essay on the Radical Poetics of W. B. Yeats and Wallace Stevens. Berkeley, University of California Press, 1968.CrossRefGoogle Scholar

Levitas, Ben. Temper of Misgiving. In Uncertain Futures: Essays About the Past for Roy Foster, ed. Paseta, Senia. Oxford: Oxford University Press, 2016, 110–22.Google Scholar

Levitas, Ben. The Theatre of Nation: Irish Drama and Cultural Nationalism 1890–1916. Oxford: Oxford University Press, 2002.CrossRefGoogle Scholar

Lewis, Percy Wyndham. Time and Western Man. London: Chatto and Windus, 1927.Google Scholar

Londraville, Richard. The Dramatic Function of Yeats’s Dreaming Back. Yeats: An Annual of Critical and Textual Studies VII (1989), 99–124.Google Scholar

Longuenesse, Pierre. Du Bestiaire dans le théâtre de W. B. Yeats: De l’Unheimlich à la grâce. Sillages critiques 20 (2016). https://journals.openedition.org/sillagescritiques/4524.Google Scholar

Longuenesse, Pierre. Voix de revenants dans les Pièces pour danseurs de W. B. Yeats. Études irlandaises 41:1 (2016), 167–81.Google Scholar

Longuenesse, Pierre. Yeats dramaturge: La voix et ses masques. Rennes: Presses universitaires de Rennes, 2012.Google Scholar

Longuenesse, Pierre. Yeats et le mélange des genres: du texte à la scène. Sillages critiques 18 (2014). https://journals.openedition.org/sillagescritiques/3976.Google Scholar

Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Trans. Bennington, Geoff and Massumi, Brian. Minneapolis: University of Minnesota Press, 1984.Google Scholar

Macintosh, Fiona. An Oedipus for our Times? In Performance, Iocnography, Reception: Studies in Honour of Oliver Taplin, ed. Revermann, M. and Wilson, P.. Oxford: Oxford University Press, 2008, 524–47.Google Scholar

Maeterlinck, Maurice. The Treasure of the Humble. Trans. Suto, Alfred. London: George Allen & Sons, 1911.Google Scholar

Malone, Andrew E. The Rise of the Realistic Movement. In The Irish Theatre: Lectures Delivered During the Abbey Theatre Festival Held in Dublin in August 1938, ed. Robinson, Lennox. Dublin: Abbey Theatre, 1939.Google Scholar

Manabe, Akiko. W. B. Yeats and Kyogen: Individualism and Communal Harmony in Japan’s Classical Theatrical Repertoire. Études Anglaises 68:4 (2015), 425–41.Google Scholar

Mann, Neil. A Reader’s Guide to Yeats’s A Vision. South Carolina: Clemson University Press, 2019.CrossRefGoogle Scholar

Martin, Heather C. W. B. Yeats: Metaphysician as Dramatist. Waterloo, ON: Wilfrid Laurier University Press, 1986.Google Scholar

Mathews, P. J. Revival: The Abbey Theatre, Sinn Féin, the Gaelic League and the Co-Operative Movement. Field Day Critical Conditions. Gen ed. Deane, Seamus. Cork: Cork University Press, 2003.Google Scholar

McAteer, Michael. Yeats and European Drama. Cambridge: Cambridge University Press, 2010.Google Scholar

McCormack, W. J. Dissolute Characters: Irish Literary History through Balzac, Sheridan Le Fanu, Yeats and Bowen. Manchester: Manchester University Press, 1993.Google Scholar

Meredith, George. An Essay on Comedy and the Uses of the Comic Spirit. New York: Charles Scribner’s Sons, 1897.Google Scholar

Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Landers, Donald A.. London: Routledge, 2012.Google Scholar

Meyer, Matthew. The Comic Nature of Ecce Homo. Journal of Nietzsche Studies 43:1 (2012), 32–43.CrossRefGoogle Scholar

Meyerhold, Vsevolod. Meyerhold on Theatre. Ed. and trans. Braun, Edward. London: Methuen, 1969.Google Scholar

Miller, Andrew Hiller. Modernism, Ireland and the Erotics of Memory. Cambridge: Cambridge University Press, 2002.Google Scholar

Miller, Liam. The Noble Drama of W. B. Yeats. Dublin: Dolmen, 1977.Google Scholar

Moore, John Rees. Masks of Love and Death: Yeats as Dramatist. Ithaca, NY: Cornell University Press, 1971.Google Scholar

Morash, Chris and Richards, Shaun. Mapping Irish Theatre: Theories of Space and Place. Cambridge: Cambridge University Press, 2013.CrossRefGoogle Scholar

Morin, Emilie. Theatres and Pathologies: Symbolism and Irish Drama from Maeterlinck to Beckett. In Silence in Modern Irish Literature, ed. McAteer, Michael. Leiden: Brill, Rodopi, 2017, 35–48.Google Scholar

Moses, Michael Valdez. The Rebirth of Tragedy: Yeats, Nietzsche, the Irish National Theatre, and the Anti-Modern Cult of Cuchulain. Modernism/modernity, 11:3 (September 2004), 561–79.CrossRefGoogle Scholar

Murray, Gilbert. Excursus on the Ritual Forms Preserved in Greek Tragedy. Themis: A Study of the Social Origins of Greek Religion, ed. Harrison, Jane Ellen. Cambridge: Cambridge University Press, 1912, 341–63.Google Scholar

Nally, Claire. Envisioning Ireland: W. B. Yeats’s Occult Nationalism. Oxford: Peter Lang, 2010.Google Scholar

Nathan, Leonard E. The Tragic Drama of William Butler Yeats: Figures in a Dance. New York: Columbia University Press, 1965.Google Scholar

Nietzsche, Friedrich. Basic Writings of Nietzsche. Ed. and trans. Kaufmann, Walter. New York: Modern Library, 2000.Google Scholar

Nietzsche, Friedrich. The Birth of Tragedy and the Genealogy of Morals. Trans. Golffing, Francis. New York: Doubleday, 1956.Google Scholar

Nietzsche, Friedrich. The Case of Wagner: Nietzsche Contra Wagner; The Twilight of the Idols; The Antichrist. Trans. Common, Thomas. London: T. Fisher Unwin, 1899.Google Scholar

Nietzsche, Friedrich. The Complete Works of Friedrich Nietzsche: Volume Three: The Birth of Tragedy. Trans. Haussmann, Wm. A., ed. Levy, Oscar. London: T.N. Foulis, 1909.Google Scholar

Nietzsche, Friedrich. Twilight of the Idols. Trans. Hollingdale, R. J.. Harmondsworth: Penguin, 1990.Google Scholar

O’Donoghue, Bernard (2006). Yeats and the Drama. In The Cambridge Companion to W. B. Yeats, ed. Howes, Marjorie and Kelly, John. Cambridge: Cambridge University Press, 101–14.Google Scholar

Orage, A. R. Friedrich Nietzsche and the Dionysian Spirit of the Age. London: T. N. Foulis, 1906.Google Scholar

O’Toole, Fintan. No Yeats, No Beckett? Why the Poet’s Plays Still Matter. Irish Times (10 June 2015), C18–C19.Google Scholar

Parkinson, Thomas. W. B. Yeats: A Poet’s Stagecraft, 1899–1911. ELH 17:2 (1950), 136–61.Google Scholar

Paul, Catherine. W. B. Yeats and the Problem of Belief. Yeats Annual 21 (2018), 295–316.Google Scholar

Pavis, Patrice. Dictionary of the Theatre: Terms, Concepts, Analysis. Trans. Shantz, Christine. Toronto: University of Toronto Press, 1998.CrossRefGoogle Scholar

Peter, John. Vladimir’s Carrot: Modern Drama and the Modern Imagination. London: Methuen, 1988.Google Scholar

Pethica, James. ‘Our Kathleen’: Yeats’s Collaboration with Lady Gregory in the Writing of Cathleen ni Houlihan. Yeats Annual 6 (1988), 3–31.Google Scholar

Pietrzak, Wit. The Critical Thought of W. B. Yeats. London: Macmillan, 2017.CrossRefGoogle Scholar

Pilkington, Lionel. Theatre and the State in Twentieth-Century Ireland: Cultivating the People. London: Routledge, 2001.Google Scholar

Plotinus. The Enneads. Trans. McKenna, Stephen; 4th ed. rev. ed. Paige, B. S.. London: Faber, 1956.Google Scholar

Plunkett, Grace. Doctors Do Recommend It! An Abbey Tonic in Twelve Doses. Dublin: Colm O Loghlainn at the Sign of the Three Candles, 1930.Google Scholar

Pop, Andrei. A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century. New York: Zone Books, 2019.CrossRefGoogle Scholar

Poulain, Alexandra. ‘Grant Me an Old Man’s Frenzy’: Age and Rage on the Stage. International Yeats Studies I:1 (2016), Article 4, 13–29.CrossRefGoogle Scholar

Poulain, Alexandra. Introduction. Études Anglaises 68:4 (2015), 380–3.Google Scholar

Poulain, Alexandra. The King’s Threshold, Calvary, The Death of Cuchulain: Yeats’s Passion Plays, Yeats Annual 19 (2013), 49–63.Google Scholar

Puchner, Martin. The Drama of Ideas: Platonic Provocations in Theater and Philosophy. Oxford: Oxford University Press, 2010.CrossRefGoogle Scholar

Puchner, Martin. Stage Fright: Modernism, Anti-Theatricality, and Drama. Baltimore, MD: Johns Hopkins, 2002.Google Scholar

Putzel, Steven. Poetic Ritual and Audience Response: Yeats and the Nō. In Yeats and Postmodernism, ed. Orr, Leonard. Syracuse: Syracuse University Press, 1991, 105–25.Google Scholar

Rancière, Jacques. Aisthesis: Scenes from the Regime of Art. Trans. Paul, Zakir. London: Verso, 2013.Google Scholar

Rancière, Jacques. The Emancipated Spectator. Trans. Elliott, Gregory. London: Verso, 2009.Google Scholar

Rancière, Jacques. The Politics of the Aesthetic. Ed. and trans. Rockhill, Gabriel. London: Bloomsbury, 2004.Google Scholar

Remport, Eglantina. Edward Gordon Craig, and W. B. Yeats, 1901–1911: Engaging Turner, Ruskin, Wagner and Appia. Irish Studies Review 28:1 (2020), 94–114.CrossRefGoogle Scholar

Reynolds, Paige. Modernism, Drama, and the Audience for Irish Spectacle. Cambridge: Cambridge University Press, 2007.Google Scholar

Reynolds, Paige. Reading Publics, Theater Audiences, and the Little Magazines of the Abbey Theatre. New Hibernia Review 7:4 (2003), 63–84.CrossRefGoogle Scholar

Reynolds, Paige. A Theatre of the Head. Modern Drama 58:4 (2015), 437–60.Google Scholar

Robinson, Lennox. Curtain Up: An Autobiography. London: Michael Joseph, 1942.Google Scholar

Robinson, Lennox. The Irish National Theatre. In Abbey Theatre Dramatic Festival of Plays and Lectures: Dublin Aug. 6th–20th, 1938, Dublin: Abbey Theatre, 1938, 9.Google Scholar

Robinson, Lennox. Yeats as a Man of the Theatre. The Arrow: Yeats Memorial Issue, 1939; reproduced in programme for The Annual W.B. Yeats Festival, Abbey Theatre, Dublin, 1990. Abbey Digital Theatre Archive, NUIG.Google Scholar

Rose, Enid. Gordon Craig and the Theatre: A Record and an Interpretation. New York: Frederick A. Stokes, 1931.Google Scholar

Russell, George [Æ]. The Dramatic Treatment of Heroic Literature. Samhain (October 1902), 11–13.Google Scholar

Russell, George [Æ]. The National Being: Some Thoughts on an Irish Polity. Dublin: Maunsel & Co., 1916.Google Scholar

Saddlemyer, Ann. ‘The Heroic Discipline of the Looking Glass’: W. B. Yeats’s Search for Dramatic Design. In The World of W. B. Yeats: Essays in Perspective, ed. Skelton, Robin and Saddlemyer, Ann. Victoria, BC: University of Victoria, 1965, 81–103.Google Scholar

Said, Edward. Yeats and Decolonisation. Derry: Field Day, 1988.Google Scholar

Samhain: October 1901–November 1908. Frank Cass Library of English Little Magazines. Intro. Bloomfield, B. C.. London: Frank Cass & Co., 1970.Google Scholar

Sartre, Jean-Paul. Sartre on Theater. Ed. Contat, Michel and Rybalka, Michel, trans. Jellinek, Frank. New York: Pantheon, 1976.Google Scholar

Schuchard, Ronald. The Last Minstrels: Yeats and the Revival of the Bardic Arts. Oxford: Oxford University Press, 2008.Google Scholar

Schuchard, Ronald. W. B. Yeats and the London Theatre Societies, 1901–1904. Review of English Studies N.S. 29:116 (1978), 415–46.Google Scholar

Schumacher, Claude (ed.). Naturalism and Symbolism in European Theatre 1850–1918. Cambridge: Cambridge University Press, 1996.Google Scholar

Shelley, Percy Bysshe. Essays and Letters. Ed. Rhys, Ernest. London: Walter Scott, 1886.Google Scholar

Sheppard, W. Anthony. Centennial Reflections at the New York Japan Society: Certain Noble Plays of Japan (1916) and At the Hawk’s Well (1916). International Yeats Studies, 1:2 (2017), Article 5, 49–57.Google Scholar

Silk, M. S., and Stern, J. P.. Nietzsche on Tragedy. Cambridge: Cambridge University Press, 1981.Google Scholar

Simpson, Hannah. ‘Now Keep Out of the Way, Whitelaw’: Self-Expression, Agency and Directorial Control in W. B. Yeats’s and Samuel Beckett’s Theatre. Comparative Drama, 49:4 (2015), 399–418.Google Scholar

Skene, Reg. The Cuchulain Plays of W. B. Yeats: A Study. New York: Columbia University Press, 1974.Google Scholar

Stanislavski, Constantin. Creating a Role. Trans. Reynolds Hapgood, Elizabeth. London: Methuen, 1981.Google Scholar

Staudenmaier, Peter. Occultism, Race and Politics in German-Speaking Europe, 1880–1940: A Survey of the Historical Literature. European History Quarterly, 39:1 (2009), 47–70.CrossRefGoogle Scholar

Stokes, John. Aspects of Bernhardt. Yearbook of English Studies 11 (1981), 143–60.CrossRefGoogle Scholar

Symons, Arthur. Plays, Acting and Music. London: Duckworth, 1903.Google Scholar

Symons, Arthur. Studies in Seven Arts. London: Archibald Constable & Co., 1906.Google Scholar

Szuts, Melinda. The Space-Minded Dramaturgy of W. B. Yeats in Theory and Practice: At the Hawk’s Well and the Dance Plays. International Yeats Studies, I:1 (2016), Article 11, 86–102.CrossRefGoogle Scholar

Taylor, Richard. The Drama of W. B. Yeats: Irish Myth and the Japanese Nō. New Haven, CT: Yale University Press, 1976.Google Scholar

Trigg, Dylan. Schopenhauer and the Sublime Pleasure of Tragedy. Philosophy and Literature, 28:1 (2004), 165–79.CrossRefGoogle Scholar

Tyndall, John. Address Delivered Before the British Association Assembled at Belfast. London: Longmans, Green & Co., 1874.Google Scholar

Ure, Peter. Yeats the Playwright: A Commentary on Character and Design in the Major Plays. London: Routledge and Kegan Paul, 1963.Google Scholar

Vendler, Helen. Yeats’s Vision and the Later Plays. Cambridge, MA: Harvard University Press, 1963.CrossRefGoogle Scholar

Wilson, Edmund. Axël’s Castle: A Study of the Imaginative Literature of 1870–1930. New York: Charles Scribner’s Sons, 1931.Google Scholar

Wilson, F. A. C. W. B. Yeats and Tradition. London: Methuen, 1958.Google Scholar

Worth, Katharine. The Irish Drama of Europe from Yeats to Beckett. London: Athlone Press, 1978.Google Scholar

Yeats, William Butler. At the Hawk’s Well and The Cat and the Moon: Manuscript Materials. Ed. Parkin, Andrew. Ithaca, NY: Cornell University Press, 2010.Google Scholar

Yeats, William Butler. Certain Noble Plays of Japan. From the Manuscripts of Ernest Fenollosa, Chosen and Finished by Ezra Pound. With an Introduction by William Butler Yeats. Churchtown: Cuala Press, 1916.Google Scholar

Yeats, William Butler. Collaborative One-Act Plays, 1901–1903: Cathleen ni Houlihan; The Pot of Broth; The Country of the Young; Heads or Harps: Manuscript Materials. Ed. Pethica, James. Ithaca, NY: Cornell University Press, 2006.Google Scholar

Yeats, William Butler. The Countess Cathleen: Manuscript Materials. Ed. Sidnell, Michael J. and Chapman, Wayne K.. Ithaca, NY: Cornell University Press, 1999.Google Scholar

Yeats, William Butler. Deirdre: Manuscript Materials. Ed. Bartholome Rohan, Virginia. Ithaca, NY: Cornell University Press, 2004.Google Scholar

Yeats, William Butler. The Dreaming of the Bones and Calvary: Manuscript Materials. Ed. Chapman, Wayne K.. Ithaca, NY: Cornell University Press, 2003.Google Scholar

Yeats, William Butler. Druid Craft: The Writing of the Shadowy Waters: Manuscripts of W.B. Yeats Transcribed, Edited and With A Commentary. Ed. Sidnell, Michael J., Mayhew, George P., and Clark, David R.. Amherst: University of Massachusetts Press, 1971.Google Scholar

Yeats, William Butler. Four Lectures by W. B. Yeats, 1902–1904. Ed. Londraville, Richard. Yeats Annual 8 (1991), 78–122.Google Scholar

Yeats, William Butler. Four Plays for Dancers. London: Macmillan, 1921.Google Scholar

Yeats, William Butler. ‘The Golden Helmet’ and ‘The Green Helmet’: Manuscript Materials. Ed. Hogan, William P.. Ithaca, NY: Cornell University Press, 2009.Google Scholar

Yeats, William Butler. The Herne’s Egg: Manuscript Materials. Ed. Armstrong, Alison. Ithaca, NY: Cornell University Press, 1993.Google Scholar

Yeats, William Butler [attrib.]. Is the Order of R. R. & A. C. to Remain a Magical Order? n.p., 1901.Google Scholar

Yeats, William Butler. The King of the Great Clock Tower and A Full Moon in March: Manuscript Materials. Ed. Cave, Richard Allen. Ithaca, NY: Cornell University Press, 2007.Google Scholar

Yeats, William Butler. The King’s Threshold: Manuscript Materials. Ed. Kiely, Declan. Ithaca, NY: Cornell University Press, 2005.Google Scholar

Yeats, William Butler. The Land of Heart’s Desire: Manuscript Materials. Ed. Curtis, Jared. Ithaca, NY: Cornell University Press, 2002.Google Scholar

Yeats, William Butler. Love and Death. 1884. https://library.bc.edu/iiif/view/MS1986_054_ref296Google Scholar

Yeats, William Butler. Memoirs: Autobiography – First Draft Journal. Ed. Donoghue, Denis. New York: Macmillan, 1972.Google Scholar

Yeats, William Butler. On Baile’s Strand: Manuscript Materials. Ed. Curtis, Jared and Kiely, Declan. Ithaca, NY: Cornell University Press, 2014.Google Scholar

Yeats, William Butler. The Only Jealousy of Emer and Fighting the Waves: Manuscript Materials. Ed. Winnett, Steven. Ithaca, NY: Cornell University Press, 2004.Google Scholar

Yeats, William Butler. A People’s Theatre: A Letter to Lady Gregory. The Irish Statesman, I:23 (Nov. 29, 1919), 547–9; and I:24 (6 Dec. 1919), 572–3.Google Scholar

Yeats, William Butler. Plays for an Irish Theatre. London: A. H. Bullen, 1911.Google Scholar

Yeats, William Butler. Purgatory: Manuscript Materials Including the Author’s Final Text. Ed. Siegel, Sandra F.. Ithaca, NY: Cornell University Press, 1986.Google Scholar

Yeats, William Butler. The Resurrection: Manuscript Materials. Ed. Curtis, Jared and Guinness, Selina. Ithaca, NY: Cornell University Press, 2011.Google Scholar

Yeats, William Butler. Uncollected Prose 2: Reviews, Articles and Other Miscellaneous Prose 1897–1939. Ed. Frayne, John P. and Johnson, Colton. New York: Columbia University Press, 1976.Google Scholar

Yeats, William Butler. Words Upon the Window Pane: Manuscript Materials. Ed. Fitzgerald, Mary. Ithaca, NY: Cornell University Press, 2002.Google Scholar

Yeats, William Butler and Moore, George. Diarmuid and Grania: Manuscript Materials. Ed. Mays, J.C. C.. Ithaca, NY: Cornell University Press, 2005.Google Scholar