Skip to main content Accessibility help
×
Hostname: page-component-77f85d65b8-8v9h9 Total loading time: 0 Render date: 2026-04-13T14:48:59.254Z Has data issue: false hasContentIssue false

P

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

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

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.

  • P
  • 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.

  • P
  • 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.

  • P
  • 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
×