Skip to main content Accessibility help
×
Hostname: page-component-77f85d65b8-7lfxl Total loading time: 0 Render date: 2026-04-13T06:03:54.722Z Has data issue: false hasContentIssue false

L

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

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

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.

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

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

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

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

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