Skip to main content Accessibility help
×
Hostname: page-component-77f85d65b8-8wtlm Total loading time: 0 Render date: 2026-04-12T04:56:13.026Z Has data issue: false hasContentIssue false

Dictionary

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

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

Haslett, T., ‘Blasted: On Reza Abdoh’s Tight, White, Right’, http://bidoun.org/articles/BlastedGoogle Scholar
Mufson, D. (ed.), Reza Abdoh (Baltimore, 1999)Google Scholar
Al-Saber, S., ‘Permission to Perform: Palestinian Theatre in Jerusalem (1967–1993)’, unpublished dissertation (University of Washington, 2013)Google Scholar
Abyad, J., al-Masrah al-Misri fi Mi’at ‘am, Ayyam Lan Yusdal ‘Alayha al-Sitar (Cairo, 1970)Google Scholar
Boenisch, P. M., ‘Re-Membering the Demos: Dramaturgies of Facts and Affects in Contemporary Performance’, Peripeti Tidsskirft for Dramaturgiske Studier, Special Issue (2019): 209–20Google Scholar
Amine, K., ‘The Re-invention of Storytelling Tradition in Moroccan Theater from Postcolonial Hybridity to Women’s Empowerment’, in Rahimi, B. (ed.), Theater in the Middle East: Between Performance and Politics (London, 2020)Google Scholar
Fertat, O., Le Théâtre marocain à l’épreuve du texte étranger (Bordeaux, 2018)Google Scholar
Smith Fisher, I., Making Avant-Garde Theatre in the 1970s (Ann Arbor, 2014)Google Scholar
Sullivan, D., ‘Playwright vs. Director: Who Has the Last Word?’, Los Angeles Times, 10 February 1985, www.latimes.com/archives/la-xpm-1985-02-10-ca-3301-story.htmlGoogle Scholar
Solomon, R. H., Albee in Performance (Bloomington, 2010)CrossRefGoogle Scholar
Alfreds, M., Different Every Night: Freeing the Actor (London, 2011)Google Scholar
Alfreds, M., Then What Happens? Storytelling and Adaptation for the Theatre (London, 2013)Google Scholar
Billington, M., ‘Bumper Crop in This Orchard’, The Guardian, 12 December 1985, www.mckellen.com/stage/00088.htmGoogle Scholar
Radosavljević, D. (ed.), The Contemporary Ensemble (Abingdon and New York, 2013)CrossRefGoogle Scholar
Savaşkan, T., ‘Tepebaşı Deneme Sahnesi’nden Üç Oyun ve Mekânsal Yapı: Adsız Oyun, Cesaret Ana ve Çocukları, Marat-Sade’, in Özaydın, G. (ed.), Mekânsallik: Sanat Üretiminde Eşzamanlilik Durumu (Istanbul, 2020)Google Scholar
Mukherji, P. D. (ed.), Ebrahim Alkazi Directing Art: The Making of a Modern Indian Art World (New Delhi, 2016)Google Scholar
Paul, R., ‘Exit the King’, Enact 89 (May 1974)Google Scholar
Dutt, B., ‘Actress Stories: Binodini and Amal Allana’, in Aston, E. and Case, S. (eds.), Staging International Feminisms (London, 2007)Google Scholar
Kapur, A., ‘Reassembling the Modern: An Indian Theatre Map since Independence’, in Bhatia, N. (ed.), Modern Indian Theatre: A Reader (Oxford and Delhi, 2009)Google Scholar
Abdelkader Collectif, En mémoire du futur: pour Abdelkader Alloula (Paris, 1997)Google Scholar
Amine, K. and Carlson, M., The Theatres of Morocco, Algeria and Tunisia: Performance Traditions of the Maghreb (Basingstoke, 2012)CrossRefGoogle Scholar
Foox, S., Namer Boer (Burning Tiger) – Nissim Aloni (Tel Aviv, 2008)Google Scholar
Yerushalmi, D., Through Directing: On Directors in the Israeli Theatre (Tel Aviv, 2012)Google Scholar
Alonso, E., ‘Mi vida y el teatro’, Revista de la Universidad de México 510 (1993): 54–9Google Scholar
Alonso, J. L., Teatro de cada día: escritos sobre teatro, ed. by Hormigón, J. A. (Madrid, 1991)Google Scholar
Espert, N. and Ordóñez, M., De aire y fuego. Memorias (Madrid, 2002)Google Scholar
Tiatco, S. A. P., ‘“My American Dream”: Dreaming of Broadway and the West End in the Philippines’, in MacDonald, L. and Everett, W. (eds.), The Palgrave Handbook of Musical Theatre Producers (New York, 2019)Google Scholar
Figueira, J. L. (ed.), Contemporary Portuguese Theatre: Experimentalism, Politics and Utopia [Working Title] (Lisbon, 2017)Google Scholar
Lambert, G., Mainly about Lindsay Anderson: A Memoir (London, 2000)Google Scholar
Sutton, P. (ed.), Lindsay Anderson: The Diaries (London, 2005)Google Scholar
Grehn, S., Dom stökar och bråkar och kastar sten (Gothenburg, 2020)Google Scholar
Billington, M., ‘Three Sisters – Review’, The Guardian, 14 September 2012Google Scholar
Hamilton, M., ‘Genet’s “Rituals of the Oppressed” and the Main Stage: Benedict Andrews’s The Maids at Sydney Theatre Company’, Contemporary Theatre Review 28.4 (2018): 445–60CrossRefGoogle Scholar
Winet, E. D., Indonesian Postcolonial Theatre: Spectral Genealogies and Absent Faces (Basingstoke, 2010)CrossRefGoogle Scholar
Antoine, A., Memories of the Théâtre Libre (Miami, 1964)Google Scholar
Chothia, J., André Antoine (Cambridge, 1991)Google Scholar
Jullien, J., Le Théâtre vivant (Paris, 1892)Google Scholar
Tait, P. (ed.), The Great European Stage Directors 1: Antoine, Stanislavski, Saint-Denis (London, 2018)Google Scholar
Appia, A., La Mise en scène du drame wagnérien (Paris, 1895)Google Scholar
Appia, A., Die Musik und die Inscenierung (Munich, 1899)Google Scholar
Beacham, R. C., Adolphe Appia: Artist and Visionary of the Modern Theatre (London, 2014)CrossRefGoogle Scholar
Brandstetter, G. and Wiens, B., Theater ohne Fluchtpunkt. Das Erbe Adolphe Appias: Szenographie and Choreographie im zeitgenössischen Theater (Berlin, 2010)Google Scholar
Garcia, S., ‘Do Sagrado ao Profano: O Percurso do Teatro da Vertigem, uma análise sobre o trabalho do grupo’, in Netroviski, A. (ed.), Teatro da Vertigem: Trilogia Bíblica (São Paulo, 2002)Google Scholar
Andersson, I., ‘Rasande och roligt om ras på Unga Klara’, Expressen, 9 March 2015Google Scholar
Arias, L., A Kingdom, a Country or a Wasteland, in the Snow in BAiT: Buenos Aires in Translation, trans. by J. Graham-Jones (New York, 2007)Google Scholar
Graham-Jones, J. (ed.), Lola Arias: Re-enacting Life (Aberystwyth, 2019)Google Scholar
Davidson, H., ‘Q&A on #MeToo: Actors Use Sexual Energy to Connect, Neil Armfield Says’, The Guardian, 29 October 2018Google Scholar
Maxwell, I., ‘Neil Armfield’, in Mitter, S. and Shevstova, M. (eds.), Fifty Key Theatre Directors (London and New York, 2007)Google Scholar
Artaud, A., Theatre and Its Double, trans. by M. C. Richards (New York, 1958)Google Scholar
Eörsi, L., ‘Megbombáztuk Kaposvárt’: A kaposvári Csiky Gergely Színház és a kultúrpolitika (Budapest, 2013)Google Scholar
Al-Mufraji, A. F., Haqqi ash-Shibli, Ra‘id al-Masrah al-Iraqi (Baghdad, 1985)Google Scholar
Cohen, M. I., Komedie Stamboel, Popular Theater in Colonial Indonesia, 1891–1903 (Athens, Ohio, 2006)CrossRefGoogle Scholar
Abdelhameed, H., ‘Jawad al-Assadi’s Women in War: Troubling, Troubled and Troublesome Female Refugees’, Arab Stages 7 (2017)Google Scholar
Myers, R., ‘Blood on Both Hands: Jawad al Assadi’s Baghdadi Bath’, PAJ 89 (2008): 108–11Google Scholar
Mrad, N. Abou, Al Masraḥ al-Lubnani fi al-Qarn ʻIshrin: Tarikh – Qaḍaya – Tajarub – Aʻlam (Beirut, 2002)Google Scholar
Assaf, R., Fi al-‘Amal al-Masraḥ wa al-Siasi fi Lubnan (Beirut, 2007)Google Scholar
Ziter, E., Political Performance in Syria: From the Six-Day War to the Syrian Uprising (New York, 2015)CrossRefGoogle Scholar
Editors of the Encyclopedia Itaú Cultural, ‘Alcides Nogueira’, in Enciclopédia Itaú Cultural de Arte e Cultura Brasileira (São Paulo, 2022), http://enciclopedia.itaucultural.org.br/pessoa207332/alcides-nogueiraGoogle Scholar
Coelho, R. P., ‘La aventura del Teatro Independiente en Portugal’, ADE Teatro: Revista de la Asociación de Directores de Escena de España 181 (2020): 105–11Google Scholar
Serôdio, M. H., Joaquim Benite: Desafiou Próspero… e inscreveu o mundo no seu teatro (Almada, 2013)Google Scholar
Vasques, E., Porto, C., and Machado, C. A. (eds.), Fragmentos da memória – teatro independente em Portugal (1974–1994), Catálogo da exposição realizada no âmbito dos Encontros Acarte (Lisbon, 1994)Google Scholar
Axer, E., Notatki z pracy, ed. by Rabińska, A. (Warsaw, 2017)Google Scholar
Azzopardi, M., It-Teatru f’Malta (Malta, 2003)Google Scholar
Galea, M., ‘Who Gets to Represent the Past and Why Should They Bother? Maltese Political Theatre in the 1980s’, in Aragay, M., Botham, P., and Prado, J. R. (eds.), World Political Theatre and Performance: Theories, Histories, Practices (Leiden, 2020)Google Scholar
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
Olguín, D. (ed.), Un siglo de teatro en México (Mexico City, 2011)Google Scholar
de Almeida Silva, I., ‘Antonio Cadengue: pathos e esclarecimento’, in Cadengue, A. E., TAP: Sua cena & sua sombra: o teatro de amadores de Penambuco (1941–1991) (Pernambuco, 2016)Google Scholar
Moura, I., ‘Antonio Cadengue comemora 50 anos de vida com trabalho’, in ‘Antônio Cadengue, uma vida no palco’, Primeiro Teatro blogspot, July 2014, https://tinyurl.com/ykz5sarhGoogle Scholar
Caird, J., Theatre Craft (London, 2010)Google Scholar
Coveney, M., Ken Campbell: The Great Caper (London, 2011)Google Scholar
Campodónico, C., El vestuario se apolilló: una historia del Teatro El Galpón (Montevideo, 1999)Google Scholar
Figueira, J. L. (ed.), Contemporary Portuguese Theatre: Experimentalism, Politics and Utopia [Working Title] (Lisbon, 2017)Google Scholar
Gates, A., ‘Lydia Review: Amid Lives Gone Awry, a Struggle to Be Heard’, The New York Times, 13 February 2009Google Scholar
Walsh, I. R., ‘Irish Theatre: A Director’s Theatre’, in Jordan, E. and Weitz, E. (eds.), The Palgrave Handbook of Contemporary Irish Theatre and Performance (London, 2018)Google Scholar
Chapple, F. and Kattenbelt, C. (eds.), Intermediality in Theatre and Performance (Amsterdam, 2006)CrossRefGoogle Scholar
Perrot, E., Guy Cassiers (Arles, 2017)Google Scholar
Castellucci, C., Uovo di bocca (Turin, 2000)Google Scholar
Castellucci, C., Setta: Scuola di tecnica drammatica (Macerata, 2015)Google Scholar
Kelleher, J. et al., The Theatre of Socìetas Raffaello Sanzìo (Abingdon, 2007)CrossRefGoogle Scholar
Kelleher, J. et al., The Theatre of Socìetas Raffaello Sanzio (Abingdon, 2007)CrossRefGoogle Scholar
Pingarrón, G., Todo es teatro: la vida en el arte de Julio Castillo (Sinaloa, 2012)Google Scholar
Detje, R., Castorf: Provokation aus Prinzip (Berlin, 2002)Google Scholar
Earnest, S., ‘Frank Castorf at the Volksbühne am Rosa Luxembourg Platz: Alienation Techniques and the Use of Mediated Material on the Live Stage’, Theatre Symposium 19 (2011): 41–53CrossRefGoogle Scholar
Eilers, D. L., Irmer, T., and Müller, H. (eds.), Castorf (Berlin, 2016)Google Scholar
Pradenas, L., Teatro en Chile, huellas y trayectorias XVI–XX (Santiago, 2006)Google Scholar
Catani, B., Acercamientos a lo real. Textos y Escenarios, ed. by Cornago, O. (Buenos Aires, 2007)Google Scholar
Valiño, O., Ágora: escenas de Argos Teatro (Matanzas, 2017)Google Scholar
Chaikin, J., The Presence of the Actor: Notes on the Open Theater, Disguises, Acting, and Repression (New York, 1980)Google Scholar
Joseph Chaikin’, interview with L. Diamond, Bomb 68, 1 July 1999, https://bombmagazine.org/articles/joseph-chaikin/Google Scholar
Azparren Giménez, L., ‘Román Chalbaud: el realismo crítico en el teatro venezolano de los sesenta’, Latin American Theatre Review 33.2 (2000): 21–41Google Scholar
Gokhale, S. (ed.), The Theatre of Veenapani Chawla – Theory, Practice and Performance (New Delhi, 2014)Google Scholar
Forsyth, A. and Megson, C. (eds.), Get Real: Documentary Theatre Past and Present (Basingstoke, 2009)CrossRefGoogle Scholar
Autant-Mathieu, M.-C. and Meerzon, Y. (eds.), The Routledge Companion to Michael Chekhov (Abingdon, 2015)Google Scholar
Fleming, C. and Cornford, T. (eds.), Michael Chekhov in the Twenty-First Century: New Pathways (London, 2020)CrossRefGoogle Scholar
Fancy, D., ‘Patrice Chéreau’, in Delgado, M. M. and Rebellato, D. (eds.), Contemporary European Theatre Directors (Abingdon, 2020)Google Scholar
Goy-Blanquet, D., Shakespeare in the Theatre: Patrice Chéreau (London, 2019)Google Scholar
Kozinn, A., ‘Patrice Chéreau, Opera, Stage and Film Director, Dies at 68’, The New York Times, 7 October 2013Google Scholar
Chowdhry, N. M., ‘Unpeeling the Layers within Oneself’, interview with A. Katyal, Seagull Theatre Quarterly 17 (1998): 3–22Google Scholar
Lupu, M. and Ciulei, L., Cu Gândiri si cu Imagini – With Thoughts and Images (Bucharest, 2009)Google Scholar
Rand, H. C., ‘Liviu Ciulei’s “Restoring Theatricality to the Art of Theatre”’, Slavic and East European Performance 14.2 (1994): 32–3Google Scholar
Ciulli, R., Bartula, M., and Schroer, S., On Improvisation: Nine Conversations with Roberto Ciulli, ed. by Maufort, M. (Brussels, 2003)Google Scholar
Wewerka, A. and Tinius, J. (eds.), Der fremde Blick: Roberto Ciulli und das Theater an der Ruhr (Berlin, 2020)Google Scholar
Clurman, H., The Fervent Years: The Group Theatre and the 30’s (New York, 1975)Google Scholar
Clurman, H., On Directing (New York, 1997)Google Scholar
Williams, J., Jean Cocteau (Manchester, 2006)Google Scholar
Leal, J. E., ‘Companhia Rey Colaço-Robles Monteiro’, in Vasconcelos, A. I. and Brilhante, M. J. (eds.), Coleção de Biografias do Teatro Português, vol. III (Lisbon, 2016)Google Scholar
Rollie, E., ‘“And We Are Here:” Performance, Reality, and Canadian National Identity in Electric Company Theatre’s Tear the Curtain!’, Theatre Annual 68 (2015): 22–40Google Scholar
Copeau, J., Anthologie inachevée à l’usage des jeunes générations (Paris, 2012)Google Scholar
Copeau, J. and Jouvet, L., Correspondance 1911–49 (Paris, 2013)Google Scholar
Evans, M., Jacques Copeau (London, 2007)Google Scholar
Als, H., ‘Eight Hours of, Like, Life’, The New Yorker, 23 January 2013, www.newyorker.com/culture/culture-desk/eight-hours-of-like-lifeGoogle Scholar
‘About Pavol and Kelly’, The Herb Alpert Award in the Arts, 2013, https://herbalpertawards.org/artist/about-pavol-kellyGoogle Scholar
Isherwood, C., ‘Just the Gist of a Star-Crossed Tale’, The New York Times, 20 December 2009, www.nytimes.com/2009/12/21/theater/reviews/21romeo.htmlGoogle Scholar
Malzacher, F., ‘Discomforts, Obstacles, and Artistic Infidelities: The Theatre of Kelly Copper and Pavel Liska’, in Malzacher, F. (ed.), Life and Work of Nature Theater of Oklahoma (Berlin, 2019)Google Scholar
Ford, K., The Theater of Revisions in the Hispanic Caribbean (New York, 2017)CrossRefGoogle Scholar
Boggio, M., Orazio Costa: Maestro del teatro (Turin, 2008)Google Scholar
Piazza, L. (ed.), L’acrobata dello spirito: I quaderni inediti di Orazio Costa (Corazzano, 2018)Google Scholar
Cockin, K., Edith Craig and the Theatres of Art (London, 2017)CrossRefGoogle Scholar
Fisher, J., ‘“The First Woman Stage-Manager”: Edy Craig and the Pioneer Players’, New England Theatre Journal 8 (1997): 73–94Google Scholar
Craig, E. G., On the Art of the Theatre (Abingdon, 2009)Google Scholar
Innes, C., Edward Gordon Craig: A Vision of Theatre (Amsterdam, 1998)Google Scholar
Lyons, C. R., ‘Gordon Craig’s Concept of the Actor’, Educational Theatre Journal 16.3 (1964): 258–69CrossRefGoogle Scholar
Maxwell, I. (ed.), A Raffish Experiment: The Selected Writings of Rex Cramphorn (Strawberry Hills, 2009)Google Scholar
Coelho, R. P., ‘The Living Museum of My Generation’s Failure: On the Living Museum of Small, Forgotten and Unwanted Memories by Joana Craveiro/Teatro do Vestido’, Critical Stages, The IACT journal/Revue web de l’AICT 12 (2015)Google Scholar
Coelho, R. P., ‘The Geographic and Affective Territories of Comédias do Minho and Teatro do Vestido’, in Coelho, R. P. (ed.), Contemporary Portuguese Theatre: Experimentalism, Politics and Utopia [Working Title] (Lisbon, 2017)Google Scholar
Cruz, U., ‘O espírito voador do boi’, in Pantaleão e as vistadoras (São Paulo, 1990)Google Scholar
Michalski, Y., ‘Ulysses Cruz’, in Pequena enciclopédia do teatro brasileiro contemporâneo (unpublished, 1989)Google Scholar
Voi Voador’, in Encyclopédia Itaú Cultural de Arte e Cultura Brasileira (São Paulo, 2024), http://enciclopedia.itaucultural.org.br/grupo399391/boi-voadorGoogle Scholar
Cunill Cabanellas, A., Función social del teatro (Santa Fe, Argentina, 1939)Google Scholar
Schóo, E., ‘Homenaje a un auténtico maestro’, La Nación, 11 March 2006Google Scholar
Cinpoieş, N., ‘“Pyramus and Thisbe 4 You”, or a “Wondrous Strange” Tale of Contemporary Romanian Shakespeare’, Arrêts sur scène 1 (2012): 117–25Google Scholar
Runcan, M., Habarnam in Oraşul Teatrului: Universul Spectacolelor lui Dabija (Bucharest, 2010)Google Scholar
Lesser, W., A Director Calls: Stephen Daldry and the Theatre (Berkeley, 1997)Google Scholar
‘Daniel Leon’, in Encyclopaedia of Bulgarian Theatre, 2nd edn (Sofia, 2008)Google Scholar
Janbazov, S., ‘Words for Leon Daniel’, kultura.bg, 16 February 2017Google Scholar
Papazov, B., ‘Leon Daniel and His Theatre’, Homoludens 14 (2009), https://homoludens.bg/articles/leon-daniel-i-negoviqt-teatarGoogle Scholar
Laera, M., ‘Emma Dante and Fausto Paravidino: Families, National Identity, and International Audiences’, in Delgado, M. M., Lease, B., and Rebellato, D. (eds.), Contemporary European Playwrights (London and New York, 2020)Google Scholar
Porcheddu, A. (ed.), Emma Dante: Palermo dentro (Civitella di Val Chiana, 2010)Google Scholar
Daulte, J., ‘Juego y compromiso, el procedimiento’, Conjunto 136 (April–June 2005): 50–56Google Scholar
Blanc, N., ‘El teatro no debe anhelar la perfección’, La Nación, 31 October 2009Google Scholar
Frayn, M., Copenhagen (BBC Worldwide: Burbank, 2016)Google Scholar
Hare, D., The Secret Rapture (Foxvideo: Beverly Hills, 1993)Google Scholar
Mansur, N., ‘Luis de Tavira: el privilegio de la primera lectura’, Conjunto: Revista de Teatro Latinoamericano 108 (January–March 1998): 98–100Google Scholar
Suárez, P., ‘Entrevista con Luis de Tavira: el teatro y la identidad’, Universidad de México: Revista de la Universidad Nacional Autónoma de México 88 (2011): 83–6Google Scholar
Van Kerkhoven, M., ‘Focus Jan Decorte: Het theater en het leven’, Kaaitheaterbulletin 09 (2001)Google Scholar
Wambacq, J. (ed.), Tis of tisni: Over Jan Decorte (Brussels, 2017)Google Scholar
Delgado, M., ‘Misogyny on Trial: Miguel del Arco’s Verbatim Production Offers a New Trial for “La manada”’, The Theatre Times, 7 April 2019, bit.ly/4fVbyikGoogle Scholar
Czaczka, D., ‘Rosie Dennis: Curating the Gold Coast’s Cultural Future’, We Are Goldcoast, 3 July 2021Google Scholar
Cornford, T., Theatre Studios: A Political History of Ensemble Theatre-Making (Abingdon, 2021)Google Scholar
Wardle, I., The Theatres of George Devine (London, 1978)Google Scholar
Dexter, J., The Honourable Beast: A Posthumous Autobiography (London, 1993)Google Scholar
Carretero, J. M., ‘El Caballero Audaz’, in Galeria: más de cien vidas extraordinarias contadas por sus protagonistas, vol. I (Madrid, 1943)Google Scholar
Menéndez Onrubia, C., El dramaturgo y los actores: epistolario de Benito Pérez Galdós, María Guerrero y Fernando Díaz de Mendoza (Madrid, 1984)Google Scholar
Dicker/sun, G., African American Theatre: A Companion (Cambridge, 2008)Google Scholar
Long, K. Y., ‘The Black Feminist Theatre of Glenda Dickerson’, in Perkins, K. A., Richards, S. L., Craft, R. A., and DeFrantz, T. F. (eds.), The Routledge Companion to African American Theatre and Performance (Abingdon, 2018)Google Scholar
Coveney, M., ‘Belgrade International Theatre Festival: Half a Century of Uniting Europe’, The Stage, 13 October 2016Google Scholar
Williams, S., ‘Franz von Dingelstedt’, in Dictionary of Literary Biography (Detroit, 1993)Google Scholar
Télam, ‘A 40 años de la muerte del director Armando Discépolo’, La Nueva (Bahía Blanca), 8 January 2011, www.lanueva.com/nota/2011-1-8-9-0-0-a-40-anos-de-la-muerte-del-director-armando-discepoloGoogle Scholar
Donnellan, D., The Actor and the Target, 2nd edn (London, 2005)Google Scholar
Reade, S., Cheek by Jowl: Ten Years of Celebration (London, 1991)Google Scholar
Sher, A. and Doran, G., Woza Shakespeare! Titus Andronicus in South Africa (London, 1997)Google Scholar
Dultz, S. (ed.), Die Münchner Kammerspiele mit Dieter Dorn und Michael Wachsmann: Schauspieler, Regisseure, Aufführungen, 1976 bis 2001 (Munich, 2001)Google Scholar
Poppek, Y., Was ist ein Dorn? Die Shakespeare-Inszenierungen des Theaterregisseurs Dieter Dorn (Munich, 2006)Google Scholar
Lonergan, P., ‘Shakespearean Productions at the Abbey Theatre, 1970–1985’, in Morse, D. E. (ed.), Irish Theatre in Transition (London, 2015)Google Scholar
Dresen, A., Wieviel Freiheit braucht die Kunst? Reden, Briefe, Verse, Spiele 1964 bis 1999 (Berlin, 2000)Google Scholar
Guntner, J. L. and McLean, A. M. (eds.), Redefining Shakespeare: Literary Theory and Theater Practice in the German Democratic Republic (Newark and London, 1998)Google Scholar
Hamburger, M., ‘“Are You a Party in This Business?” Consolidation and Subversion in East German Shakespeare Productions’, Shakespeare Survey 48 (1996): 171–84CrossRefGoogle Scholar
Dromgoole, D., Hamlet Globe to Globe (London, 2018)Google Scholar
The Globe Collection (Opus Arte: London, 2019)Google Scholar
DeHart, S., The Meininger Theater 1776–1926 (Ann Arbor, 1981)Google Scholar
Grube, M., The Story of the Meininger (Miami, 1963)Google Scholar
Koller, A. M., The Theater Duke: Georg II of Saxe-Meiningen and the German Stage (Stanford, 1984)Google Scholar
Osborne, J., The Meiningen Court Theatre 1866–1890 (Cambridge, 1988)Google Scholar
Dutt, U., Towards a Revolutionary Theatre (Kolkata, 1982)Google Scholar
Dutt, U., Interview with S. Bandyopadhyay, in Nath, R. (ed.), Contemporary Indian Theatre: Interviews with Playwrights and Directors (Delhi, 1989)Google Scholar
Crow, B. and Galea, M., ‘The Maltese Janus: Francis Ebejer and His drama’, World Literature Today 77.1 (2003): 24–9CrossRefGoogle Scholar
Fitz-Simon, C., The Boys: A Double Biography (London, 1994)Google Scholar
Pilný, O., van den Beuken, R., and Walsh, I. R. (eds.), Cultural Convergence: The Dublin Gate Theatre, 1928–1960 (London, 2020)Google Scholar
Gardiner, J., ‘Oleg Efremov: The Heir to Stanislavsky’, in Skinner, A. (ed.), Russian Theatre in Practice: The Director’s Guide (London, 2019)Google Scholar
Efros, A., The Joy of Rehearsal: Reflections on Interpretation and Practice, trans. by J. Thomas (New York, 2006)Google Scholar
Golub, S., ‘Acting on the Run: Efros and the Contemporary Soviet Theatre’, Theatre Quarterly 21 (1977): 18–28Google Scholar
Zimmerman, R., ‘Biography of Atom Egoyan’, 2018, www.egofilmarts.com/bio.htmlGoogle Scholar
Rusdi, F., Al-fannan ʻAziz ʻEid (Cairo, 1984)Google Scholar
Einarsson, S., A People’s Theatre Comes of Age: A Study of the Icelandic Theatre 1860–1920 (Reykjavík, 2008)Google Scholar
Christie, I. and Taylor, R. (eds.), Eisenstein Rediscovered (London, 1993)Google Scholar
Eisenstein, S., Writings, 1922–1934, ed. and trans. by R. Taylor (London, 2010)Google Scholar
Law, A. and Gordon, M., Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia (Jefferson, North Carolina, 1996)Google Scholar
Kindermann, H., Conrad Ekhofs Schauspieler-Akademie (Vienna, 1956)Google Scholar
Engel, E., Schriften Über Theater und Film (Berlin, 1971)Google Scholar
Marx, P. W., Hamlets Reise nach Deutschland (Berlin, 2018)Google Scholar
Earnest, S. and King, M., ‘Schauspiel Leipzig under Wolfgang Engel’, special sections in Western European Stages 13.2 and 13.3 (2001)Google Scholar
Raab, M., Wolfgang Engel (Frankfurt am Main, 1991)Google Scholar
Escobar, L., ‘La dirección escénica de una obra teatral’, Revista Nacional de Educación 53 (1943): 85–9Google Scholar
Escobar, L., En cuerpo y alma: memorias (Madrid, 2000)Google Scholar
Cruz, J. C., Nuria (Madrid, 2007)Google Scholar
Espert, N. and Ordóñez, M., De aire y fuego: memorias (Madrid, 2002)Google Scholar
Tiatco, S. A. P., Entablado: Theaters and Performances in the Philippines (Quezon City, 2015)Google Scholar
Tiatco, S. A. P., ‘Staging the Banality of Social Evil: Faust in/and Philippine Contemporary Social Politics’, in Tan, M. and Rajendran, C. (eds.), Performing Southeast Asia: Performance, Politics and the Comtemporary (Cham, 2020)Google Scholar
Etchells, T., Certain Fragments (London, 1999)Google Scholar
American Theatre Editors, ‘Oskar Eustis Wins 2019 Margo Jones Award’, American Theatre, 19 March 2019, www.americantheatre.org/2019/03/19/oskar-eustis-wins-2019-margo-jones-award/Google Scholar
Eustis, O., ‘Commentary: Imagine – Slowly and Stubbornly’, American Theatre 19.1 (2002): 10–11Google Scholar
Green, A., ‘Inside the High-Drama Life of Hamilton Impresario Oskar Eustis’, Vogue, 24 February 2016, www.vogue.com/article/oskar-eustis-public-theater-artistic-directorGoogle Scholar
Paulson, M., ‘Hamilton and Heartache: Living the Unimaginable’, The New York Times, 13 October 2016, www.nytimes.com/2016/10/16/theater/oskar-eustis-public-theater.htmlGoogle Scholar
Golub, S., Evreinov: The Theatre of Paradox and Transformation (Ann Arbor, 1984)Google Scholar
Eyre, R., National Service: Diary of a Decade at the National Theatre (London, 2003)Google Scholar
Eyre, R., What Do I Know? People, Politics and the Arts (London, 2014)Google Scholar
Van den Dries, L., Corpus Jan Fabre: Observations of a Creative Process (Ghent, 2006)Google Scholar
‘ROBERT FALLS’, American Theatre 18.6 (2001): 32Google Scholar
Goodman Theatre, ‘Artist Bio’, 2003, www.goodmantheatre.org/artists/robert-falls/Google Scholar
Maley, P., ‘Desire under Dylan: Robert Falls, Bob Dylan, and the Domestic Tragedy of Eugene O’Neill’, The Eugene O’Neill Review 37.1 (2016): 21–40Google Scholar
Zehme, B., ‘Robert Falls: The Goodman Theatre Artistic Director on Five-Hour Plays and Cleaning Toilets’, Chicagomag.com, 22 February 2017, www.chicagomag.com/chicago-magazine/march-2017/robert-falls/Google Scholar
Brantley, B., ‘Review: “Nirbhaya”, a Lamentation and a Rallying Cry for Indian Women’, The New York Times, 17 May 2015Google Scholar
Marlowe, S., ‘Yaël Farber: “Directing Is Asking People to Run Full Speed into a Wall with You”’, The Stage, 24 August 2017, https://tinyurl.com/m3uhx9sGoogle Scholar
Barnett, D., Rainer Werner Fassbinder and the German Theatre (Cambridge, 2005)Google Scholar
Elsaesser, T., Fassbinder’s Germany (Amsterdam, 1996)CrossRefGoogle Scholar
Ahrens, G. (ed.), Das Theater des deutschen Regisseurs Jürgen Fehling (Berlin, 1985)Google Scholar
Marx, P. W., Macht Spiele. Politisches Theater seit 1919 (Berlin, 2020)Google Scholar
Braunmüller, R., Oper als Drama: Das realistische Musiktheater Walter Felsensteins (Tübingen, 2002)CrossRefGoogle Scholar
Fuchs, P. P. (ed.), The Music Theatre of Walter Felsenstein: Collected Articles, Speeches and Interviews by Walter Felsenstein and Others (New York, 1975)Google Scholar
Felsenstein, W., ‘10 Jahre Komische Oper’, Das Schönste, 1957Google Scholar
Fernán Gómez, F., El tiempo amarillo. Memorias 1945–1987 (Madrid, 1990)Google Scholar
‘Fernando Fernán-Gómez y el teatro: un largo desencuentro’, El País, 21 November 2007, bit.ly/4frXnl7Google Scholar
Armbrust, R., ‘Fichandler Speech Empowers Soul of the Artist’, Back Stage 43.12 (2002): 3Google Scholar
List, M. D. and Fichandler, Z., ‘An Interview with Zelda Fichandler’, Group 3.4 (1979): 236–54CrossRefGoogle Scholar
‘History of Arena Stage: Where American Theatre Lives’, www.arenastage.org/globalassets/about-us/history-of-arena-stage-.pdfGoogle Scholar
Flimm, J., Theatergänger: Begegnungen und Situationen (Göttingen, 2004)Google Scholar
Iden, P., Jürgen Flimm (Frankfurt, 1996)Google Scholar
Farrell, J., Dario Fo and Franca Rame: Theatre, Politics, Life (London, 2019)Google Scholar
Mitchell, T., Dario Fo: The People’s Court Jester (London, 2014)Google Scholar
Foreman, R., Unbalancing Acts: Foundations for a Theater (New York, 1992)Google Scholar
Cummings, S., Maria Irene Fornes (Abingdon, 2013)Google Scholar
Delgado, M. M. and Svich, C. (eds.), Conducting a Life: Reflections on the Theatre of Maria Irene Fornes (Lyme, 1999)Google Scholar
Robinson, M. (ed.), The Theater of Maria Irene Fornes (Baltimore, 1999)Google Scholar
Losco-Lena, M., La Scène symboliste (1890–1896): pour un théâtre spectral (Grenoble, 2010)Google Scholar
Quirot, O., Alain Françon. La Voie des textes (Arles, 2015)Google Scholar
Whitton, D., ‘Chekhov/Bond/Françon: The Seagull Interpreted by Alain Françon and Edward Bond’, Contemporary Theatre Review 17.2 (2007): 142–8CrossRefGoogle Scholar
Tatinge Nascimento, C., After the Long Silence: The Theater of Brazil’s Post-Dictatorship Generation (Abingdon, 2019)CrossRefGoogle Scholar
Grosse, B. (ed.), Schauspielhaus Zürich 2009–2019 (Berlin, 2019)Google Scholar
Heine, M., ‘Barbara Frey, die Grenzgängerin im neuen Team der Schaubühne’, Die Welt, 6 March 1999Google Scholar
Muscionico, D., ‘Auch die irische Gastfreundschaft ist ein irischer Witz’, Neue Zürcher Zeitung, 18 May 2019Google Scholar
Muscionico, D., ‘Ich war zwischendurch auch wütend. Barbara Frey ist melancholisch, nimmt Abschied und windet dem Zürcher Publikum ein Kränzchen’, Neue Zürcher Zeitung Feuilleton, 26 June 2019Google Scholar
Becker, T., ‘Bühnen-Anarchist unter Volldampf’, Der Spiegel, 18 May 2011Google Scholar
Savran, D., ‘The World According to Herbert Fritsch’, TDR: The Drama Review 67.2 (2023): 142–60CrossRefGoogle Scholar
Wiens, B., ‘Hamlet and the Virtual Stage: Herbert Fritsch’s hamlet_X’, in Chapple, F. and Kattenbelt, C. (eds.), Intermediality in Theatre and Performance (Amsterdam, 2006)Google Scholar
Davis, C., ‘Play in Polish Theatre Accused of Inciting Audience to Murder’, The Guardian, 23 June 2017, bit.ly/3UXrI2IGoogle Scholar
Radosavljević, D., ‘Oliver Frljić Interviewed by Duška Radosavljević’, Contemporary Theatre Review Interventions 28.2 (2018), bit.ly/3UZK0QWGoogle Scholar
Fuchs, G., Revolution in the Theatre: Conclusions Concerning the Munich Artists’ Theatre (Stuttgart, 1909)Google Scholar
Senda, A., ‘Artist Interview: Revealing the Inner World of Young Women with Scenes Repeated as Refrains’, Performing Arts Network Japan, 8 December 2011, https://performingarts.jpf.go.jp/en/article/6985/Google Scholar
Tanaka, N., ‘Top Young Dramatist Urges Theater toward Key Role in Nation’s Cultural Life’, The Japan Times, 11 June 2014Google Scholar
Fukuda, T., Gekijō eno Shōtai (Tokyo, 1957)Google Scholar
Kishi, T. and Bradshaw, G., Shakespeare in Japan (New York, 2005)Google Scholar
Niki, H., Shakespearean Translation in Japanese Culture (Tokyo, 1984)Google Scholar
Fulleda León, G., Resistencia e Cimarronaje (La Habana, 2006)Google Scholar
Durland, S., ‘The Future Is Now: Kyoto’s Dumb Type’, High Performance #50 8.2 (1990), artmap, https://artmap.com/pompidoumetz/exhibition/dumb-type-2018?Google Scholar
Zuluaga, A. R. (dir.) ¿Por qué no hacemos una obra?, documentary, Universidad de los Andes 2014Google Scholar
Loaiza, Y., ‘¡Felices 90 años, Santiago García!’, El Tiempo, 19 December 2018, https://tinyurl.com/mu54yp4hGoogle Scholar
Cruz, J., ‘Muere en París el director teatral Víctor García’, El País, 30 August 1982, p. 32.Google Scholar
O’Donnell, P., ‘Un genio olvidado’, Revista Ñ, Clarin, 29 March 2017Google Scholar
Whitton, D., ‘Víctor García’, in Stage Directors in Modern France (Manchester, 1987), pp. 163–79Google Scholar
Lorca, F. García, Obras completas, vol. IV, ed. by García-Posada, M. (Barcelona, 1996)Google Scholar
Archivio Filotectes, ‘Emilio García Wehbi’, n.d., https://archivofiloctetes.com.ar/en/bio/emilio-garcia-wehbi-2/Google Scholar
Alternativa Teatral, ‘Dolor Exquisito’, n.d., www.alternativateatral.com/obra9754-dolor-exquisitoGoogle Scholar
Cioffe, K., ‘A Shakespeare Theatre Like No Other’, Theatre 46.1 (2016): 79–90Google Scholar
Kamelia, N., ‘Javor Gardev’s Theatre and Theatre Text’, Art Studies Quarterly 3 (2021): 14–21Google Scholar
Brantley, B., ‘For Colored Girls’ Review: Ntozake Shange’s Women Endure’, The New York Times, 22 October 2019Google Scholar
Isherwood, C., ‘Born Bad Review: Unspeakable Truth, Unspoken’, The New York Times, 8 April 2011Google Scholar
Burnim, K., David Garrick, Director (Pittsburgh, 1961)Google Scholar
Ritchie, L., David Garrick and the Mediation of Celebrity (New York and Cambridge, 2019)CrossRefGoogle Scholar
Gaskill, W., A Sense of Direction: Life at the Royal Court (London, 1988)Google Scholar
Gaskill, W., Words into Action: Finding the Life of the Play (London, 2010)Google Scholar
Cremona, V. A., ‘Anthony Neilson’s Stitching and the High Moral Ground: A Case Study from Malta’, in O’Leary, C., Sánchez, D. Santos, and Thompson, M. (eds.), Global Insights on Theatre Censorship (New York, 2016), pp. 245–58Google Scholar
Afzal-Khan, F., A Critical Stage: The Role of Secular Alternative Theatre in Pakistan (Kolkata, 2005)Google Scholar
Pamment, C., ‘Pakistan’, in Fliotsos, A. L. and Vierow, W. (eds.), International Women Stage Directors (Champaign, 2013)Google Scholar
Jesenko, P., ‘Redatelj koji vlada scenom: Branko Gavella i modernizacija slovenskog kazališta’, Dani Hvarskoga kazališta: Građa i rasprave o hrvatskoj književnosti i kazalištu 39.1 (2013): 384–410Google Scholar
Petlevski, S., ‘An Early Concept of the Theatre of Interplay: The Relevance of Branko Gavella’s Theory for the Development of Performance Philosophy’, Performance Philosophy Journal 3.1 (2017): 216–32Google Scholar
Coutelet, N., Firmin Gémier: Le Démocrate du théâtre (Paris, 2008)Google Scholar
Ginkas, K. and Freedman, J., Provoking Theater: Kama Ginkas Directs (Lyme, New Hampshire, 2003)Google Scholar
Grehan, H. and Eckersall, P. (eds.), ‘We’re People Who Do Shows’: Back to Back Theatre (Aberystwyth, 2013)Google Scholar
Johnston, D. W., Up the Mainstream: The Rise of Toronto’s Alternative Theatres (Toronto, 1991)Google Scholar
Goebbels, H., ‘“It’s All Part of One Concern”: A Keynote to Composition as Staging’, in Rebstock, M. and Roesner, D. (eds.), Composed Theatre: Aesthetics, Practices, Processes (Bristol, 2012), pp. 111–20Google Scholar
Goebbels, H., Aesthetics of Absence (Abingdon and New York, 2015)CrossRefGoogle Scholar
Carlson, M., Goethe and the Weimar Theatre (Ithaca, New York, 1978)Google Scholar
Meech, A., Classical Theatre and the Formation of a Civil Society, 1720–1832’, in Williams, S. and Hamburger, M. (eds.), A History of German Theatre (Cambridge, 2008)Google Scholar
Sharpe, L., ‘Goethe and the Weimar Theatre’, in Sharpe, L. (ed.), The Cambridge Companion to Goethe (Cambridge, 2008)Google Scholar
Gómez-Peña, G., ‘Documented/Undocumented’, trans. by R. Martinez, in Simonson, R. and Walker, S. (eds.), Multicultural Literacy: Opening the American Mind (St Paul, 1988)Google Scholar
Paseo Project, ‘La Pocha Nostra: The Living Museum of Fetishized Identities’, 2020, https://paseoproject.org/portfolio/la-pocha-nostra/Google Scholar
Agencia de Noticias Univalle, ‘El bosque sobre el bosque, presente en la FILBO’, 22 April 2022, www.univalle.edu.co/lo-que-pasa-en-la-u/el-bosque-sobre-el-bosque-presente-en-la-filboGoogle Scholar
González, A., ‘Un agitador del teatro caleño’, Gaceta, 22 November 2009Google Scholar
Chambers, C., Other Spaces: New Theatre and the RSC (London, 1980)Google Scholar
Schafer, E., Ms-Directing Shakespeare: Women Direct Shakespeare (London, 1998)Google Scholar
Hockenbrink, T., Theater ohne Ende: Die Theaterarbeit des Regisseurs Jürgen Gosch (Berlin, 2014)Google Scholar
Tigges, S., Jürgen Gosch – Johannes Schütz: Theater (Bielefeld, 2020)Google Scholar
Berg, K., ‘Dimiter Gotscheff: The Fine Art of Political Spectacle’, Theatre Forum 32 (2008): 3–12Google Scholar
Eilers, D. L., Caesar, C., and Müller, H. (eds.), Dimiter Gotscheff: Dunkel das uns blendet (Berlin, 2013)Google Scholar
Granville Barker, H., The Exemplary Theatre (Boston, 1922)Google Scholar
Granville Barker, H., Granville Barker on Theatre: Selected Essays, ed. by Chambers, C. and Nelson, R. (London, 2017)CrossRefGoogle Scholar
Mazer, C. M., ‘Harley Granville Barker’, in Mazer, C. M. (ed.), Great Shakespeareans, 15: Poel, Granville Barker, Guthrie, Wanamaker (London, 2013)CrossRefGoogle Scholar
Demme, J. (dir.), A Master Builder (Los Angeles: Westward Productions and The Ibsen Project, 2013)Google Scholar
Gregory, A. and London, T., This Is Not My Memoir (New York, 2020)Google Scholar
Kleine, C. (dir.), Andre Gregory: Before and After Dinner (The Cinema Guild: New York, 2013)Google Scholar
Malle, L. (dir.), Vanya on 42nd Street (Sony: New York, 1994)Google Scholar
Shawn, W. and Gregory, A., My Dinner with Andre: A Screenplay for the Film by Louis Malle (New York, 1981)Google Scholar
Lady Gregory, , Our Irish Theatre: A Chapter of Autobiography (London, 1913)Google Scholar
Griffero, R., ‘Manifiesto para un teatro autónomo’, in de Toro, A. (ed.), 3 obras de Ramón Griffero (Santiago, 1992)Google Scholar
Opazo, C., ‘Chanas, flaytes y maricones’, in Opazo, C. (ed.), Pedagogías letales: ensayo sobre dramaturgias chilenas del nuevo milenio (Santiago, 2011)Google Scholar
Gies, D., Theatre and Politics in Nineteenth-Century Spain: Juan de Grimaldi as Impresario and Government Agent (Cambridge, 1988)CrossRefGoogle Scholar
Gies, D., ‘Grimaldi, Vega y el Teatro Español (1849)’, in Vilanova, Antonio (ed.), Actas del X Congreso Internacional de Hispanistas, vol. II (Barcelona, 1992)Google Scholar
Grossman, J., ‘Svět malého divadlo’, Divadlo 14.7 (1963): 13–22Google Scholar
Grossman, J., Mezi literaturou a divadlem (Prague, 2013)Google Scholar
Grossman, J., ‘Svět malého divadlo’, in Vostrý, J. (ed.), Jan Grossman k českému divadlu 20. století (Prague, 2021), pp. 137–55Google Scholar
Grotowski, J., Towards a Poor Theatre (Holstebro, 1968)Google Scholar
Schechner, R. and Wolford, L. (eds.), The Grotowski Sourcebook (London, 1997)Google Scholar
Dermutz, K., Klaus Michael Grüber: Passagen und Transformationen (Berlin, 2008)Google Scholar
Kreuder, F., Formen des Erinnerns im Theater Klaus Michael Grübers (Berlin, 2002)Google Scholar
Locke, S., ‘Klaus Michael Grüber’, TDR: The Drama Review 21.2 (1977): 45–58Google Scholar
Blubacher, T., Gustaf Gründgens (Leipzig, 2013)Google Scholar
Gründgens, G., ‘Auf der Suche nach dem Gesicht des Theaters’, in Reden zum Theater auf Jahreshauptversammlung des Deutschen Bühnenvereins (Stuttgart, 1948)Google Scholar
Michalzik, P., Gustaf Gründgens: Der Schauspieler und die Macht (Munich, 2001)Google Scholar
Morawiec, E., Jerzy Grzegorzewski: mistrz światła i wizji (Kraków, 2006)Google Scholar
Sugiera, M., Między tradycją a awangardą: Teatr Jerzego Grzegorzewskiego (Kraków, 1993)Google Scholar
Gual, A., ‘L’art escènic i el drama wagnerià’, in l’Associació Wagneriana Conferències donades a l’Associació Wagneriana (1902–1906), vol. 1 (Barcelona, 2008), pp. 115–44Google Scholar
Guidi, C., La voce in una foresta di immagini invisibili (Milan, 2017)Google Scholar
Guiela Nguyen, C. and Charon, A., Un théâtre cardiaque (Arles, 2023)Google Scholar
Martínez, M., Memorias: Juan José Gurrola (México, 2007)Google Scholar
Barker, R. and Cornford, T., ‘Tyrone Guthrie’, in Pitches, J. (ed.), The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie (London, 2019)Google Scholar
Forsyth, J., Tyrone Guthrie: A Biography (London, 1976)Google Scholar
Guthrie, T., Theatre Prospect (London, 1932)Google Scholar
Guthrie, T., A New Theatre (New York, 1964)Google Scholar
Shaughnessy, R., ‘Tyrone Guthrie’, in Mazer, C. (ed.), Great Shakespeareans, 15: Poel, Granville Barker, Guthrie, Wanamaker (London, 2013)Google Scholar
Bravo Elizondo, P., ‘Eugenio Guzmán’, Latin American Theatre Review 22.2 (1989): 30Google Scholar
Jain, I., ‘Feminist Processes and Performance: Interventions in Anamika Haksar’s Antar Yatra’, Theatre Research International 42.3 (2017): 333–41CrossRefGoogle Scholar
Buchmuller, E., Squat Theatre (New York, 1996)Google Scholar
Najmányi, L., Downtown Blues: Halász Péter emlékére (Budapest, 2006)Google Scholar
Yerushalmi, D., Through Directing: On Directors in the Israeli Theatre (Tel Aviv, 2013)Google Scholar
Fay, S., Power Play: The Life and Times of Peter Hall (London, 1995)Google Scholar
Goodwin, J. (ed.), The Peter Hall Diaries (Hamilton, 2000)Google Scholar
Hall, P., The Autobiography of Peter Hall: Making an Exhibition of Myself (London, 2000)Google Scholar
McNulty, C., ‘Appreciation: Remembering Theater Director and Royal Shakespeare Founder Peter Hall, Who Turned Language into Life’, Los Angeles Times, 12 September 2017Google Scholar
Shenton, M., ‘Mark Shenton: Peter Hall Is the Model for Today’s Theatre Leaders’, The Stage, 13 September 2017Google Scholar
Shim, J.-S., ‘Female Trance in Han Tae-Sook’s Production of Lady Macbeth’, New Theatre Quarterly 25.1 (2009): 63–71CrossRefGoogle Scholar
Beaumann, S., The Royal Shakespeare Company: A History of Ten Decades (Oxford, 1982)Google Scholar
Chambers, C., Inside the Royal Shakespeare Company: Creativity and the Institution (London, 2004)CrossRefGoogle Scholar
Amine, K., Dancing on the Hyphen: Essays on Arab Theater (Tangier, 2019)Google Scholar
Fertat, O., Le Théâtre marocain a l’épreuve du texte étranger (Bordeaux, 2018)Google Scholar
Hasegawa, K., Chiiki to Engeki Hirosaki Gekijō no Sanjūnen (Sapporo, 2008)Google Scholar
Nakanishi, O., ‘Hasegawa Kōji: Introduction’, trans. by M. Boyd, in Half a Century of Japanese Theater: Volume IX 1990s Part 3 (Tokyo, 2007)Google Scholar
Brown, M., Modernism and the Scottish Stage since 1969: A Revolution on Stage (Basingstoke, 2019)Google Scholar
Coveney, M., The Citz: 21 Years of the Glasgow Citizens Theatre (London, 1990)Google Scholar
Rosenberg, T., ‘En permanent revolution’, in Malmborg, I. Von (ed.), Scenljus: Porträtt av sex Stockholmsteatrar (Stockholm, 2002)Google Scholar
Yerushalmi, D., ‘Ofira Henig’, Jewish Women’s Archive, https://jwa.org/encyclopedia/article/henig-ofiraGoogle Scholar
Haberlik, C., Regie-Frauen: Ein Männerberuf in Frauenhand (Berlin, 2010)Google Scholar
Die Welt‚ ‘Spezialist für Experimente: Volker Hesse’, 21 October 1999, www.welt.de/print-welt/article594222/Spezialist-fuer-Experimente-Volker-Hesse.htmlGoogle Scholar
Sucher, C. B., Theaterlexikon: Autoren, Regisseure, Schauspieler, Dramaturgen, Bühnenbildner, Kritiker (Munich, 1995)Google Scholar
Erken, G., Hansgünther Heyme: Regie im Theater (Frankfurt, 1989)Google Scholar
Heyme, H., ‘Antigone in Calcutta: A Director’s Notes’, Theater 11.3 (1980): 54–8CrossRefGoogle Scholar
Marx, P. W. and Müller, H. (eds.), Theater! Arbeit! Heyme! (Berlin, 2015)Google Scholar
García, M. G., Un hombre de teatro. Modesto Higueras: el maestro y la asamblea (Madrid, 2006)Google Scholar
Hilar, K. H., O divadle (Prague, 2002)Google Scholar
Rutte, M. (ed.), K. H. Hilar (Prague, 1936)Google Scholar
Dillmann, M., Heinz Hilpert: Leben und Werk (Berlin, 1990)Google Scholar
Hilpert, H., Vom Sinn und Wesen des Theaters in unserer Zeit (Hamburg, 1947)Google Scholar
Moll, S., ‘The Spectre of Louis Riel: Opera, Archive, and the Silent Witness’, Canadian Theatre Review 174 (2018): 52–5CrossRefGoogle Scholar
Nothof, A., ‘Peter Hinton’, Canadian Theatre Encyclopedia, 2018, www.canadiantheatre.com/dict.pl?term=Hinton%2C%20PeterGoogle Scholar
Hirata, O., Gendai Kōgo Engeki no Tame ni (Tokyo, 1995)Google Scholar
Poulton, M. C., ‘The Rhetoric of the Real’, in Jortner, D., McDonald, K., and Wetmore, K. J. Jr. (eds.), Modern Japanese Theatre and Performance (Lanham, Maryland, 2006)Google Scholar
Poulton, M. C., ‘Introduction’, in Poulton, M. C. (ed.), Citizens of Tokyo: Six Plays (New York, 2019)Google Scholar
Bottoms, S. and Goulish, M. (eds.), Small Acts of Repair: Performance, Ecology and Goat Island (Abingdon, 2007)Google Scholar
Smiding, B., Den stora mekanismen – i Holm/Möllers Vasasagan (Lund, 2006)Google Scholar
Waaranperä, I., ‘Vasasagan en lysande bragd’, Dagens Nyheter, 22 March 1998Google Scholar
Zern, L., ‘Ett blad vänds i svensk teater’, Dagens Nyheter, 27 September 1993Google Scholar
Holmberg, K., Vasen suora (Helsinki, 1999)Google Scholar
Holmberg, K., Viimeinen erä. Kirjoituksia teatterista ja elämästä (Helsinki, 2010)Google Scholar
Liu, S., ‘Hong Shen and Adaptation of Western Plays in Modern Chinese Theater’, Modern Chinese Literature and Culture 27.2 (2015): 106–71Google Scholar
Lehmann, H.-T., Postdramatic Theatre, trans. by K. Jürs-Munby (London and New York, 2006)CrossRefGoogle Scholar
Wallace, C., The Theatre of David Greig (London, 2013)CrossRefGoogle Scholar
Bai, R., ‘Dances with Brecht: Huang Zuolin and His “Xieyi” Theatre’, Comparative Drama 33.3 (1999): 339–64CrossRefGoogle Scholar
Chunfang Fei, F., ‘Huang Zuolin: Michael Chekhov’s Link to China’s Modern Theatre’, New Theatre Quarterly 22.3 (2006): 235–48Google Scholar
Huang, Z., ‘Fusing Revolutionary Realism with Revolutionary Romanticism’, TDR: The Drama Review 38:2 (1994): 18–28Google Scholar
Grene, N., ‘An Interview with Garry Hynes’, Irish University Review 45.1 (2015): 117–25CrossRefGoogle Scholar
Troupe, S., ‘From Druid/Murphy to DruidMurphy’, in Grene, N. and Morash, C. (eds.), The Oxford Handbook of Modern Irish Theatre (Oxford, 2016)Google Scholar
Hytner, N., Balancing Acts: Behind the Scenes at the National Theatre (London, 2017)Google Scholar
al-Saber, S., ‘Permission to Perform: Palestinian Theatre in Jerusalem (1967–1993)’, unpublished dissertation (University of Washington, 2013)Google Scholar
Iffland, A. W., Meine theatralische Laufbahn (Stuttgart, 1976)Google Scholar
von Wiese, B., Karl Immermann (Bad Homburg, 1969)Google Scholar
Infante, M., ‘Cristo: cuaderno de notas’, Apuntes 130 (2008): 9–14Google Scholar
Jeftanovic, A., ‘Manuela Infante: la antidramaturga’, in de la Luz Hurtado, M. and Barría, M. (eds.), Antología: un siglo de dramaturgia chilena 1910–2010, vol. IV (Santiago, 2010)Google Scholar
Hughes, A., Henry Irving, Shakespearean (Cambridge, 1981)Google Scholar
Richards, J., Sir Henry Irving: A Victorian Actor and His World (London, 2005)Google Scholar
Pamment, C., ‘Pakistan’, in Fliotsos, A. L. and Vierow, W. (eds.), International Women Stage Directors (Chicago, 2013)Google Scholar
Iwai, H., Yakkaina Otoko (Tokyo, 2018)Google Scholar
Suzuki, R., ‘Artist Interview: Stay-at-Home Reclusiveness Is the Central Theme, the Mixed Up Plots and Humor in Hideto Iwai’s Plays’, Performing Arts Network Japan, 6 September 2011, https://performingarts.jpf.go.jp/en/article/6999/Google Scholar
Beaumann, S., The Royal Shakespeare Company: A History of Ten Decades (Oxford, 1982)Google Scholar
Brook, P., The Empty Space (London, 1968)Google Scholar
Trewin, J. C., The Birmingham Repertory Theatre 1913–1963 (London, 1963)Google Scholar
Carlson, M., ‘Introduction: The Tunisian Revolution and after in the World of Jalila Baccar and Fadhel Jaïbi’, in Baccar, J. and Jaïbi, F., The Trilogy of Future Memory, ed. and trans. by M. Carlson (New York, 2015)Google Scholar
Djedidi, H., Le Théâtre Tunisien dans tous ses états (Hammam-Sousse, 2003)Google Scholar
ʻAbd al-Ḥamīd, S., al-Masraḥ al-ʻIraqi fī Miʼat ʻAm (Baghdad, 2013)Google Scholar
Lukan, B. et al., Name: Readymade (Ljubljana and Berlin, 2008)Google Scholar
Guczalska, B., Jerzy Jarocki – artysta teatru (Kraków, 1999)Google Scholar
Djedidi, H., Le Théâtre Tunisien dans tous ses états (Hammam-Sousse, 2003)Google Scholar
Sándor, I. L., ‘Kontrasztok. Jeles András színházi rendezései’, Metropolis 4 (2004): 74–86Google Scholar
Schuller, G., ‘A színészi test Jeles András rendezéseiben’, in Imre, Z. (ed.), Alternatív színháztörténetek: Alternatívok és alternatívák (Budapest, 2008)Google Scholar
Bluth, K. T., Leopold Jessner (Berlin, 1928)Google Scholar
Boenisch, P., Directing Scenes and Senses: The Thinking of Regie (Manchester, 2015)CrossRefGoogle Scholar
Heilmann, M., Leopold Jessner: Intendant der Republik: der Weg eines deutsch-jüdischen Regisseurs aus Ostpreussen (Tübingen, 2005)Google Scholar
Jessner, L., Schriften: Theater der zwanziger Jahre, ed. by Fetting, H. (Berlin, 1979)Google Scholar
Min, S., Lai, Z., and Yu, S.-L., ‘A Chinese Director’s Theory of Performance: On Jiao Juyin’s System of Directing’, Asian Theatre Journal 20.1 (2003): 25–42Google Scholar
Rajendran, C., Takiguchi, K., and Nge, C. (eds.), Excavations, Interrogations, Krishen Jit & Contemporary Malaysian Theatre (Kuala Lumpur and Singapore, 2018)Google Scholar
Rowland, K., Krishen Jit: An Uncommon Position (Singapore, 2003)Google Scholar
Cattarulla, K., ‘“I’m Doing It, Darling!”: Dallas, Margo Jones, and Inherit the Wind’, Legacies, a History Journal for Dallas and North Central Texas 16.2 (2004): 39–47Google Scholar
Sheehy, H., ‘Jones, Margaret Virginia’, Texas State Historical Association, https://tshaonline.org/handbook/online/articles/fjo59Google Scholar
Spencer, C., ‘A Disgraceful Dream’, Daily Telegraph, 23 February 2002Google Scholar
Atkinson, B., ‘Standard Jones, Designer’, The New York Times, 22 June 1941Google Scholar
Brown, K., ‘The Dream Medium: Robert Edmond Jones’ Theatre of the Future’, International Journal of Performance Arts and Digital Media 12.1 (2016): 1–10CrossRefGoogle Scholar
, A. and Hostetter, E., ‘Robert Edmond Jones: Theatre and Motion Pictures, Bridging Reality and Dreams’, Theatre Symposium 19 (2001): 26–40Google Scholar
Elsam, P., Stephen Joseph: Theatre Pioneer and Provocateur (London, 2014)CrossRefGoogle Scholar
Joseph, S., Theatre in the Round (London, 1967)Google Scholar
Millington, B., Jackson, A., and Fielding, A. (eds.), Remembering Stephen Joseph: Theatre Visionary and Pioneer (Leeds, 2019)Google Scholar
Rosenberg, T., Mästarregissören (Stockholm, 2017)Google Scholar
Wade, L. A. (ed.), Slovene Theatre and Drama Post Independence: Four Plays by Slovene Playwrights (Oxford, 2007)Google Scholar
Kupres, R., ‘Zaborav, najveća sreća čovekova’, Glas Javnosti, 29 December 1999Google Scholar
Kamińska, I., My Life, My Theater, trans. by C. Leviant (London and New York, 1973)Google Scholar
Wróblewski, A., Ida Kamińska: 50 lat pracy artystycznej (Warsaw, 1967)Google Scholar
Bharucha, R., The Theatre of Kanhailal: Pebet and Memoirs of Africa (Calcutta, 1992)Google Scholar
Kanhailal, H., The Works of Heisnam Kanhailal. Theatre of the Earth: Essays and Interviews (Kolkata, 2016)Google Scholar
Kobialka, M., Further on, Nothing: Tadeusz Kantor’s Theatre (Minneapolis, 2009)Google Scholar
Pleśniarowicz, K., The Dead Memory Machine: Tadeusz Kantor’s Theatre of Death (London, 2000)Google Scholar
Jain, I., ‘Feminist Exploration of Material Objects in Anuradha Kapur’s Jeevit Ya Mrit’, Theatre Research International 45.3 (2020): 332–6CrossRefGoogle Scholar
Paul, R. (ed.), Contemporary Indian Theatre: Interviews with Playwrights and Directors (New Delhi, 1989)Google Scholar
Remembering Karanth’, Theatre India 6 (November 2002): 117–35Google Scholar
Riantiarno, N. (ed.), Teguh Karya & Teater Populer 1968–1993 (Jakarta, 1993)Google Scholar
Baer, W. (ed.), Elia Kazan: Interviews (Jackson, 2000)Google Scholar
Kazan, E., Elia Kazan: A Life (New York, 1988)Google Scholar
Schoch, R., Shakespeare’s Victorian Stage (Cambridge, 1998)Google Scholar
Fensham, R., ‘Making Mythopoetic Theatre: Jenny Kemp as Director of an Imaginary Future-Past-Present’, Australasian Drama Studies (2004): 52–64Google Scholar
Tait, P., with contributions from V. Gillot et al., Converging Realities: Feminism in Australian Theatre (Sydney, 1994)Google Scholar
Dobkin, M., ‘On the Nose’, n.d., https://tinyurl.com/33mbbzc3Google Scholar
Anan, N., ‘Theatre of Kishida Rio: Towards Re-signification of “Home” for Women in Asia’, in Madhavan, A. (ed.), Women in Asian Performance: Aesthetics and Politics (New York, 2017)Google Scholar
Kishida, R. and Phelan, P., ‘The Contemporary Body’, Australian Feminist Studies 10.21 (1995): 21–30Google Scholar
Tanigawa, M., ‘Introduction’, trans. by C. Sorgenfrei, in Half a Century of Japanese Theater. Volume IV 1980s Part 2 (Tokyo, 2002)Google Scholar
Tonooka, N., ‘The Limits of Speech: Kishida Rio’s Thread Hell’, Women & Performance: A Journal of Feminist Theory 12.1 (2001): 151–65Google Scholar
Radosavljević, D., Theatre-Making: Interplay between Text and Performance in the 21st Century (Basingstoke, 2013)CrossRefGoogle Scholar
Klata, J., H. (Narodowy Instytut Audiowizualny: Warsaw, 2006)Google Scholar
Pawłowski, R., ‘Tow. Horodniczy’, Gazeta Wyborcza 89, 15 April 2003, p. 14Google Scholar
Dosio, C., El Payró: cincuenta años de teatro independiente (Buenos Aires, 2003)Google Scholar
Rajendran, C. and Gough, R. (eds), Changing Places: Drama Box and the Politics of Space (Aberystwyth, 2022)Google Scholar
Borovsky, V., A Triptych from the Russian Theatre: The Komissarzhevskys (London, 2001)Google Scholar
Borovsky, V., A Triptych from the Russian Theatre: The Komissarzhevskys (London, 2001)Google Scholar
Komissarzhevsky, T., Tvorchestvo aktera i teoriya Stanislavskogo (Petrograd, 1916)Google Scholar
Levin, D. J., ‘The Mise-en-scène of Mediation: Wagner’s Götterdämmerung (Stuttgart Opera, Peter Konwitschny, 2000–2005)’, Opera Quarterly 27.2 (2011): 219–34CrossRefGoogle Scholar
Welker, A. (ed.), Peter Konwitschny: “Mensch, Mensch, Mensch!” Oper als Zentrum der Gegenwart (Weitra, 2015)Google Scholar
Tehran Bureau Arts Correspondent, ‘Intimacy, Love and Separation in Contemporary Iranian Theatre’, The Guardian, 17 December 2013, https://tinyurl.com/r3htyb6jGoogle Scholar
Helavuori, H.-L. and Korhonen, K., Kiihottavasti totta (Helsinki, 2008)Google Scholar
Korhonen, K., Uhma vimma kaipaus. Muistiinpanoja työstä ja elämästä (Helsinki, 1993)Google Scholar
Feingold, M., ‘Triumph, the Stein Way’, Village Voice, 24 October 1974Google Scholar
Critchfield, R. D., From Shakespeare to Frisch: The Provocative Fritz Kortner (Heidelberg, 2008)Google Scholar
Kortner, F., Aller Tage Abend (Munich, 1959)Google Scholar
Völker, K., Fritz Kortner: Schauspieler und Regisseur (Berlin, 1993)Google Scholar
Mayer, M., O Karolos Koun kai to Theatro Technis (Athens, 2004)Google Scholar
Ziter, E., ‘Damascus Theatre Festival’, Theatre Journal 63.4 (2011): 623–6Google Scholar
Ziter, E., Political Performance in Syria: From the Six-Day War to the Syrian Uprising (Basingstoke, 2015)CrossRefGoogle Scholar
Carlson, M., ‘Andreas Kriegenburg: The Cabinet-Maker Director’, TheatreForum 39 (2011): 3–12Google Scholar
Dössel, C., ‘Porträt: Andreas Kriegenburg’, in 50 Regisseure im deutschsprachigen Theater, Goethe Institut, https://tinyurl.com/yjt3cj8eGoogle Scholar
Tiedtke, M., ‘Das Spiel im Spiel: Der Regisseur Andreas Kriegenburg’, in Tiedtke, M. and Schulte, P. (eds.), Die Kunst der Bühne: Positionen des Zeitgenössischen Theaters (Berlin, 2011)Google Scholar
O’Mahony, J., ‘Dmitry Krymov on Creating Opus No 7: “Chaos Is a Magnet”’, The Guardian, 5 May 2014Google Scholar
Thomas, J., ‘The Visual Poetics of Dmitry Krymov’s Theatre Laboratory’, Contemporary Theatre Review 21.3 (2011): 340–50CrossRefGoogle Scholar
Tan, B. L. (ed.), The Complete Works of Kuo Pao Kun – Volume Seven: Papers and Speeches (Singapore, 2005)Google Scholar
Tan, B. L. (ed.), The Complete Works of Kuo Pao Kun – Volume Six: Commentaries (Singapore, 2007)Google Scholar
Tan, B. L. (ed.), The Complete Works of Kuo Pao Kun – Volume Eight: Interviews (Singapore, 2011)Google Scholar
Diez, G., Gegenheimat: Das Theater des Martin Kušej (Vienna, 2002)Google Scholar
Diez, G. (ed.), Die Erde ist gewaltig schön, doch sicher ist sie nicht: Martin Kušej am Residenztheater München 2011–2019 (Munich, 2019)Google Scholar
Goddard, L., Contemporary Black British Playwrights: Margins to Mainstream (Basingstoke, 2015)CrossRefGoogle Scholar
Kwei-Armah, K., Plays: 1 (London, 2009)Google Scholar
Lai, S., ‘Statement about the Thirty-Seven-Fold Practice of a Bodhisattva’, Stage bill, Hong Kong Experimental Shakespeare Festival, 9 March 2000Google Scholar
Lilley, R., Staging Hong Kong: Gender and Performance in Transition (Honolulu, 1990)Google Scholar
Song, W., ‘Watching Edward Lam’, High Life, 1 July 2018, https://asiahighlife.com/covers/watching-edward-lam/Google Scholar
Hildebrand, W., ‘The Dramatic Theatre in the Netherlands’, Theatre Research International 27.2 (2002): 192–200CrossRefGoogle Scholar
Bogart, A. and Landau, T., The Viewpoints Book: A Practical Guide to Viewpoints and Composition (New York, 2005)Google Scholar
Lang, A., Abenteuer Theater, ed. by Linzer, M. (Berlin, 1987)Google Scholar
Rischbieter, H. (ed.), Durch den Eisernen Vorhang: Theater im geteilten Deutschland 1945 bis 1990 (Berlin, 1999)Google Scholar
Stuber, P., Spielräume und Grenzen: Studien zum DDR-Theater (Berlin, 1998)Google Scholar
Långbacka, R., Bland annat om Brecht: texter om teater (Helsinki, 1981)Google Scholar
Långbacka, R., Muun muassa Brechtistä. Tekstejä teatterista, trans. by K. Haikara (Helsinki, 1982)Google Scholar
Långbacka, R., Möten med Tjechov (Helsinki, 1986)Google Scholar
Långbacka, R., Kohtaamisia Tšehovin kanssa, trans. by Kristiina Lyytinen (Helsinki, 1987)Google Scholar
Långbacka, R., Tarttua kohtalon tuuliin (Helsinki, 2009)Google Scholar
Långbacka, R., Taiteellista teatteria etsimässä (Helsinki, 2011)Google Scholar
Langhoff, M., ‘Die Sehnsucht nach einem Theater des Asozialen’, Theater heute 1 (1981)Google Scholar
Walder, M., ‘Ich bin die Regel. Bis hierher und nicht weiter: Uraufführung von Thomas Braschs “Mercedes”’, Neue Zürcher Zeitung, 7 November 1983Google Scholar
Guntner, L. and McLean, A. (eds.), Redefining Shakespeare: Literary Theory and Theater Practice in the German Democratic Republic (Cambridge, 1998)Google Scholar
Pietzsch, I., Thomas Langhoff: Schauspieler, Regisseur, Intendant (Berlin, 1993)Google Scholar
Schütt, H.-D., Thomas Langhoff: Spielzeit Lebenszeit (Berlin, 2008)Google Scholar
Neubert-Herwig, C., Wolfgang Langhoff: Schauspieler, Regisseur, Intendant (Berlin, 1991)Google Scholar
Slevogt, E., Wolfgang Langhoff: Ein deutsches Künstlerleben im 20. Jahrhundert (Cologne, 2011)Google Scholar
Lapa, F., ‘Escola de Mulheres, 1995–2020’, Women on Scene 1 (2020): 62–7Google Scholar
Serôdio, M. H. and Fadda, S., ‘Fernanda Lapa – Modulações e intensidades de um teatro no feminino’, Sinais de Cena 5 (2021): 41–55Google Scholar
Lapine, J., ‘Writer/Director’, Performing Arts Journal 11.1 (1988): 54–5Google Scholar
Altmann, G., Heinrich Laubes Prinzip der Theaterleitung (Dortmund, 1908)Google Scholar
Laube, H., Schriften über das Theater, ed. by Stahl-Wisten, E. (Berlin, 1955)Google Scholar
Tindemans, K., ‘Exercises in Regicide: Dramaturgy and Space in Needcompany’s Versions of Shakespeare’, in Stalpaert, C., Le Roy, F., and Bousset, S. (eds.), No Beauty for Me There Where Human Life Is Rare: On Jan Lauwers’ Theatre Work with Needcompany (Ghent and Amsterdam, 2007)Google Scholar
Delgado, M. M., ‘Jorge Lavelli’, in Delgado, M. M. and Heritage, P. (eds.), In Contact with the Gods?: Directors Talk Theatre (Manchester, 1996)Google Scholar
Satgé, A., Jorge Lavelli. Des années soixante aux années Colline (Paris, 2006)Google Scholar
Tcherkaski, J., El teatro de Jorge Lavelli: El discurso del gesto (Buenos Aires, 1983)Google Scholar
Aguilera, J. C., La implementación del método en España (Madrid, 2017)Google Scholar
Layton, W., ¿Por qué? Trampolín del actor (Madrid, 2020)Google Scholar
Denemarková, R., Smrt, nebudeš se báti, aneb, Příběh Petra Lébla (Brno, 2008)Google Scholar
Smoláková, V., Fenomén Lébl 2 (Prague, 2005)Google Scholar
Smoláková, V. and Petružela, H., Petr Lébl 50 (Prague, 2015)Google Scholar
Savran, D., The Wooster Group, 1975–1985: Breaking the Rules (Ann Arbor, 1986)Google Scholar
Senelick, L., The Chekhov Theatre: A Century of the Plays in Performance (Cambridge, 1999)Google Scholar
Lee, Y., Four Contemporary Plays, trans. by D. Kim and R. Nichols (Lanham, 2007)Google Scholar
Coveney, M., The World According to Mike Leigh (London, 1996)Google Scholar
Raphael, A. (ed.), Mike Leigh on Mike Leigh (London, 2008)Google Scholar
Fricker, K., Robert Lepage’s Original Stage Productions: Making Theatre Global (Manchester, 2020)CrossRefGoogle Scholar
Poll, M., Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work (New York, 2018)CrossRefGoogle Scholar
Luiz, M., ‘Extremos’, Jornal do Brasil, 7 November 1986Google Scholar
Keehn, B., ‘Queensland Theatre (QT) Season 2022 Launch’, www.stagewhispers.com.au/news/queensland-theatre-qt-season-2022-launch-0Google Scholar
Lewis, L., Cross-Racial Casting: Changing the Face of Australian Theatre, Platform Papers, no. 13 (Redfern, 2007)Google Scholar
Checa, J., ‘Mujeres y teatro en la escena española actual: Angélica Liddell (1966) e Itziar Pascual (1967)’, Anales de la Literatura Española Contemporánea 36.2 (2011): 85–112Google Scholar
Valderrama, M., ‘The Thunder Inside’, PAJ: A Journal of Performance and Art 40.3 (2018): 51–4Google Scholar
Lagerroth, U. B., Regi i möte med drama och samhälle (Stockholm, 1978)Google Scholar
Lindberg, P., Kring ridån (Stockholm, 1932)Google Scholar
Österling, A., ‘Kung Lear på Dramatiska teatern’, Svenska Dagbladet, 7 December 1929Google Scholar
Lindtberg, L., Reden und Aufsätze, ed. by Jauslin, C. (Zürich, 1972)Google Scholar
Lindtberg, L., ‘Du weisst ja nicht, wie es in mir schäumt’: Schriften, Bilder, Dokumente, ed. by Leiser, E. (Zürich, 1985)Google Scholar
Metzger, N., ‘Alles in Szene setzen, nur sich selber nicht’: Der Regisseur Leopold Lindberg (Basel and Vienna, 2002)Google Scholar
Holdsworth, N, Joan Littlewood’s Theatre (Cambridge, 2015)Google Scholar
Littlewood, J., Joan’s Book: The Autobiography of Joan Littlewood (London, 2013)Google Scholar
García Ruiz, V., Teatro y fascismo en España: el itinerario de Felipe Lluch (Madrid and Frankfurt, 2010)CrossRefGoogle Scholar
Das Wunder der Heliane (Naxos: Hong Kong, 2018)Google Scholar
Lulu (Opus Arte: London, 2009)Google Scholar
Baltés, B., Cayetano Luca de Tena: itinerarios de un director de escena (1941–1991) (Madrid, 2014)Google Scholar
Kaufman, D., Ridiculous! The Theatrical Life and Times of Charles Ludlam (New York, 2002)Google Scholar
Ludlam, C., The Complete Plays (New York, 1989)Google Scholar
Marranca, B. and Dasgupta, G. (eds.), Theatre of the Ridiculous (Baltimore, 1998)Google Scholar
Deák, F., Symbolist Theater: The Formation of an Avant-Garde (Baltimore, 1993)Google Scholar
Robichez, J., Lugné-Poe (Paris, 1955)Google Scholar
Neziraj, J., ‘Theatre That Defeated Death’, Prishtina Insight, 6 August 2018, https://prishtinainsight.com/theater-that-defeated-death/Google Scholar
Beumers, B., Yury Lyubimov at the Taganka Theatre 1964–1994 (Amsterdam, 1997)Google Scholar
Gershkovich, A., The Theater of Yuri Lyubimov: Art and Politics at the Taganka Theater in Moscow, trans. by M. Yurieff (New York, 1989)Google Scholar
Ben-Shloos, A. and Dudi, M. (eds.), Acco Festival 1980–2009: Aromas of Alternative Theatre (Acre, 2009)Google Scholar
Walsh, I., ‘Directors and Designers since 1960’, in Grene, N. and Morash, C. (eds.), The Oxford Handbook of Modern Irish Theatre (Oxford, 2016)Google Scholar
Okanu, H., ‘Artist Interview: Weaving a Thread of the Supernatural into the Daily Lives of the Young Generation. The World of Playwright Tomohiro Maekawa and His Theater Company Ikiume’, Performing Arts Network Japan, 24 December 2008, https://performingarts.jpf.go.jp/en/article/6933/Google Scholar
Jakovljević, B., Alienation Effects: Performance and Self-Management in Yugoslavia, 1945–1991 (Ann Arbor, 2016)CrossRefGoogle Scholar
Beng, T. S., Bangsawan: A Social and Stylistic History of Popular Malay Opera (Singapore, 1993)Google Scholar
Cohen, M. I., Komedie Stamboel: Popular Theater in Colonial Indonesia, 1891–1903 (Athens, Ohio, 2006)CrossRefGoogle Scholar
Colao, A., Máiquez, discípulo de Talma (Cartagena, 1980)Google Scholar
Cotarelo y Mori, E., Isidoro Máiquez y el teatro de su tiempo (Madrid, 2009)Google Scholar
Malina, J., The Diaries of Judith Malina: 1947–1957 (New York, 1984)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
Horowitz, J., On My Way: The Untold Story of Rouben Mamoulian, George Gershwin, and Porgy and Bess (New York, 2013)Google Scholar
Luhrssen, D., Mamoulian: Life on Stage and Screen (Lexington, 2012)CrossRefGoogle Scholar
Callaghan, D., ‘Performance Review: “The Mai”’, Theatre Journal 49.3 (1997): 373–5Google Scholar
Mann, E., ‘In Conversation’, Theatre Topics 10.1 (2000): 1–16CrossRefGoogle Scholar
Birehanu, Z. and Plastow, J., ‘An Absurdist in Addis Ababa: Manyazawel Endeshaw’s Engida’, in Plastow, J. and Banham, M. (eds.), African Theatre 16: Six Plays from East & West Africa (Woodbridge, Suffolk, 2017)Google Scholar
Margules, L. and Obregón, R., Ludwik Margules: Memorias (Mexico, 2004)Google Scholar
Jans, E., Franz Marijnen (Brussels, 2002)Google Scholar
Marín, J. H., El Tiempo, 29 November 2013Google Scholar
Marowitz, C., The Marowitz Shakespeare (London, 1978)Google Scholar
Laages, M. and Behrens, W. (eds.), Fritz Marquardt: Wahrhaftigkeit und Zorn (Berlin, 2008)Google Scholar
Marsh, N., Black Beech and Honeydew: An Autobiography (Auckland, 1966)Google Scholar
Rahn, B. J. (ed.), Ngaio Marsh: The Woman and Her Work (Metuchen, New Jersey, and London, 1995)Google Scholar
Marsillach, A., Tan lejos, tan cerca (Barcelona, 1998)Google Scholar
Wheeler, D., Golden Age Drama in Contemporary Spain: The Comedia on Page, Stage and Screen (Cardiff, 2012)Google Scholar
Barnett, D., ‘Christoph Marthaler: The Musicality, Theatricality, and Politics of Postdramatic Direction’, in Delgado, M. M. and Rebellato, D. (eds.), Contemporary European Theatre Directors (Abingdon, 2020)Google Scholar
Dermutz, K., ‘Die einsamen Menschen sind die besonderen Menschen. Theaterkönig der Zwischenzeit: Ein Gespräch mit dem Schweizer Regisseur Christoph Marthaler’, Die Zeit, 5 September 1997Google Scholar
Merschmeier, M. and Wille, F., ‘Christoph Marthaler und Jossi Wieler: Da hat der Furz von Faust nicht gezündet’, Theater heute (1994)Google Scholar
Schorlies, W., Der Schauspieler, Regisseur, szenische Bühnenbauer und Theaterleiter Karl Heinz Martin: Versuch einer Biographie (Cologne, 1971)Google Scholar
Nandi, I., Teatro Oficina: onde a arte não dormia (Rio de Janeiro, 1989)Google Scholar
Nascimento, C. Tatinge, After the Long Silence: The Theater of Brazil’s Post-Dictatorship Generation (Abingdon, 2019)CrossRefGoogle Scholar
Underiner, T. L., Contemporary Theatre in Mayan Mexico: Death-Defying Acts (Austin, 2004)Google Scholar
Checa Puerta, J. E., Los teatros de Gregorio Martínez Sierra (Madrid, 1998)Google Scholar
Martínez Sierra, G., Un teatro de arte en España (Madrid, 1926)Google Scholar
Mason, P., ‘Brand Abbey’, Princeton University Library Chronicle 68.1–2 (2007): 583–98Google Scholar
Massalitinova, T. with Stefanova, K., As It Has Been Destined (Sofia, 1997)Google Scholar
Stefanova, K. (ed.), Contemporary Bulgarian Theatre, vol. I (Reading, 1998)Google Scholar
Rutter, K., ‘Review: Womb of Fire’, Weekend Special, 20 April 2018, https://weekendspecial.co.za/review-womb-of-fire/Google Scholar
Sarafina Magazine, ‘A Conversation with Sara Matchett’, 21 April 2018, https://sarafinamagazine.com/2018/04/25/a-conversation-with-sara-matchett/Google Scholar
Grunebaum, D., ‘A Japanese Director’s World Debut’, The New York Times, 26 May 2010Google Scholar
Suzuki, R., ‘Artist Interview: Affirmation of the Passive Life, the Realism of Shu Matsui’, Performing Arts Network Japan, 2 June 2011, https://performingarts.jpf.go.jp/en/article/6993/Google Scholar
Billington, M., ‘House’, The Guardian, 7 September 2001, www.theguardian.com/stage/2001/sep/07/theatre.artsfeatures2Google Scholar
Gorman, S., The Theatre of Richard Maxwell and the New York City Players (London, 2011)Google Scholar
Proyecto Tierra sin mal, 2022, http://tierrasinmal.com.py/Google Scholar
R. Maza, ‘“We Still Live in a Country That Is Fundamentally in Denial of Its History” – Rachel Maza on My Urrwai’, Performing Lines, www.performinglines.org.au/projects/my-urrwaiGoogle Scholar
‘Rachael Maza’, ILBIJERRI Theatre Company, www.ilbijerri.com.au/about/staffboardGoogle Scholar
‘Rachael Maza’, Opera Australia, https://opera.org.au/artists/rachael-mazaGoogle Scholar
‘Rachael Maza Voice’, RGM Artists, www.rgm.com.au/entertainment/rachael-mazaGoogle Scholar
Mafolo, K., ‘Theatremaker Mandla Mbothwe Excavates South African History to Heal Today’s Audiences’, Daily Maverick, 10 November 2021, bit.ly/4fBJ6C0Google Scholar
Sassen, R., ‘Biko’s Vision Reclaimed in Mandla Mbothwe’s Dance Work’, Mail & Guardian, 12 June 2015, https://tinyurl.com/2s3zksz5Google Scholar
Trinidad and Tobago Chamber of Industry and Commerce, Contact Magazine 13.3 (2013)Google Scholar
Fuchs, E., The Death of Character: Perspectives on Theater after Modernism (Bloomington, 2010)Google Scholar
Knapper, S., ‘Simon McBurney: Shifting under/Soaring over the Boundaries of Europe’, in Delgado, M. M. and Rebellato, D. (eds.), Contemporary European Theatre Directors, 2nd edn (Abingdon, 2020)Google Scholar
Evans, L., ‘The Hanging Man Review’, Theatre Journal 56.2 (2004): 317–19CrossRefGoogle Scholar
Radosavljević, D. (ed.), The Contemporary Ensemble: Interviews with Theatre-Makers (London, 2013)CrossRefGoogle Scholar
Radosavljević, D., ‘The Heterarchical Director: A Model of Authorship for the 21st Century’, in Boenisch, P., Bradby, D., and Williams, D. (eds.), Directors’ Theatre (London, 2020)Google Scholar
MacLennan, E., The Moon Belongs to Everyone: Making Popular Theatre with 7:84 (London, 1981)Google Scholar
McGrath, J., A Good Night Out. Popular Theatre: Audience, Class and Form (London, 1981)Google Scholar
Chandavarkar, B., ‘A Life in Theatre: Vijaya Mehta’, Theatre India 3 (May 2001): 98–110Google Scholar
Mehta, V., ‘Vijaya Mehta: An Interview by Shanta Gokhale’, in Paul, R. (ed.), Contemporary Indian Theatre (New Delhi, 1989)Google Scholar
Smith, C. A., Afro-Paradise: Blackness, Violence, and Performance in Brazil (Chicago, 2016)CrossRefGoogle Scholar
Mendes, S., ‘A Conversation with Sam Mendes’, interview by Peterhouse Cambridge, Peterhouse ITdept, 25 April 2018, bit.ly/4fwh1vYGoogle Scholar
Ferrari, R., Pop Goes the Avant-Garde: Experimental Theatre in Contemporary China (London, 2012)Google Scholar
Meng, J., Xianfeng Xiju Dang’an (Avant Garde Drama Archives) (Beijing, 1999)Google Scholar
Meng, J., Xinrui Xiju Dang’an (Experimental Theatre Archives) (Beijing, 2011)Google Scholar
Meng, J., I Love XXX and Other Plays, ed. by Conceison, C. (New York, 2017)Google Scholar
Shatz, A., ‘The Life and Death of Juliano Mer-Khamis’, London Review of Books 35.22 (2013)Google Scholar
Viala, A. and Mesguich, D., Le Théâtre (Paris, 2011)CrossRefGoogle Scholar
Braun, E., A Revolution in Theatre (Iowa, 1995)Google Scholar
Posner, D., The Director’s Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde (Evanston, Illinois, 2016)CrossRefGoogle Scholar
wa Thiong’o, N., Decolonising the Mind: The Politics of Language in African Literature (Harare, 1986)Google Scholar
Romain, M., A Profile of Jonathan Miller (Cambridge, 1992)Google Scholar
Yerushalmi, D., Through Directing: On Directors in the Israeli Theatre (Tel Aviv, 2012)Google Scholar
Barnett, D. (ed.), DAH Theatre: A Sourcebook (Lanham, Maryland, 2016)Google Scholar
Simić, O. and Milošević, D., ‘Enacting Justice: The Role of Dah Theatre Company in Transitional Justice Processes in Serbia and Beyond’, in Rush, P. D. and Simić, O. (eds.), The Arts of Transitional Justice: Culture, Activism, and Memory after Atrocity (New York, 2016)Google Scholar
Fowler, B., Katie Mitchell: Beautiful Illogical Acts (London, 2021)Google Scholar
Mitchell, K., The Director’s Craft: A Handbook for the Theatre (London, 2008)CrossRefGoogle Scholar
Iwaki, K., ‘Daisuke Miura [potudo–ru]’, in Tokyo Theatre Today: Conversations with Eight Emerging Theatre Artists (Tokyo, 2012)Google Scholar
Uchino, T., ‘Artist Interview: Desire and Dramaturgy. The Art of Daisuke Miura, Rising Star on Today’s Theater Scene’, Performing Arts Network Japan, 5 August 2006, https://performingarts.jpf.go.jp/en/article/6897/Google Scholar
Editorial Desk, ‘Artist Interview: Motoi Miura and Chiten. New Developments from the Studio’, Performing Arts Network Japan, 22 May 2017, https://performingarts.jpf.go.jp/en/article/7261/Google Scholar
Miura, M., Omoshirokereba OK ka? (Tokyo, 2010).Google Scholar
Martin, C., ‘Divine Memory and Abject Reality: Miyagi Satoshi’s Tenshu Monogatari and Shimizu Shinjin’s Bye Bye: The New Primitive’, in Jortner, D., McDonald, K., and Wetmore, K. J. Jr (eds.), Modern Japanese Theatre and Performance (Lanham, Maryland, 2006)Google Scholar
Yamaguchi, H., ‘Artist Interview: Theater as a Window to the World. Satoshi Miyagi Leads the Reborn SPAC’, Performing Arts Network Japan, 29 October 2012, https://performingarts.jpf.go.jp/en/article/7003/Google Scholar
Gigova, I., ‘An Interview with Margarita Mladenova’, Monitor, 14 July 2018Google Scholar
Mladenova, M. and Dobchev, I., ‘What Is SFUMATO’, 2023, http://sfumato.info/en/what-is-sfumato_117_124Google Scholar
Margarita Mladenova’, in Encyclopaedia of Bulgarian Theatre, 2nd edn (Sofia, 2008)Google Scholar
Glynn, D., (Re)telling Old Stories (Brussels, 2015)CrossRefGoogle Scholar
Kiernander, A., Ariane Mnouchkine and the Théâtre du Soleil (Cambridge, 1993)Google Scholar
Miller, J., Ariane Mnouchkine (Abingdon, 2007)CrossRefGoogle Scholar
Mnouchkine, A. (dir.), 1789, la révolution doit s’arrêter à la perfection du bonheur (Bel Air Classiques: Paris, 2016)Google Scholar
Ringby, P., Författarens dröm på scenen (Umeå, 1987)Google Scholar
Beyer, N., ‘Olof Molanders inscenering av ‘Ett drömspel’ I Malmö’, Morgon-Tidningen, 1 February 1947Google Scholar
Lamm, M., Strindbergs dramer, vol. 2 (Stockholm, 1926)Google Scholar
Molander, O., ‘Le Régisseur. No compromise! Anarchy’, Svenska scenen 15 (1918): 170–72Google Scholar
Bradby, D. (ed.), The Cambridge Companion to Molière (Cambridge and New York, 2006)Google Scholar
Howarth, W. D., French Theatre in the Neo-Classical Age, 1550–1789 (Cambridge, 1977)Google Scholar
Molière, , ‘L’Impromptu de Versailles’, in Théâtre classique (Paris, 2015)Google Scholar
Dannery, D., ‘#ClaseMagistral: Diana Peñalver Denis’, El Teatro, 23 February 2020, www.el-teatro.com/clasemagistral-diana-penalver-denis/Google Scholar
McGlone, J. P., Ria Mooney: The Life and Times of the Artistic Director of the Abbey Theatre, 1948–1963 (Jefferson, North Carolina, 2002)Google Scholar
Manin, G., ‘My Dom Juan? A Thunderous and Merciless God’, Eventi, 10 October 2011Google Scholar
Stefanova, K. and Carlson, M. (eds.), 20 Ground-Breaking Directors of Eastern Europe: 30 Years after the Fall of the Iron Curtain (Cham, 2021)CrossRefGoogle Scholar
Evans, G., ‘Going: Exit Mosher’, Variety, 23 June 1997Google Scholar
Freedman, S. G., ‘Gregory Mosher to Head Lincoln Center Theaters’, The New York Times, 30 April 1985Google Scholar
20 QUESTIONS: Gregory Mosher’, American Theatre 27.3 (2010): 80Google Scholar
Millington, B., ‘Elijah Moshinsky Obituary’, The Guardian, 25 January 2021Google Scholar
Tommasini, A., ‘Elijah Moshinsky, Met Opera Director with Fanciful Touch, Dies at 75’, The New York Times, 21 January 2021Google Scholar
Gómez González, L. M., ‘Un señor del teatro’, El Espectador, 14 August 2008, https://tinyurl.com/49n32kf7Google Scholar
Bathrick, D., ‘Robert Wilson, Heiner Müller, and the Preideological’, New German Critique 98 (2006): 65–76Google Scholar
Suschke, S., Müller macht Theater (Berlin, 2003)Google Scholar
Wood, M., Heiner Müller’s Democratic Theatre: The Politics of Making the Audience Work (Rochester, New York, 2017)CrossRefGoogle Scholar
Murayama, T., ‘Shingekidan no daidō danketsu’, Chūō Kōron (July 1934)Google Scholar
Murray, B., The Worst It Can Be Is a Disaster (London, 2007)CrossRefGoogle Scholar
Jestrović, S., ‘Born in YU. Performing, Negotiating, Transforming an Abject Identity’, in Holdsworth, N. (ed.), Theatre and National Identity: Re-imagining Conceptions of Nation (New York, 2014)Google Scholar
Medenica, I., ‘The Heritage of Yugoslavia towards a New Concept of Political in Theatre’, Scena 25 (2012): 6–20Google Scholar
Mustafić, D., ‘Testimony Dino Mustafić’, in Dolečki, J., Halibasić, S., and Hulfeld, S. (eds.), Theatre in the Context of the Yugoslav Wars (Cham, 2018)Google Scholar
Amestoy D’Ors, A. T., ‘Historia de la dirección escénica en España: Miguel Narros’, unpublished doctoral thesis (Universidad Complutense de Madrid, 2016), https://eprints.ucm.es/39900/1/T37932.pdfGoogle Scholar
do Nascimento, A., ‘Mission of the Brazilian Negro Experimental Theater’, in do Nascimento, A., Ramos, G., Ribeiro, J., and Fischlowitz, E. (eds.), Relações de raça, trans. by J. Ivy (Rio de Janeiro, 1957)Google Scholar
do Nascimento, A., interview, in P. C. Uchôa Cavalcanti and J. Ramos, Memórias do exílio, vol. I (São Paulo, 1978)Google Scholar
Weber, B., ‘Abdias do Nascimento, Rights Voice, Dies at 97’, The New York Times, 30 May 2011Google Scholar
Balme, C., ‘Dangerous Images: Theatre and the Transnational Public Sphere’, in Gluhovic, M. and Menon, J. (eds.), Performing the Secular: Religion, Representation, and Politics (London, 2017)Google Scholar
Risi, C., ‘Shedding Light on the Audience: Hans Neuenfels and Peter Konwitschny Stage Verdi (and Verdians)’, Cambridge Opera Journal 14.1 (2002): 201–10CrossRefGoogle Scholar
Tripney, N., ‘Theatre in Kosovo – Holding Power to Account and Helping People Heal’, The Stage, 14 November 2019Google Scholar
Mkhwanazi, K., ‘Mbongeni Ngema Dismisses Singer’s Claims about “Sarafina!” Involvement’, Mail & Guardian, 17 September 2014, https://tinyurl.com/3t69mbucGoogle Scholar
THISALIVE, ‘Leleti Khumalo Opens Up about Her “Abusive” Marriage to Mbongeni Ngema: “I Wanted Out”’, Sowetan Live, 25 October 2016, https://tinyurl.com/yv2sdkuzGoogle Scholar
Thamm, M., ‘Play It again, Mbongeni: Mbongeni Ngema Removed from “Sarafina” Set after More Allegations of Sexual Harassment’, Daily Maverick, 18 July 2019, https://tinyurl.com/nhj6mjusGoogle Scholar
Makgatho, L., ‘I’m Not Angry, Just Telling My Story, Says Mbongeni Ngema’s Ex Wife on New Explosive Book’, Sunday Independent, 27 September 2020, https://tinyurl.com/3xvx56wcGoogle Scholar
Tau, P., ‘I Am Not Holy – Mbongeni Ngema’, City Press, 22 November 2020, https://tinyurl.com/589fnar4Google Scholar
Carter, A. and Kashner, S., Life Isn’t Everything: Mike Nichols, as Remembered by 150 of His Closest Friends (New York, 2018)Google Scholar
Harris, M., Mike Nichols: A Life (New York, 2021)Google Scholar
Lefferts, B., ‘Now the Mike Nichols Touch’, The New York Times, 22 November 1964Google Scholar
Hanratty, C., Shakespeare in the Theatre: Yukio Ninagawa (London, 2020)CrossRefGoogle Scholar
Chambers, C., Inside the Royal Shakespeare Company: Creativity and the Institution (London, 2004)CrossRefGoogle Scholar
Noble, A., How to Do Shakespeare (London, 2009)Google Scholar
Fukushima, Y., Manga Discourse in Japanese Theater: The Location of Noda Hideki’s Yume no Yuminsha (London, 2003)Google Scholar
Senda, A. The Voyage of Contemporary Japanese Theatre, trans. by J. T. Rimer (Honolulu, 1997)Google Scholar
Gerlach, A. (ed.), Inszenierungen in Moll: Der Regisseur Rudolf Noelte (Berlin, 1996)Google Scholar
Iden, P., Theater als Widerspruch: Plädoyer für die zeitgenössische Bühne (Munich, 1984)Google Scholar
Rühle, G., Theater in Deutschland 1946-1966, 2nd edn (Frankfurt am Main, 2018)Google Scholar
Gillitt, C., The Lontar Anthology of Indonesian Drama, vol. III (Jakarta, 2009)Google Scholar
Hatley, B., Javanese Performances on an Indonesian Stage (Leiden, 2008)Google Scholar
Winet, E. D., Indonesian Postcolonial Theatre: Spectral Genealogies and Absent Faces (Basingstoke, 2010)CrossRefGoogle Scholar
Carter, J., ‘The Physics of the Mola: Writing Indigenous Resurgence on the Contemporary Stage’, Modern Drama 59.1 (2016): 1–25CrossRefGoogle Scholar
Nolan, Y., Medicine Shows: Indigenous Performance Culture (Toronto, 2015)Google Scholar
Narabe, K., ‘Artist Interview: A Glimpse of the Total Theater That Mansai Nomura Envisions as a Kyogen Actor Alive in the Contemporary World’, Performing Arts Network Japan, 30 July 2007, https://performingarts.jpf.go.jp/en/article/6923/Google Scholar
‘STORY: Mansai Nomura (Kyogen actor)’, British Council Japan, www.britishcouncil.jp/en/about/campaigns/60th-anniversary/story/mansai-nomuraGoogle Scholar
Roesner, D., ‘The Politics of the Polyphony of Performance: Musicalization in Contemporary German Theatre’, Contemporary Theatre Review 18.1 (2008): 44–55CrossRefGoogle Scholar
Stephens, S., ‘Skydiving Blindfolded. Or: Five Things I Learned from Sebastian Nübling’, in Plays 4 (London, 2015)Google Scholar
Chambers, C., Inside the Royal Shakespeare Company: Creativity and the Institution (London, 2004)CrossRefGoogle Scholar
Jackson, R., Shakespeare in the Theatre: Trevor Nunn (London, 2019)Google Scholar
Hemming, S., ‘Romeo and Juliet, The Pit, Barbican, London’, Financial Times, 27 November 2006Google Scholar
Oh, T., The Metacultural Theater of Oh T’ae-sŏk: Five Plays from the Korean Avant-Garde, trans. by Kim, A. and Graves, R. B. (Hawai’i, 1999)Google Scholar
Park, Y. and Neideck, J., ‘A Single Drop of Water: Vulnerability, Invisibility, and Accountability in South Korean Theatre’s Moment of Crisis’, Performance Paradigm 15 (2020): 56–80Google Scholar
Emanuilidu, R., Juliada (Sofia, 2009)Google Scholar
Ognyanova, J., The Lessons of Julia (Sofia, 2015)Google Scholar
Smith, M., ‘Theatre Journal’, Village Voice, 2 May 1968Google Scholar
Eckersall, P., ‘Performance, Mourning and the Long View of Nuclear Space’, Asia-Pacific Journal 13.7 (2015)CrossRefGoogle Scholar
Iwaki, K., ‘Toshiki Okada [chelfitsch]’, in Tokyo Theatre Today: Conversations with Eight Emerging Theatre Artists (Tokyo, 2012)Google Scholar
Iwaki, K., ‘Japanese Theatre after Fukushima: Okada Toshiki’s Current Location’, New Theatre Quarterly 31.1 (2015): 70–89CrossRefGoogle Scholar
Callow, S., The National (London, 1997)Google Scholar
O’Malley, M., Never Shake Hands with the Devil (Dublin, 1990)Google Scholar
Pilkington, L., Theatre and the State in Twentieth-Century Ireland: Cultivating the People (London, 2002)CrossRefGoogle Scholar
Groot Nibbelink, L., ‘Radical Intimacy: Ontroerend Goed Meets the Emancipated Spectator’, Contemporary Theatre Review 22.3 (2012): 412–20Google Scholar
Radosavljević, D., Theatre-Making: Interplay Between Text and Performance in the 21st Century (Basingstoke, 2013)Google Scholar
Osofisan, F., ‘The Revolution as Muse: Drama as Surreptitious Insurrection in a Post-Colonial, Military State’, in Osofisan, F., Insidious Treasons and Beyond. Forty Years of Alternative Theatre in Nigeria: Essays (Ibadan, 2016)Google Scholar
Ring, L., ‘Strålande iscensatt queerfestival’, Svenska Dagbladet, 19 October 2002Google Scholar
Svens, C., Regi med feministiska förtecken: Suzanne Osten på teatern (Hedemora, 2002)Google Scholar
Boenisch, P. (ed.), The Schaubühne Berlin under Thomas Ostermeier: Reinventing Realism (London, 2021)Google Scholar
Boenisch, P. and Ostermeier, T., The Theatre of Thomas Ostermeier (Abingdon, 2016)CrossRefGoogle Scholar
Osiński, Z., ‘Returning to the Subject: The Heritage of Reduta in Grotowski’s Laboratory Theatre’, ed. and trans. by K. Salata, TDR: The Drama Review 52.2 (2008): 52–74CrossRefGoogle Scholar
Osiński, Z., ‘Grotowski and the Reduta Tradition’, trans. by Salata, K., in Allain, P. (ed.), Grotowski’s Empty Room (London and New York, 2009)Google Scholar
Boyd, M., Introduction to “The Water Station (Mizu no Eki)”’, Asian Theatre Journal 7.2 (1990): 151–4Google Scholar
Boyd, M., Aesthetics of Quietude: Ōta Shōgo and the Theatre of Divestiture (Tokyo, 2006)Google Scholar
Ōta, S., ‘Ōta Shōgo’s Note on the Playscript’, trans. by M. Boyd, in ‘The Water Station (Mizu no Eki)’, Asian Theatre Journal 7.2 (1990): 150–54Google Scholar
Majid, L., Theatre and Cinema of Arby Ovanessian, 2 vols. (Tehran, 2014)Google Scholar
de Noronha, L., ‘Marat/Sade’, Enactment 27 (Pune, 1969)Google Scholar
Padamsee, A. with Prabhu, A., A Double Life: My Exciting Years in Theatre and Advertising (New Delhi, 1999)Google Scholar
Saumell, M., La Fura dels Baus en cuarentena (Barcelona, 2019)Google Scholar
Carvalho, P. E., Ricardo Pais: Actos e variedades (Porto, 2006)Google Scholar
Iden, P., Peter Palitzsch: Theater muss die Welt verändern (Berlin, 2005)Google Scholar
Mennicken, R., Peter Palitzsch: Regie im Theater (Frankfurt am Main, 1993)Google Scholar
Bhargava Dharwadker, A., Theatres of Independence: Drama, Theory, and Urban Performance in India since 1947 (Iowa City, 2005)CrossRefGoogle Scholar
Mee, E. B., Theatre of Roots: Redirecting the Modern Indian Stage (Kolkata, 2008)Google Scholar
Panicker, A. et al., ‘Charcha – Achatipathavum Abhinayapathavum’, in Madhavan, K. P. (ed.), Kavalam Natakangal: Natakangal, Pathanangal (Kozhikode, 2008), pp. 150–87Google Scholar
Staff of American Theatre Magazine (eds.), The American Theatre Reader: Essays and Conversations from American Theatre Magazine (New York, 2009)Google Scholar
Stearns, D. P. and Gussow, M., ‘A Public Life’, American Theatre 8.10 (1992)Google Scholar
Lonergan, P., Irish Drama and Theatre since 1950 (London, 2019)CrossRefGoogle Scholar
Dević, A., ‘Theatre of Diversity and Avant-Garde in Late Socialist Yugoslavia and Beyond: Paradoxes of the Disintegration and Cultural Subversion’, in Dolečki, J., Halilbašić, S., and Hulfeld, S. (eds.), Theatre in the Context of Yugoslav Wars (Cham, 2018)Google Scholar
Pasqual, L., ‘Theatre as a Process of discovery’, in Delgado, M. M. and Gies, D. T. (eds.), A History of the Theatre in Spain (Cambridge, 2012)Google Scholar
Pasqual, L., De la mano de Federico (Barcelona, 2016)Google Scholar
Montebelo Barcelos, C., ‘Uma leitura do feminismo negro descolonial em Vaga carne, de Grace Passô’, Annals, Latinidades (2020)Google Scholar
Paul, R. (ed.), Contemporary Indian Theatre: Interviews with Playwrights and Directors (Delhi, 1989)Google Scholar
Hughes, D., ‘“I Love Silence, and I Like to Be Bored”: Romina Paula on Her Rotterdam-Premiering Directorial Debut, Again, Once Again’, Filmmaker Magazine, 18 February 2019, https://tinyurl.com/2e2tnsnhGoogle Scholar
Paula, R., ‘Writing in Buenos Aires’, trans. by J. Croft, Berfrois, 22 May 2018, www.berfrois.com/2018/05/writing-in-buenos-aires-romina-paula/Google Scholar
Michalik, J., Tadeusz Pawlikowski: legenda, człowiek, teatr (Kraków, 2015)Google Scholar
Pearson, M., Site Specific Performance (Houndmills, 2010)CrossRefGoogle Scholar
Pearson, M. and Shanks, M., Theatre/Archaeology (London, 2001)Google Scholar
André, T., António Pedro e o teatro em Portugal (Lisbon, 2010)Google Scholar
Coelho, R. P., ‘António Pedro’, in Vasconcelos, A. I. and Brilhante, M. J. (eds.), Coleção de biografias do teatro português, vol. III (Lisbon, 2017)Google Scholar
Pedro, A., Escritos de teatro, ed. by F. Matos Olivera (Porto, 2001)Google Scholar
Page, P., ‘Ceci n’est pas una chaise: The Treachery of the Real and the Conspicuously Cinematic Self in Mariano Pensotti’s Cineastas’, Latin American Theatre Review 50.2 (2017): 23–48CrossRefGoogle Scholar
Irmer, T. (ed.), Luk Perceval: Theater und Ritual (Berlin, 2005)Google Scholar
Sels, G., Luk Perceval: Accidenten van een zaalwachter (Leuven, 2005)Google Scholar
Svendsen, Z., ‘Luk Perceval – Platonov (2006) – Rules for a Theatre of Contemporary Contemplation’, in Harvie, J. and Lavender, A. (eds.), Making Contemporary Theatre: International Rehearsal Processes (Manchester, 2010)Google Scholar
Hasche, C., Schölling, T., and Fiebach, J. (eds.), Theater in der DDR: Chronik und Positionen (Berlin, 2004)Google Scholar
Meyer-Braun, R., Löcher im Eisernen Vorhang: Theateraustausch zwischen Bremen und Rostock während des Kalten Krieges (Berlin, 2007)Google Scholar
Pietschmann, M., Hanns Anselm Perten: Ein Leben für das Theater (Baden-Baden, 2019)CrossRefGoogle Scholar
Carlson, M., ‘Claus Peymann and the Performance of Scandal’, Contemporary Theatre Review 18.2 (2008): 193–207CrossRefGoogle Scholar
Peymann, C., ‘Directing Handke’, TDR: The Drama Review 16.2 (1972): 48–54Google Scholar
, L. and Romero, C. Z., ‘Tiger at the Gate: Claus Peymann in the Vienna Burgtheater’, Modern Austrian Literature 25.1 (1992): 91–108Google Scholar
Nath, D., ‘How Theatre Director Abhilash Pillai Pushes Indian Theatre into Discomfort Zones’, Indian Express, 24 May 2017, https://tinyurl.com/4zbx34t4Google Scholar
García Barrero, M., ‘Helena Pimenta: la poética de la ternura’, in del Hoyo Ventura, M. (ed.), La escenificación española contemporánea: una mirada más allá de nuestras fronteras (Murcia, 2017)Google Scholar
Wheeler, D., ‘Golden Age Transvestism on (Inter)national Stages: La vida es Sueño/Life Is a Dream in Spain and Don Gil of the Green Breeches in Britain’, Shakespeare Bulletin 36.2 (2018): 271–98CrossRefGoogle Scholar
Dasgupta, G., ‘The Seagull by Anton Chekhov, Lucian Pintilie’, Peforming Arts Journal 8.1 (1984): 83–6Google Scholar
Innes, C., Erwin Piscator’s Political Theatre: The Development of Modern German Drama (Cambridge, 1972)Google Scholar
Malina, J., The Piscator Notebook (New York, 2012)CrossRefGoogle Scholar
Piscator, E., ‘Objective Acting’, in Cole, T. and Chinoy, H. K. (eds.), Actors on Acting: The Theories, Techniques, and Practices of the Great Actors of All Times as Told in Their Own Words (New York, 1949), pp. 285–91Google Scholar
Willett, J., The Theatre of Erwin Piscator (New York, 1979)Google Scholar
Dickinson, P., ‘Textual Matters: Making Narrative and Kinesthetic Sense of Crystal Pite’s Dance-Theater’, Dance Research Journal 46.1 (2014): 61–83CrossRefGoogle Scholar
Bradby, D., The Theatre of Roger Planchon (Cambridge, 1984)Google Scholar
de Vuyst, H., Les Ballets C de la B (Tielt, 2006)Google Scholar
Klett, R., Nahaufnahme Alain Platel (Berlin, 2007)Google Scholar
Stalpaert, C., Cools, G., and de Vuyst, H. (eds.), The Choreopolitics of Alain Platel’s les Ballets C de la B (London, 2020)CrossRefGoogle Scholar
Barnett, D., ‘Political Theatre in a Shrinking World: René Pollesch’s Postdramatic Practices on Paper and on Stage’, Contemporary Theatre Review 16.1 (2006): 31–40CrossRefGoogle Scholar
Pollesch, R., Liebe ist kälter als das Kapital: Stücke, Texte, Interviews (Reinbek, 2009)Google Scholar
Ponnelle, J.-P., Madama Butterfly (Studio Canal: Paris, 2005)Google Scholar
Ponnelle, J.-P., Le nozze di Figaro (Deutsche Gramaphon: Berlin, 2005)Google Scholar
Ponnelle, J.-P., Tristan und Isolde (Deutsche Gramaphon: Berlin, 2007)Google Scholar
Čadež, T., ‘O novom kralju Rikardu III: Razuzdanom tragedijom dominira Ozren Grabarić’, Jutarnji List, 18 December 2017, https://tinyurl.com/5n6f9cwkGoogle Scholar
Portmann, A., ‘Shakespeare’s New Contemporariness, or Hamlet in the Yugoslav Drama Theatre of the 21st Century’, Cahiers Élisabéthains: A Journal of English Renaissance Studies 96.1 (2018): 172–84CrossRefGoogle Scholar
Tripney, N., ‘There Is No One Way to STAGE Shakespeare’, The Stage, 20 February 2020Google Scholar
Prader, F., ‘Die Geste, das Licht und die Liebe’, Jahrbuch Theater heute (1983)Google Scholar
Slevogt, E., ‘Die weißen Flächen der Moderne’, taz, 27 March 2001Google Scholar
Jain, K. (ed.), Badal Sircar: Search for a Language of Theatre (New Delhi, 2016)Google Scholar
Prasanna, , ‘Prasanna Speaks out against Celebration of “New” Visual Language in Theatre’, YouTube, 19 March 2019, www.youtube.com/watch?v=E2cRGDWJ9cYGoogle Scholar
Prasanna, , Indian Method in Acting (New Delhi, 2020)Google Scholar
Kerr, W., ‘The Theater: “Cabaret” Opens at the Broadhurst: Musical by Masteroff, Kander and Ebb Lotte Lenya Stars Directed by Prince’, The New York Times, 21 November 1966Google Scholar
Staff of American Theatre Magazine (eds.), The American Theatre Reader: Essays and Conversations from American Theatre Magazine (New York, 2009)Google Scholar
Weber, B., ‘Hal Prince, Giant of Broadway and Reaper of Tonys, Dies at 91’, The New York Times, 31 July 2019Google Scholar
Brown, M., Modernism and the Scottish Stage since 1969: A Revolution on Stage (Basingstoke, 2019)Google Scholar
Coveney, M., The Citz: 21 Years of the Glasgow Citizens Theatre (London, 1990)Google Scholar
Modreanu, C., The History of Romanian Theatre from Communism to Capitalism: Children of a Restless Time (London, 2020)Google Scholar
Saša Dundjerovič, A., ‘Silviu Purcӑrete: Contemporising Classics’, in Delgado, M. M. and Rebellato, D. (eds.), Contemporary European Directors, 2nd edn (Abingdon, 2020), pp. 103–19Google Scholar
Tompa, A., ‘Silviu Purcӑrete’s World’, Theater 39.2 (2009): 33–41CrossRefGoogle Scholar
Bradby, D., ‘Olivier Py: A Poet for the Stage: Analysis and Interview’, Contemporary Theatre Review 15.2 (2005): 234–45CrossRefGoogle Scholar
Dialogues des Carmélites (Erato: Paris, 2014)Google Scholar
Bechara, J. (dir.), L’Orestie (ISOPAT: Paris, 2010)Google Scholar
Py, O. and Mazev, E., Les Mille et une définitions du théâtre (Paris, 2013)Google Scholar
Tristan und Isolde (Bel Air Classiques: Paris, 2006)Google Scholar
Turk, E. B., French Theatre Today: The View from New York (Iowa, 2011)Google Scholar
Quintero, J., If You Don’t Dance They Beat You (New York, 1988)Google Scholar
Harding, L. V., The Dramatic Art of Ferdinand Raimund and Johann Nestroy: A Critical Study (Paris and Boston, 1974)CrossRefGoogle Scholar
Hein, J. and Meyer, C., Ferdinand Raimund: Der Theatermacher an der Wien (Vienna, 2004)Google Scholar
Michalski, J., Ferdinand Raimund (New York, 1968)Google Scholar
Delgado, M. M., ‘Other’ Spanish Theatres: Erasure and Inscription on the Twentieth-Century Spanish Stage (Manchester, 2003)Google Scholar
Ferrer Gimeno, F., Enrique Rambal o todo por el teatro (Valencia, 2013)Google Scholar
Goumarre, L., Rambert en temps réel (Besançon, 2005)Google Scholar
Rambert, P., Théâtre 1987–2001 (Besançon, 2017)Google Scholar
Brembeck, R. J., ‘Kunstgeschwätz zwecks Machterhalt: Milo Raus Operndebüt als Stream’, Süddeutsche Zeitung, 21 February 2021Google Scholar
Climenhaga, L. and Defraeye, P. (eds.), ‘Milo Rau’, Theater, Special Issue 51.2 (2021)Google Scholar
Connolly, K., ‘The Most Ambitious Political Theatre Ever Staged? 14 Hours at the Congo Tribunal’, The Guardian, 1 July 2015, https://tinyurl.com/56a266ztGoogle Scholar
International Institute of Political Murder, ‘Premiere “Orestes in Mosul” / Poetics Professorship for Milo Rau’, https://tinyurl.com/4pbmbmxjGoogle Scholar
Muscionico, D., ‘Im Theater ist alles real, alles aufdringlich und unhöflich echt. Sehr unschweizerisch’, Neue Zürcher Zeitung, 20 April 2019, p. 45Google Scholar
Rau, M., ‘Ghent Manifesto’, 2018, www.ntgent.be/nl/over-ntgent/manifestGoogle Scholar
Rau, M. and Bossart, R., Wiederholung und Ekstase: Ästhetisch-politische Grundbegriffe des International Institute of Political Murder (Zürich, 2018)Google Scholar
C. Gross, ‘Intermission: 15 Minutes with Bill Rauch’, Theatertimes.org, https://theatertimes.org/IntermissionRauch.htmlGoogle Scholar
Oregon Shakespeare Festival, ‘Bill Rauch: Artistic Director’, www.osfashland.org/en/artist-biographies/artistic-staff/bill-rauchGoogle Scholar
Taylor, K., ‘Multicultural Stages in a Small Oregon Town’, The New York Times, 14 August 2009, www.nytimes.com/2009/08/15/theater/15oregon.htmlGoogle Scholar
Wild, S., ‘Bill Rauch Appointed as Artistic Director for World Trade Center’s New Performance Space’, Broadway World, 16 February 2018, https://tinyurl.com/yc5dx7snGoogle Scholar
La Brûlure du monde de Claude Régy (Les Solitaires Intempestifs: Besançon, 2005)Google Scholar
Régy, C., Écrits 1991–2011 (Besançon, 2016)Google Scholar
Carter, H., Max Reinhardt (New York, 1914 and 1964)Google Scholar
Herald, H., Max Reinhardt: Ein Versuch über das Wesen der modernen Regie (Berlin, 1915)Google Scholar
Sayler, O. M., Max Reinhardt and His Theatre (New York, 1934)Google Scholar
Styan, J. L., Max Reinhardt (Cambridge, 1982)Google Scholar
Hatley, B., Javanese Performances on an Indonesian Stage (Leiden, 2008)Google Scholar
Winet, E. D., Indonesian Postcolonial Theatre: Spectral Genealogies and Absent Faces (Basingstoke, 2010)CrossRefGoogle Scholar
Garbey Oquendo, M. (ed.), ‘Vicente Revuelta Planas’, Special Issue: Boletín Prometeo: Archivos de las Artes Escénicas de Cuba (2002), https://ctda.library.miami.edu/media/publications/Prometeo_10.pdfGoogle Scholar
Bodden, M., Resistance on the National Stage: Theater and Politics in Late New Order Indonesia (Athens, Ohio, 2010)Google Scholar
Brown, I. J., ‘Riantiarno, Nano (1949–)’, in Cody, G. (ed.), The Columbia Encyclopedia of Modern Drama, vol. II (New York, 2007)Google Scholar
Winet, E. D., Indonesian Postcolonial Theatre: Spectral Genealogies and Absent Faces (Basingstoke, 2010)CrossRefGoogle Scholar
Hemming, S., ‘Emma Rice on the Joy of Communality and Her Bruising Time at Shakespeare’s Globe’, Financial Times, 22 May 2020, www.ft.com/content/2a4a03ac-9b54-11ea-adb1-529f96d8a00bGoogle Scholar
Radosavljević, D., The Contemporary Ensemble: Interviews with Theatre-Makers (London, 2013)CrossRefGoogle Scholar
Radosavljević, D., ‘Kneehigh Theatre’, in Tomlin, L. (ed.), British Theatre Companies 1995–2014 (London, 2015)Google Scholar
Hill, E. and Hatch, J. V., A History of African American Theatre (Cambridge, 2003)Google Scholar
Richardson, T., Long Distance Runner – A Memoir (London, 1993)Google Scholar
Woodfall: A Revolution in British Cinema (BFI: London, 2018) [Blu-ray box set]Google Scholar
Boenisch, P., ‘Other People Live: Rimini Protokoll and Their “Theatre of Experts”’, Contemporary Theatre Review 18.1 (2008): 107–13Google Scholar
Dreysse, M. and Malzacher, F. (eds.), Experts of the Everyday: The Theatre of Rimini Protokoll (Berlin, 2008)Google Scholar
Dević, A., ‘Theatre of Diversity and Avant-Garde in Late Socialist Yugoslavia and Beyond: Paradoxes of the Disintegration and Cultural Subversion’, in Dolečki, J., Halilbašić, S., and Hulfeld, S. (eds.), Theatre in the Context of Yugoslav Wars (Cham, 2018)Google Scholar
Dolan, J., ‘Linking Art and Politics: KPGT, the Zagreb Theatre Company (Yugoslavia)’, TDR: The Drama Review 27.1 (1983): 82–92Google Scholar
Aguilera Sastre, J. and Aznar, M., Cipriano de Rivas Cherif y el teatro español de su época (1891–1967) (Madrid, 1999)Google Scholar
Pamment, C., Comic Performance in Pakistan: The Bhānd (London, 2017)CrossRefGoogle Scholar
Rizvi, K. A., Kamal ki Batain (Karachi, 2016)Google Scholar
Coelho, R. P., ‘At the End of the Day, an Actor: Interview with Tiago Rodrigues’, Critical Stages, The IACT Webjournal/Revue Web de l’AICT 20 (2019), https://tinyurl.com/3p7ce35vGoogle Scholar
Pais, A., ‘Leisure, Work and Affect, or the Art of Identifying What’s Important’, in Coelho, R. P. (ed.), Contemporary Portuguese Theatre: Experimentalism, Politics and Utopia [Working Title] (Lisbon, 2017)Google Scholar
Rodríguez, J. and Taylor, D., ‘Nahuatlismo: The Aztec Acting Method’, in Taylor, D. and Constantino, R. (eds.), Holy Terrors: Latin American Women Perform (Durham, North Carolina, 2003)Google Scholar
Gregori, M. G. et al., Luca Ronconi al Piccolo (Mantua, 2011)Google Scholar
Moscati, I., Luca Ronconi: Un grande maestro negli anni dei guru (Rome, 2016)Google Scholar
Rontiris, D., Selides Autoviografias (Athens, 1999)Google Scholar
Gibbs, J., ‘Book Review: Ola Rotimi, Hopes of the Living Dead: A Drama of Struggle Ibadan: Spectrum, 1988’, Journal of Humanities 4 (1990): 137–9Google Scholar
Rotimi, O., The Gods Are Not to Blame (London, 1971)Google Scholar
Rotimi, O., Hopes of the Living Dead: A Drama of Struggle (Ibadan, 1988)Google Scholar
Haydon, C., Conversations with Leading Practitioners (London, 2019)Google Scholar
Tapia Jáuregui, T., ‘“Nuestro teatro no está para dar clases de historia, ni de ética”: Fabio Rubiano’, Divergentes, 14 March 2018, https://tinyurl.com/4e2nyse9Google Scholar
Rubio, M., El cuerpo ausente (Lima, 2008)Google Scholar
Rudman, M., I Joke Too Much: The Theatre Director’s Tale (London, 2014)Google Scholar
McKendrick, M., Theatre in Spain: 1490–1700 (Cambridge, 1989)Google Scholar
Thacker, J., A Companion to Golden Age Theatre (Woodbridge, 2007)CrossRefGoogle Scholar
Breed, A., Performing the Nation: Genocide, Justice, Reconciliation (Chicago, 2014)Google Scholar
Knapper, S., ‘Simon McBurney: Shifting under/Soaring over the Boundaries of Europe’, in Delgado, M. M. and Rebellato, D. (eds.), Contemporary European Theatre Directors (Abingdon, 2020)Google Scholar
Purcell, S., Shakespeare in the Theatre: Mark Rylance at the Globe (London, 2017)CrossRefGoogle Scholar
Amine, K. and Carlson, M., ‘Tayeb Saddiki and the Re-invention of Tradition in Contemporary Moroccan Theatre’, Arab Stage 2.2 (2016)Google Scholar
Clement, J.-F., Tayeb Saddiki: L’Homme de théâtre (Marrakech, 2012)Google Scholar
Baldwin, J., Michel Saint-Denis and the Shaping of the Modern Actor (Westport, 2003)Google Scholar
Saint-Denis, M., Theatre: The Rediscovery of Style and Other Writings (New York, 2008)CrossRefGoogle Scholar
Gillespie, J. K., ‘Moment(um) of Memory: Metapatterns in Japanese Theatre since the 1960s’, in Jortner, D., McDonald, K., and Wetmore, K. J. Jr. (eds.), Modern Japanese Theatre and Performance (Lanham, Maryland, 2006)Google Scholar
Pulvers, R., ‘Artist Interview: “Theater Is an Experiment in Community”. The World of Yoji Sakate, Pioneer in Small Theater’, Performing Arts Network Japan, 24 February 2005, https://performingarts.jpf.go.jp/en/article/6869/Google Scholar
Redacción Cromos, ‘Obra “Pillowman”’, El Espectador, 1 February 2011, www.elespectador.com/cromos/famosos/obra-pillowman/Google Scholar
Salazar, P., Los clásicos permiten que soñemos de nuevo’, El Tiempo, 17 September 2008, www.eltiempo.com/archivo/documento/MAM-3096378Google Scholar
Kalemaa, K., Eino Salmelainen – elämä ja teatteri (Helsinki, 2001)Google Scholar
Koski, P., Teatterinjohtaja ja aika: Eino Salmelaisen toiminta Helsingin Kansanteatterissa 1934–1939 (Helsinki, 1992)Google Scholar
Teeuw, A., Modern Indonesian Literature (The Hague, 1969)Google Scholar
Yoshikawa, E., ‘El magisterio latinoamericano de Seki Sano’, in Escenario de dos mundos, vol. 1 (Madrid, 1988), pp. 95–100Google Scholar
Hossein Dowlatabadi, G., Rahmati, M., and Layegh, J., Shahin Sarkissian, the Founder of Modern Iranian Theatre (Tehran, 2005)Google Scholar
Sats, N., Sketches from My Life, trans. by S. Syrovatkin (Moscow, 1985)Google Scholar
van de Water, M., ‘Natalia Sats: A Soviet Life in Theatre’, in Skinner, A. (ed.), Russian Theatre in Practice: The Director’s Guide (London, 2019)Google Scholar
Savary, J., La Vie privée d’un magicien ordinaire (Paris, 1985)Google Scholar
Schechner, R., Environmental Theater (New York, 1973)Google Scholar
Inštitorisová, D. (ed.), Peter Scherhaufer – učiteľ “šašků” (Bratislava, 2006)Google Scholar
Kovalčuk, J., Autorské divadlo 70.let: Vztah scénáře a insenace (Prague, 1982)Google Scholar
Scherhaufer, P., Inscenování v nepravidelném prostoru (Ostrava, 1989)Google Scholar
Scherhaufer, P., Čítanka z dejín divadelnej réžie I. Od neandertálca po Meiningenčanov (Bratislava, 1998)Google Scholar
Scherhaufer, P., Čítanka z divadelnej réžie II. Od Goetha a Schillera po Reinhardta (Bratislava, 1998)Google Scholar
Scherhaufer, P., Čítanka z divadelnej réžie III. Od futuristov po Ejzenštejna (Bratislava, 1999)Google Scholar
Scherhaufer, P., Čítanka z dejín divadelnej réžie od Artauda po Brooka (Bratislava, 2007)Google Scholar
Šedová, I., ‘Peter Scherhaufer a Jeho Život “Na Provázku”’, Kulturní Noviny 18, 30 July 2012Google Scholar
Schiller, L., Pisma, ed. by Timoszewicz, J. and Chojnacka, A., vols. I–VI (Warsaw, 1978–2004)Google Scholar
Kiss, G., ‘Színházi projektek: Schilling Árpád rendezéseiről’, in Zoltán, I. (ed.), Alternatív színháztörténetek: Alternatívok és alternatívák (Budapest, 2008)Google Scholar
Dreyer, M., ‘Prospective Genealogies: Einar Schleef’s Choric Theatre’, Theatre Research International 34.2 (2009): 138–45CrossRefGoogle Scholar
Schleef, E., Droge Faust Parsifal (Frankfurt am Main, 1997)Google Scholar
Schmidt, C., Tragödie als Bühnenform: Einar Schleefs Chor-Theater (Bielefeld, 2010)Google Scholar
Forrest, T. and Scheer, A. T. (eds.), Christoph Schlingensief: Art without Borders (Bristol, 2010)Google Scholar
Janke, P., Der Gesamtkünstler: Christoph Schlingensief (Vienna, 2011)Google Scholar
Scheer, A. T., Christoph Schlingensief: Staging Chaos, Performing Politics and Theatrical Phantasmagoria (London, 2018)Google Scholar
Beil, H., Saladin Schmitt, der Theatergründer (Bochum, 1983)Google Scholar
Pesch, J., Festspiele für ein neues Deutschland? Saladin Schmitts Klassikerwochen am Schauspielhaus Bochum im Dritten Reich (Herne, 1999)Google Scholar
Schmitt, S., Blätter der Erinnerung (Bochum, 1964)Google Scholar
Bianchini, N., Samuel Beckett’s Theatre in America: The Legacy of Alan Schneider as Beckett’s American Director (New York, 2015)CrossRefGoogle Scholar
Harmon, M. (ed.), No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge, 1998)Google Scholar
Glossy, K., Josef Schreyvogels Tagebücher: 1810–1823, 2 vols. (Berlin, 1903)Google Scholar
Stifter, A., Der Nachsommer [1857] (no publisher, undated)Google Scholar
Williams, S., German Actors of the Eighteenth and Nineteenth Centuries: Idealism, Romanticism, and Realism (Westport, 1985)Google Scholar
Bell, J., ‘The End of Our Domestic Resurrection Circus: Bread and Puppet Theater and Counterculture Performance in the 1990s’, TDR: The Drama Review 43.3 (1999): 62–80CrossRefGoogle Scholar
Spitta, S. D., ‘Revisiting the Sixties and Refusing Trash: Preamble to and Interview with Peter Schumann of Bread and Puppet Theater’, Boundary 2 36.1 (2009): 105–25CrossRefGoogle Scholar
Eckert Jr, T., ‘Taking Issue’, Opera News 50.1 (1985)Google Scholar
Swed, M., ‘“Merchant of Venice” Beach? Peter Sellars Strikes Again’, Los Angeles Times, 12 October 1994Google Scholar
Swed, M., ‘Can Artists Find a Silver Lining in the Cloud of COVID-19? Peter Sellars Is Looking’, Los Angeles Times, 11 April 2020Google Scholar
Thompson, A., Shakespeare in the Theatre: Peter Sellars (London, 2018)Google Scholar
Köhler, G., Das Instrumentale Theater des Gustav Rudolf Sellner (Cologne, 2002)Google Scholar
Wolf, C., Gustav Rudolf Selters Theaterarbeit vor 1948 (Berlin, 2011)Google Scholar
Senda, K., Kindai Haiyūjutsu (Tokyo, 1949)Google Scholar
Diamond, C., ‘Darkening Clouds over Istanbul: Turkish Theatre in a Changing Climate’, New Theatre Quarterly 14.56 (1998): 334–50CrossRefGoogle Scholar
Barnes, C., ‘A “Cherry Orchard” That Celebrates Genius’, The New York Times, 18 February 1977, bit.ly/415k7DlGoogle Scholar
Menta, E., The Magic World behind the Curtain: Andrei Serban in the American Theatre (New York, 1995)Google Scholar
Modreanu, C., The History of Romanian Theatre from Communism to Capitalism: Children of a Restless Time (London, 2020)Google Scholar
Weygandt, S., ‘The Structure of Plasticity: Resistance and Accommodation in Russian New Drama’, TDR: The Drama Review 60.1 (2016): 116–31CrossRefGoogle Scholar
Serrano, R., Nuevas tesis sobre Stanislavski: Fundamentos para una teoría pedagógica (Buenos Aires, 2004)Google Scholar
Serrano, R., ‘A Teacher’s Perspective: Stanislavsky at the Escuela de Teatro de Buenos Aires in Argentina’, in Pitches, J. and Aquilina, S. (eds.), Stanislavsky in the World: The System and Its Transformations across Continents (London and New York, 2017)Google Scholar
Gokhale, S. (ed.), The Scenes We Made: An Oral History of Experimental Theatre in Mumbai (Delhi, 2016)Google Scholar
Cox, G., ‘“Fish in the Dark” Director Anna D. Shapiro on Why She Talks Just Like Larry David’, Variety, 26 February 2015Google Scholar
Isherwood, C., ‘Theatre Review: “August: Osage County”’, The New York Times, 5 December 2007, www.nytimes.com/2007/12/05/theater/reviews/05august.htmlGoogle Scholar
Jones, C., ‘Anna D. Shapiro: Entrance Interview’, Chicago Tribune, 24 April 2015Google Scholar
Shapiro, A. D., ‘The Discipline of Directing’, TriQuarterly 134 (2009): 123–30Google Scholar
Shapiro, A. D. and New, D., ‘Associate Artistic Director David New Interviews Director Anna D. Shapiro’, Steppenwolf.org, bit.ly/4hNODHpGoogle Scholar
Brecht, B., ‘Street Scene’, in Willet, J. (ed. and trans.), Brecht on Theatre (London, 1964), pp. 121–28Google Scholar
Bredeson, K., ‘The Sum of Testament Is Love’, PAJ 36.1 (2014): 46–52Google Scholar
Matzke, A., ‘Enter the Game: The Role of the Spectator in the Performances of She She Pop’, Performance Research 16.3 (2011): 117–20CrossRefGoogle Scholar
Narabe, K., ‘Artist Interview: Cross-over Kyogen Master Sennojo Shigeyama’s Quest for a New Form of Global Comedy Theater’, Performing Arts Network Japan, 24 June 2009, https://performingarts.jpf.go.jp/en/article/6959/Google Scholar
Martin, C., ‘Divine Memory and Abject Reality: Miyagi Satoshi’s Tenshu Monogatari and Shimizu Shinjin’s Bye Bye: The New Primitive’, in Jortner, D., McDonald, K., and Wetmore, K. J. Jr. (eds.), Modern Japanese Theatre and Performance (Lanham, Maryland, 2006)Google Scholar
Simpson, A., Beckett and Behan, and a Theatre in Dublin (London, 1962)Google Scholar
Whelan, G. and Swift, C., Spiked: Church-State Intrigue and the Rose Tattoo (Dublin, 2002)Google Scholar
Sircar, B., Three Plays (Kolkata, 2009)Google Scholar
Ek, S., Spelplatsens magi: Alf Sjöbergs regikonst 1930–1957 (Hedemora, 1988)Google Scholar
Janzon, Å., ‘Vallejos Stiftelsen på Dramaten: Svag pjäs men ståtlig teater’, Svenska Dagbladet, 11 December 1977Google Scholar
Linde, E., ‘Dramatens juvelsmycke’, Dagens Nyheter, 16 May 1957Google Scholar
Sjöberg, A., Teater som besvärjelse: artiklar från fem decennier (Stockholm, 1982)Google Scholar
Nordic Drama Corner, ‘Smeds, Kristian’, www.dramacorner.fi/en/finnish-authors/smeds-kristianGoogle Scholar
Ruuskanen, A. and Smeds, K., Kätketty näkyväksi: Mielikuvituksen ja toden tilat Kristian Smedsin teatterissa (Helsinki, 2005)Google Scholar
Hawamidah, M., al-Masrah fi al-Urdun (Amman, 1993)Google Scholar
Aquilina, J., ‘Inez Soler (1908–1974)’, Times of Malta, 4 July 1978Google Scholar
Funke, C., Tasso 75: Friedo Solters Inszenierung am Deutschen Theater Berlin (Berlin, 1978)Google Scholar
Waack, R., Nathan Der Weise, Inszenierung Friedo Solter: Theaterarbeit in der DDR, 1 (Berlin, 1979)Google Scholar
Jahnke, M., ‘Choreographie der Selbstausbeutung’, Die Deutsche Bühne, 8 March 2020, www.die-deutsche-buehne.de/kritiken/choreographie-der-selbstausbeutungGoogle Scholar
Medenica, I., ‘The Heritage of Yugoslavia towards a New Concept of Political in Theatre’, Scena 25 (2012): 6–20Google Scholar
Gorlero, P., ‘Humor, ironía y reflexión en una obra maestra’, La Nación, 26 March 2017Google Scholar
Spregelburd, R., ‘Teatro “La terquedad”; Rafael Spregelburd: “Es una obra que habla de lo que el tiempo le hace a las personas”’, interview with S. Commisso, Clarín, 14 March 2017, bit.ly/3UPMhhsGoogle Scholar
Roberts, P. and Stafford-Clark, M., Taking Stock: The Theatre of Max Stafford-Clark (London, 2007)Google Scholar
Stafford-Clark, M., Letters to George (London, 1989)Google Scholar
Allain, P., Gardzienice: Polish Theatre in Transition (London and New York, 1997)Google Scholar
Staniewski, W. with Hodge, A., The Hidden Territories: The Theatre of Gardzienice (London and New York, 2004)Google Scholar
Rudnitsky, K., Meyerhold the Director, trans. by G. Petrov (Ann Arbor, 1981)Google Scholar
Shevtsova, M., Rediscovering Stanislavsky (Cambridge, 2020)Google Scholar
Stanislavsky, K., My Life in Art, trans. by J. Benedetti (Abingdon and New York, 2008)Google Scholar
Stanislavski, K., Building a Character, trans. by E. Hapgood (London, 2013)Google Scholar
Stanislavski, K., An Actor Prepares, trans. by E. Hapgood (London, 2016)Google Scholar
Gilcher-Holtey, I., Kraus, D., and Schößler, F., Politisches Theater nach 1968: Regie, Dramatik und Organisation (Frankfurt, 2006)Google Scholar
Milewski, J., Frank-Patrick Steckels Bilder von Deutschland (Herne, 1997)Google Scholar
Muscionico, D., ‘Erinnerung an ein Bühnenmonster’, Neue Zürcher Zeitung, 12 October 1998Google Scholar
Rueb, F., Leonard Steckel (Zürich, 1998)Google Scholar
Schoop, G., Das Zürcher Schauspielhaus im Zweiten Weltkrieg (Zürich, 1957)Google Scholar
Luehrs-Kaiser, K., ‘Peter Stein: Der Selbsthass des Theater-Tyrannosaurus’, Die Welt, 11 September 2007. https://tinyurl.com/ywbexay2Google Scholar
Patterson, M., Peter Stein: Germany’s Leading Theatre Director (Cambridge, 1981)Google Scholar
Schieb, R., Peter Stein: Ein Porträt (Berlin, 2005)Google Scholar
Bottoms, S., Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement (Ann Arbor, 2004)CrossRefGoogle Scholar
Croggon, A., ‘When Simon Stone Speaks, Australian Theatre Listens’, The Guardian, 9 August 2013, www.theguardian.com/culture/australia-culture-blog/2013/aug/09/simon-stone-theatre-directorGoogle Scholar
Stone, B., ‘Translating Simon Stone’s Radical Rewritings into German’, Contemporary Theatre Review 34.1 (2024): 66–80CrossRefGoogle Scholar
Stopford, C., ‘Mise en scène as a Feminine Textual Body: Making Meaning in Reach’, South African Theatre Journal 28:2 (2015): 143–58CrossRefGoogle Scholar
Allen, D., Performing Chekhov (London, 2000)Google Scholar
Atkinson, B., ‘“The Big Knife”; If Hollywood Has Not Helped Odets It Has Apparently Done Him No Harm’, The New York Times, 6 March 1949, www.nytimes.com/1949/03/06/archives/the-big-knife-if-hollywood-has-not-helped-odets-it-has-apparently.htmlGoogle Scholar
Atkinson, B., ‘At the Theater; John Garfield Acts in Paut Green’s Version of Ibsen’s “Peer Gynt” for the Anta Series’, The New York Times, 29 January 1951, www.nytimes.com/1951/01/29/archives/at-the-theater-john-garfield-acts-in-paut-greens-version-of-ibsens.htmlGoogle Scholar
Corry, J., ‘Lee Strasberg Dreams of a National Theater’, The New York Times, 21 November 1981, www.nytimes.com/1981/11/21/theater/lee-strasberg-dreams-of-a-national-theater.htmlGoogle Scholar
Hirsch, F., A Method to Their Madness: The History of the Actors Studio (New York, 1984)Google Scholar
Bentoglio, A., Invito al teatro di Giorgio Strehler (Milan, 2002)Google Scholar
Finburgh, C. and Boenisch, P. M. (eds.), The Great European Stage Directors: Littlewood, Strehler, Planchon, vol. VI (London and New York, 2019)CrossRefGoogle Scholar
Hirst, D., Giorgio Strehler (Cambridge and New York, 1993)Google Scholar
Eichenbaum, R., The Director Within: Storytellers of Stage and Screen, ed. by Hirt-Manheimer, A. (Middletown, Connecticut, 2014)Google Scholar
Canaris, V., Karl Heinz Stroux (Düsseldorf, 1988)Google Scholar
Lazić, R., Jugoslovenska dramska režija (Belgrade and Novi Sad, 1996)Google Scholar
Pleša, B., Boje praznine (Novi Sad, 1990)Google Scholar
Maziashvili, D. and Sibashvili, T., ‘Robert Sturua’s Interpretation of Shakespeare’s Anti-Tyrants (from Text to Stage)’, IMPACT: International Journal of Research in Humanities, Arts and Literature 5.12 (2017): 19–24Google Scholar
Sakolova, B., ‘Relocating and Dislocating Shakespeare in Robert Sturua’s Twelfth Night and Alexander Morfov’s The Tempest’, in Massai, S. (ed.), World-Wide Shakespeares: Local Appropriations in Film and Performance (Abingdon and New York, 2005)Google Scholar
Afrah, M., ‘Between Continuity and Innovation: Transitional Nature of Post-Independence Somali Poetry and Drama 1960s–Present’, unpublished PhD thesis (University of London, 2013)Google Scholar
Johnson, J., Heelloy, Heelleelloy: The Development of the Genre Hello in Somali Poetry (Bloomington, 1974)Google Scholar
Ewington, A., A Voltaire for Russia: A. P. Sumarokov’s Journey from Poet-Critic to Russian Philosophe (Evanston, Illinois, 2010)CrossRefGoogle Scholar
Ospovat, K., Terror and Pity: Aleksandr Sumarokov and the Theater of Power in Elizabethan Russia (Boston, 2016)Google Scholar
Sumner, J., Recollections at Play: A Life in Australian Theatre (Melbourne, 1993)Google Scholar
Allain, P., The Art of Stillness: The Theatre Practice of Tadashi Suzuki, 2nd edn (London, 2009)CrossRefGoogle Scholar
Suzuki, T., The Way of Acting: The Theatre Writings of Tadashi Suzuki, trans. by J. T. Rimer (New York, 1986)Google Scholar
Walaszek, J., Konrad Swinarski i jego krakowskie inscenizacje (Warsaw, 1991)Google Scholar
Szuchmacher, R., The Uncapturable: The Fleeting Art of Theatre, trans. by W. Gregory (London, 2020)CrossRefGoogle Scholar
Rey Lear performance video, MIT Global Shakespeares Video and Performance Archive, bit.ly/4frsaP5Google Scholar
Feinberg, A., Embodied Memory: The Theatre of George Tabori (Iowa City, 1999)Google Scholar
Haas, B., Das Theater des George Tabori: Vom Verfremdungseffekt zur Postmoderne (Frankfurt, 2000)Google Scholar
Tairov, A., Notes of a Director, trans. and with an intro. by W. Kuhlke (Coral Gables, Florida, 1969)Google Scholar
Bari, P., ‘Meet Mohit Takalkar, the Accidental Director’, Hindusthan Times, 6 January 2019, https://tinyurl.com/msd56hew Google Scholar
Shanta, G., ‘Less Is More’, Pune Mirror, 19 November 2015Google Scholar
Eckersall, P., ‘Tour Performance “Tokyo/Olympics”: Digging the High Times of the 1960s’, Intersections: Gender and Sexuality in Asia and the Pacific 23 (January 2010), http://intersections.anu.edu.au/issue23/eckersall.htmGoogle Scholar
Eckersall, P., Fujii, S., Takayama, A., and Hayashi, T., ‘On the Dramaturgical Field in Port B’s Tokyo “Tour Performances”’, Performance Research 14.3 (2009): 28–43CrossRefGoogle Scholar
Iwaki, K., ‘Akira Takayama [Port B]’, in Tokyo Theatre Today: Conversations with Eight Emerging Theatre Artists (Tokyo, 2012)Google Scholar
Bajo Martínez, M. J., ‘José Tamayo y el TEU de Granada’, Anales de la Literatura Española 29–30 (2018): 77–96Google Scholar
Iwaki, K., ‘Creating Illusionary Spaces: The World of Tanino Kuro’, Performing Arts Network Japan, 9 August 2011Google Scholar
Iwaki, K., ‘Kuro Tanino [Niwa Gekidan Penino]’, in Tokyo Theatre Today: Conversations with Eight Emerging Theatre Artists (Tokyo, 2012)Google Scholar
Sebaly, A., ‘Penino Envy: Kuro Tanino on the Architecture of the Inner Life’, Fourth Wall, 13 January 2014, https://walkerart.org/magazine/kuro-tanino-phallic-symbols-peninoGoogle Scholar
Katyal, A., Habib Tanvir: Towards an Inclusive Theatre (New Delhi, 2012)Google Scholar
Malick, J., ‘Refashioning Modernity: Habib Tanvir and His Naya Theatre’, in Diverse Pursuits: Essays on Drama and Theatre (Delhi, 2020)Google Scholar
Carrasco, M. and Díaz Pérez, E., Salvador Távora: el sentimiento trágico de Andalucía (Seville, 2005)Google Scholar
Távora, S. and La Cuadra de Sevilla, Tres décadas de creación teatral (Madrid, 2006)Google Scholar
Maufort, M. and O’Donnell, D. (eds.), Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (Brussels, 2007)Google Scholar
Gussow, M., ‘Review/Stage Design; Julie Taymor’s Theater Imaginings’, The New York Times, 25 November 1988Google Scholar
Shewey, D., ‘Bali High: “Way of Snow”: Teatr Loh at Ark Theater, 131 Spring Street’, Soho News, 1980, www.donshewey.com/theater_reviews/way_of_snow.htmlGoogle Scholar
Karaboğa, K., Tragedya ile Sınırları Asmak: Theodoros Terzopoulos (Istanbul, 2008)Google Scholar
Sener, S., Dünden Bugüne Tiyatro Düsüncesi (Ankara, 1998)Google Scholar
Studio Oyuncuları, ‘Şahika Tekand’, https://studiooyunculari.com/en/sahika-tekand-en/Google Scholar
Ülgen, T., ‘Stüdyo Oyuncuları ve Oidipus Üçlemesi’, Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi 11 (2007): 25–51Google Scholar
Pauls, A, ‘Kidnapping Reality: An Interview with Vivi Tellas’, in Martin, C. (ed.), Dramaturgy of the Real on the World Stage (Basingstoke and New York, 2010), pp. 246–58Google Scholar
Tellas, V., Biodrama. Proyecto Archivos. Seis documetales escénicos, ed. by Brownell, P. and Hernández, P. (Córdoba, 2017)Google Scholar
Pearson, M., Mickery: An Imperfect Archaeology (Amsterdam, 2011)CrossRefGoogle Scholar
Sas, M., Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return (Cambridge, 2001)Google Scholar
Sorgenfrei, C. F., Unspeakable Acts: The Avant-Garde Theater of Terayama Shūji and Postwar Japan (Honolulu, 2005)Google Scholar
Sampatakakis, G., Geometrontas to Chaos: Morfi kai Metafysiki sto Theatro tou Theodorou Terzopoulou (Athens, 2007)Google Scholar
‘A Woman’s Challenge’, The Malta Independent on Sunday, 17 March 2013Google Scholar
Xuereb, P., Curtain Up! Theatre in Malta 1963–2015 (Malta, 2017)Google Scholar
Besuelle, C., ‘Défaire le jeu: Étude à partir de quelques gestes d’acteur/rice/s et de danseur/euses dans la création contemporaine flamande’, unpublished dissertation (Université de Lille, 2021)Google Scholar
Van den Dries, L. and Crombez, T., ‘Jan Fabre and tg STAN: Two Models of Postdramatic Theatre in the Avant-Garde Tradition’, Contemporary Theatre Review 20.4 (2010): 421–31CrossRefGoogle Scholar
Boenisch, P. M., Directing Scenes and Senses: The Thinking of Regie (Manchester, 2015)CrossRefGoogle Scholar
Carlson, M., Theatre Is More Beautiful than War: German Stage Directing in the Late Twentieth Century (Iowa, 2009)Google Scholar
Schütt, H. D., Michael Thalheimer: Porträt eines Regisseurs (Berlin, 2017)Google Scholar
Thiyam, R., interview with Kavita Nagpal, in Paul, R. (ed.), Contemporary Indian Theatre: Interviews with Playwrights and Directors (Delhi, 1989)Google Scholar
Lapeña-Bonifacio, A., The Seditious Tagalog Playwrights: Early American Occupation (Manila, 1972)Google Scholar
Robertson, E., ‘Liesl Tommy: “Let Your Instincts Take Over”’, The Talks, 2023, https://the-talks.com/interview/liesl-tommy/Google Scholar
Tovstonogov, G., The Profession of the Stage Director, trans. by B. Bean (Moscow, 1972)Google Scholar
Jakovljević, B., Alienation Effects: Performance and Self-Management in Yugoslavia 1941–91 (Ann Arbor, 2016)CrossRefGoogle Scholar
Bingham, M., The Great Lover: The Life and Art of Herbert Beerbohm Tree (London, 1978)Google Scholar
Montgomery, D., ‘Jorge Ali Triana Brings Gabriel Garcia Marquez [sic] Tale to GALA Hispanic Theatre’, Washington Post, 31 January 2011, https://tinyurl.com/23wdzjhdGoogle Scholar
Panyane, M., ‘Changing the Face of Contemporary Theatre’, IOL, 24 July 2018, https://tinyurl.com/mwr5zstrGoogle Scholar
Tsubouchi, S., The Essence of the Novel [1885], trans. by N. Gottlieb (St Lucia, Queensland, 1983)Google Scholar
Senda, A., The Voyage of Contemporary Japanese Theatre, trans. by J. T. Rimer (Honolulu, 1997)Google Scholar
Zheng, G., ‘Maturing Shingeki Theatre’, in Salz, J. (ed.), A History of Japanese Theatre (Cambridge, 2018)Google Scholar
Dawud, Abd al-Ghani, Zaki Tulaymat (Cairo, 1997)Google Scholar
Paavolainen, P., Turkan pitkä juoksu (Helsinki, 1987)Google Scholar
Flynn, M., Witness Onstage: Documentary Theatre in Twenty-First-Century Russia (Manchester, 2019)CrossRefGoogle Scholar
Hanukai, M., ‘After the Riot: Teatr.doc and the Performance of Witness’, TDR: The Drama Review 61.1 (2017): 43–55CrossRefGoogle Scholar
Lester, G., ‘The Balkan Dream Team’, A.R.T., 12 May 2000, https://americanrepertorytheater.org/media/the-balkan-dream-team/Google Scholar
Radulović, K., ‘War Discourse on Institutional Stages: Serbian Theatre 1991–1995’, in Dolečki, J., Halilbašić, S., and Hulfeld, S. (eds.), Theatre in the Context of the Yugoslav Wars (Cham, 2018)Google Scholar
Stojanoska, A., ‘Intracultural Theatrical Dispersion. Macedonian Examples: Only Two, but Not Alone’, Blesok 45 (2005), https://tinyurl.com/yj5722ybGoogle Scholar
Ure, A., Sacate la careta: ensayos sobre teatro, política y cultura, ed. by M. Moreno (Buenos Aires, 2003)Google Scholar
Ure, A., Ponete el antifaz: escritos, dichos y entrevistas de Alberto Ure, ed. by C. Pacheo and A. Cruz (Buenos Aires, 2009)Google Scholar
Cánepa, M., Gente de teatro, desde Camilo Henríquez hasta Jorge Díaz (Santiago, 1969)Google Scholar
Piña, J. A., Historia del teatro chileno 1890–1940 (Santiago, 2009)Google Scholar
Malaev-Babel, A., Yevgeny Vakhtangov: A Critical Portrait (London and New York, 2013)CrossRefGoogle Scholar
Santana, A., Freak Performances: Dissidence in Latin American Theatre (Ann Arbor, 2018)CrossRefGoogle Scholar
Orona-Cordova, R., ‘Zoot Suit and the Pachqco Phenomenon: An Interview with Luis Valdez’, MsEffie’s LifeSavers, https://mseffie.com/assignments/zoot_suit/Valdez%20Interview.pdfGoogle Scholar
Valdez, L., ‘Notes on Chicano Theatre’, in Luis Valdez – Early Works (Houston, 1994)Google Scholar
El Apuntador, ‘Virgilio Antonio Valero Montalván’, 2022, https://tinyurl.com/2t5puf8cGoogle Scholar
Bennett, S. and Massai, S. (eds.), Ivo van Hove: From Shakespeare to David Bowie (London, 2018)Google Scholar
Flanery, D., ‘Ivo van Hove: Celebrity and Reader’, in Delgado, M. M. and Rebellato, D. (eds.), Contemporary European Theatre Directors (London, 2020)Google Scholar
Veraart, K., Ivo: Regisseur, Mentor, Manager (Amsterdam, 2018)Google Scholar
Willinger, D., Ivo van Hove Onstage (New York, 2018)CrossRefGoogle Scholar
Weygandt, S., ‘The Technique of Verbalizing: Anatoly Vasiliev and His Theater of Dissonant Dialogues’, The Russian Review 82.2 (2023): 215–31CrossRefGoogle Scholar
Shem-Tov, N., Israeli Theatre: Mizrahi Jews and Self Representation (Abingdon, 2021)CrossRefGoogle Scholar
Flemming, W. (ed.), Das Schauspiel der Wanderbühne (Leipzig, 1931)Google Scholar
Heine, C., Johannes Velten: Ein Beitrag zur Geschichte des deutschen Theaters im XVII. Jhdt. (Halle, 1887)Google Scholar
Niessen, C., Frau Magister Velten verteidigt die Schaubühne (Cologne, 1940)Google Scholar
Hart, L., Acting Out: Feminist Performances (Michigan, 1993)CrossRefGoogle Scholar
Chambers, C., Black and Asian Theatre in Britain: A History (Abingdon, 2011)Google Scholar
Hingorani, D., ‘Binglishing Britain: Tara Arts: Journey to the West Trilogy’, Contemporary Theatre Review 14.4 (2004): 12–22CrossRefGoogle Scholar
af Trolle, C., Teaterkonst signerad Per Verner-Carlsson (Stockholm, 1995)Google Scholar
Verner-Carlsson, P., Teater och teater: artiklar 1950–1965 (Stockholm, 1978)Google Scholar
Dubatti, J., El teatro sabe (Buenos Aires, 2005)Google Scholar
‘Monstruos: talentos de otra naturaleza’, interview with P. Gambaro, Enfoco.tv, 24 February 2016, www.youtube.com/watch?v=edF9aq1n3GcGoogle Scholar
Veronese, D., La deriva, ed. and prologue by J. Dubatti (Buenos Aires, 2000)Google Scholar
Vick, G., ‘Enter the Fat Lady’, The Guardian, 20 October 2003, www.theguardian.com/music/2003/oct/20/classicalmusicandopera4Google Scholar
Bolbecher, S. (ed.), Traum von der Realität: Berthold Viertel (Vienna, 1998)Google Scholar
Trilse-Finkelstein, J. C. and Hammer, K. (eds.), Lexicon Theater International (Berlin, 1995)Google Scholar
Viertel, B., Schriften zum Theater (Berlin and Munich, 1970)Google Scholar
Vilar, J., Le Théâtre, service public et autres textes (Paris, 1975)Google Scholar
Tatinge Nascimento, C., After the Long Silence: The Theater of Brazil’s Post-Dictatorship Generation (Abingdon, 2019)CrossRefGoogle Scholar
Friedman, A., ‘A Twenty-First Century Ibsen: Vegard Vinge and Ida Müller’s Ibsen-Saga. Oslo (Black Box Teater), Bergen (Det Norske Teater), Berlin (Prater Theater, Volksbühne)’, Ibsen News and Comment 33 (2013): 3–8Google Scholar
Friedman, A., ‘Modernist Afterlives in Performance – Inside Ibsen: Avant-Garde Institutionality and Time in Vinge/Müller’s Ibsen-Saga’, Modernism/modernity 4.3 (2019), https://modernismmodernity.org/articles/inside-ibsenGoogle Scholar
Seidler, U., ‘Volksbühne ohne Vegard Vinge und Ida Müller: Wie das Theater der Berliner Zeitung bestätigt, ist die geplante Zusammenarbeit des neuen Intendanten René Pollesch mit dem Theaterduo geplatzt’, Berliner Zeitung, 16 August 2021Google Scholar
Bradby, D. and Sparks, A., Mise en Scène French Theatre Now (London, 1997)Google Scholar
Vitez, A., Le Théâtre des idées (Paris, 1991)Google Scholar
Arvaniti, K., Kyriakos, K., Rozi, L., and Tsatsoulis, D., Lefteris Vogiatzis: O Skinothetis – O Ithopios (Chalandri, 2019)Google Scholar
Freedman, J., ‘The Art of Seeing: Dmitry Volkostrelov Interprets Pavel Pryazhko’, TheatreForum 45.1 (2014): 49–55Google Scholar
Lazić, R., Jugoslovenska dramska režija, 1918–1991: teorija i istorija, praska, propedeutika (Novi Sad, 1996)Google Scholar
Billington, M., ‘Disciplined Spectacle’, The Guardian, 22 July 1999, www.theguardian.com/stage/1999/jul/22/theatre.artsfeaturesGoogle Scholar
Kott, J., Shakespeare Our Contemporary, trans. by B. Taborski (London, 1964)Google Scholar
Medenica, I., ‘Serbian Theater at the Crossroads’, Theater 39.3 (2009): 25–33CrossRefGoogle Scholar
Portmann, A., ‘Shakespeare’s New Contemporariness, or Hamlet in the Yugoslav Drama Theatre of the 21st Century’, Cahiers Élisabéthains: A Journal of English Renaissance Studies 96.1 (2018): 172–84CrossRefGoogle Scholar
Carnegy, P., Wagner and the Art of the Theatre (New Haven, 2006)Google Scholar
Wagner, R., The Art-Work of the Future and Other Works, trans W. Ashton Ellis (London, 1893; rep. London and Lincoln, Nebraska, 1993)Google Scholar
Wagner, R, Opera and Drama, trans W. Ashton Ellis (London, 1895; rep. London and Lincoln, Nebraska, 1995)Google Scholar
Mungen, A., Hier gilt’s der Kunst: Wieland Wagner, 1941–1945 (Frankfurt, 2021)Google Scholar
Skelton, G., Wieland Wagner: The Positive Sceptic (New York, 1971)Google Scholar
Karpiński, M., The Theatre of Andrzej Wajda (Cambridge, 1989)Google Scholar
Walaszek, J., Teatr Wajdy: W kręgu arcydzieł: Dostojewski, ‘Hamlet’, ‘Wesele’ (Kraków, 2003)Google Scholar
Blubacher, T., Oskar Wälterlin und sein Theater der Menschlichkeit (Leipzig, 2011)Google Scholar
Gruszczyński, P. and Warlikowski, K., Szekspir i uzurpator (Warsaw, 2012)Google Scholar
Niziołek, G., Warlikowski: Extra Ecclesiam (Bern, 2014)Google Scholar
Klett, E., ‘Many Bodies, Many Voices: Performing Androgyny in Fiona Shaw and Deborah Warner’s Richard II’, Theatre Journal 58 (2006): 175–94CrossRefGoogle Scholar
Ledger, A. J., ‘Deborah Warner: Experiments of Words, Bodies and Place’, in Delgado, M. M. and Rebellato, D. (eds.), Contemporary European Theatre Directors, 2nd edn (London, 2020)Google Scholar
Jackson, S. and Weems, M., The Builders Association: Performance and Media in Contemporary Theater (Cambridge, Massachusetts, 2015)Google Scholar
Neri, L., ‘The Builders Association’, Interview, 23 November 2008, www.interviewmagazine.com/culture/theatre-the-builders-association#_Google Scholar
Schechner, R., ‘Building the Builders Association: A Conversation with Marianne Weems, James Gibbs, and Moe Angelos’, TDR: The Drama Review 56.3 (2012): 36–57CrossRefGoogle Scholar
Barnett, D., A History of the Berliner Ensemble (Cambridge, 2015)CrossRefGoogle Scholar
Wekwerth, M., ‘Brecht Today’, TDR: The Drama Review 12.1 (1967): 118–24Google Scholar
Wekwerth, M., Daring to Play (Abingdon, 2011)Google Scholar
Coult, T. and Kershaw, B. (eds.), Engineers of the Imagination: Welfare State Handbook (London, 2014)Google Scholar
Callow, S., Orson Welles: The Road to Xanadu (New York, 1995)Google Scholar
France, R., The Theatre of Orson Welles (Lewisburg, Pennsylvania, 1977)Google Scholar
Wherrett, R., Mardi Gras! From Frock Up to Lock Up (Melbourne, 1999)Google Scholar
Wherrett, R., The Floor of Heaven: My Life in Theatre (Sydney, 2000)Google Scholar
Thieme, G., ‘Musiktheater als Werkstatt: Interview mit Jossi Wieler’, Stuttgarter Zeitung, 15 September 2011Google Scholar
Brecht, S., The Theatre of Visions: Robert Wilson (Frankfurt, 1978)Google Scholar
Cappelle, L., ‘At 80, Robert Wilson Holds on to a Singular Vision for the Stage’, The New York Times, 30 November 2021, www.nytimes.com/2021/11/30/arts/music/robert-wilson-at-80.htmlGoogle Scholar
Holmberg, A., The Theatre of Robert Wilson (Cambridge, 1996)Google Scholar
Shevtsova, M., Robert Wilson (Abingdon, 2018)CrossRefGoogle Scholar
Rosenthal, D., The National Theatre Story (London, 2013)Google Scholar
Honan, W. H., ‘Brustein’s Successor Takes Experimental Path’, The New York Times, 14 September 2002Google Scholar
Kaye, H., ‘Robert Woodruff – A Theater Director Who Grabs the Audience by the Scruff of Its Neck’, The Jerusalem Post, 16 September 1998Google Scholar
Sommer, E., ‘“Saved”: Review’, Curtain Up, February 2001, www.curtainup.com/saved2.htmlGoogle Scholar
Wu, R., Daoyan Quancheng Jingweilu (The Rules of Directing) (Shanghai, 1984)Google Scholar
Delgado, M. M., ‘Other’ Spanish Theatres: Erasure and Inscription on the Twentieth-Century Spanish Stage (Manchester, 2003)Google Scholar
Flannery, J. W., W. B. Yeats and the Idea of a Theatre (New Haven, 1976)Google Scholar
Aronson-Lehavi, S., ‘Rina Yerushalmi’, Jewish Women’s Archive, https://jwa.org/Google Scholar
Kim, J., ‘Yoo Chijin’s Strategy to Popularize Singeuk in Colonial Korea: The Story of Chunhyang and Porgy’, Asian Theatre Journal 37.2 (2020): 426–41Google Scholar
Yoo, C.-J., Three Plays (The Cow, The Mud Hut, The Donkey), trans. by W.-J. Jang (Gerrards Cross, 2005)Google Scholar
Freedman, J., ‘Boris Yukhananov: The Tale of an Upright Man’, TheatreForum 27 (2005): 8–15Google Scholar
Dermutz, K., Peter Zadek: His Way (Leipzig, 2006)Google Scholar
U. Jenny, ‘Natürlich muss es sensationell sein: Peter Zadek über Schauspieler, Stücke, Skandale’, interview with U. Jenny, Der Spiegel, 20 October 1985, https://tinyurl.com/2rza6jceGoogle Scholar
Zadek, P., My Way: Eine Autobiographie (Cologne, 2004)Google Scholar
Zhang, M. Collected Works, vols.1–5, ed. by Xie, Xiaojing (China Film Press, 2011)Google Scholar
Brown, B., A History of the Theatre Laboratory (Abingdon and New York, 2019)Google Scholar
Ma, J., ‘Lun Zhu Xiangcheng dui Zhongguo Huaju Daoyan Yishu de Dute Gongxian’, Nanjing University Drama Studies 2 (2015): 1–12Google Scholar
Miller, D. H., ‘THEATER; This Theater Artist Likes to Play; Mary Zimmerman Infuses “Guys and Dolls” with Her Blend of Music, Movement and Clever Images’, Los Angeles Times, 29 November 2015Google Scholar
Zimmerman, M., ‘Creating Culture/Space: The Archaeology of Performance’, Theatre Topics 15.1 (2005): 25–35CrossRefGoogle Scholar
Amine, K., ‘The Re-invention of Storytelling Tradition in Moroccan Theater from Postcolonial Hybridity to Women’s Empowerment’, in Rahimi, B. (ed.), Theater in the Middle East: Between Performance and Politics (London, 2020)Google Scholar
Fertat, O., Le Théâtre marocain a l’épreuve du texte étranger (Bordeaux, 2018)Google Scholar
Badovinac, Z., Čufer, E., and Gardner, A. (eds.), NSK from Kapital to Capital, Neue Slowenische Kunst – An Event of the Final Decade of Yugoslavia (Cambridge and Ljubljana, 2015)Google Scholar
Kiss, G., ‘A megszakítás esztétikája: Zsótér Sándor rendezéseiről’, in Zoltán, I. (ed.), Alternatív színháztörténetek: Alternatívok és alternatívák (Budapest, 2008)Google Scholar

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.

  • Dictionary
  • 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
  • Chapter DOI: https://doi.org/10.1017/9781108115995.002
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.

  • Dictionary
  • 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
  • Chapter DOI: https://doi.org/10.1017/9781108115995.002
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.

  • Dictionary
  • 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
  • Chapter DOI: https://doi.org/10.1017/9781108115995.002
Available formats
×