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Published online by Cambridge University Press: 04 December 2009
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- Stage Fright, Animals, and Other Theatrical Problems , pp. 186 - 194Publisher: Cambridge University PressPrint publication year: 2006
References
, Stage Fright: Its Role in Acting (Chicago and London: University of Chicago Press, 1986).Google Scholar
, Oresteia: The Eumenides, trans. Richmond Lattimore (Chicago: University of Chicago Press, 1953).Google Scholar
, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen (Stanford: Stanford University Press, 1998).Google Scholar
–Remnants of Auschwitz: The Witness and the Archive, trans. Daniel Heller-Roazen (New York: Zone Books, 1999).Google Scholar
Means Without End: Notes on Politics, trans. Vincenzo Binetti and Cesare Casarino (Minneapolis and London: University of Minnesota Press, 2000).Google Scholar
, From Acting to Performance: Essays in Modernism and Postmodernism (New York and London: Routledge, 1997).CrossRefGoogle Scholar
, The Theatre and Its Double, trans. Victor Corti (Montreuil, London, New York: Calder, 1993).Google Scholar
, Mutterrecht. English. Selections, An English Translation of Bachofen's Mutterrecht (Mother Right) (1861): a study of the religious and juridical aspects of gynecocracy in the ancient world, trans. Edward Partenheimer (Lewiston, NY: Edwin Mellen Press, 2003).Google Scholar
, Rabelais and His World, trans. Hélène Iswolsky (Bloomington and Indianapolis: Indiana University Press, 1984).Google Scholar
, Terpsichore in Sneakers: Postmodern Dance (Middletown, CT: Wesleyan University Press, 1987).Google Scholar
Writing Dancing in the Age of Postmodernism (Hanover, NH: Wesleyan University Press/University Press of New England, 1994).Google Scholar
, The Antitheatrical Prejudice (Berkeley and Los Angeles: University of California Press, 1981).Google Scholar
, Critical Essays, trans. Richard Howard (Evanston: Northwestern University Press, 1972).Google Scholar
The Rustle of Language, trans. Richard Howard (Berkeley and Los Angeles: University of California Press, 1989).
Bayly, Simon, ‘A Pathognomy of Performance: Theatre, Philosophy and the Ethics of Interruption’, Ph.D. dissertation, University of Surrey, 2002.
, The Chrysanthemum and the Sword: Patterns of Japanese Culture (London: Routledge and Kegan Paul, 1977).Google Scholar
The Origin of German Tragic Drama, trans. John Osborne (London and New York: Verso, 1998).Google Scholar
, Theatre Audiences: A Theory of Production and Reception (London and New York: Routledge, 1997).Google Scholar
, Imaginary Audition: Shakespeare on Stage and Page (Berkeley and Los Angeles: University of California Press, 1989).Google Scholar
, Laughter: An Essay on The Meaning of the Comic, trans. Cloudesley Brereton and Fred Rothwell (New York: Macmillan, 1911).CrossRefGoogle Scholar
, All That Is Solid Melts Into Air: The Experience of Modernity (London and New York: Verso, 1983).Google Scholar
, Brecht on Theatre: The Development of an Aesthetic, trans. John Willett (London: Methuen, 1964).Google Scholar
, Notes on the Cinematographer, trans. Jonathan Griffin (London: Quartet Encounters, 1986).Google Scholar
, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 1989).Google Scholar
and , Les pèlerins de la matière: théorie et praxis du théâtre. Écrits de la Socìetas Raffaello Sanzio, trans. Karin Espinosa (Besançon: Les Solitaires Intempestifs, 2001).Google Scholar
Castellucci, Romeo, ‘The Animal Being on Stage’, trans. Carolina Melis, Valentina Valentini and Ric Allsopp, in Performance Research 5:2 On Animals (2000), 23–28.
, Performer and Audience: An Investigation into the psychological causes of Anxiety and Nervousness in Playing, Singing or Speaking Before an Audience (Oxford: Hall the Publisher Ltd., 1947).Google Scholar
, Democritus and the Sources of Greek Anthropology (Ann Arbor: Michigan University Press, 1967).Google Scholar
Connor, Steven ‘The Shakes: Conditions of Tremor’, www.bbk.ac.uk/eh/eng/skc/shakes
Conrad, Peter, ‘Shakespeare Made Sick’, The Observer, June 6, 1999.
, Signs of Performance: An Introduction to Twentieth Century Theatre (London: Routledge, 1996).Google Scholar
, Ethics-Politics-Subjectivity: Essays on Derrida, Levinas and Contemporary French Thought (London and New York: Verso, 1999).Google Scholar
, The Expression of Emotion in Man and Animals, ed. Paul Ekman (London: HarperCollins, 1998).Google Scholar
, Breaking Up [at] Totality: A Rhetoric of Laughter (Carbondale and Edwardsville: Southern Illinois University Press, 2000).Google Scholar
, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (London: Athlone, 1986).Google Scholar
Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (London: Athlone, 1989).Google Scholar
and , Anti-Oedipus: Capitalism and Schizophrenia, trans. Robert Hurley, Mark Seem and Helen R. Lane (London: Athlone, 1984).Google Scholar
and Kafka: Toward a Minor Literature, trans. Dana Polan (Minneapolis and London: University of Minnesota Press, 1986).Google Scholar
and A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (London: Athlone, 1988).Google Scholar
, Writing and Difference, trans. Alan Bass (London and Henley: Routledge and Kegan Paul, 1978).Google Scholar
‘The Animal That Therefore I Am (More to Follow)’, trans. David Wills, Critical Inquiry 28:2 (2002), 369–418.CrossRefGoogle Scholar
and , eds. The Cuisine of Sacrifice Among the Greeks, trans. Paula Wissing (Chicago and London: University of Chicago Press, 1989).Google Scholar
, Selected Writings on Art and Literature, trans. Geofrrey Bremner (Harmondsworth: Penguin Books, 2001).Google Scholar
ed. The Cambridge Companion to Greek Tragedy (Cambridge: Cambridge University Press, 1997).CrossRefGoogle Scholar
, Talking to the Audience: Shakespeare, Performance, Self (London and New York: Routledge, 2005).CrossRefGoogle Scholar
, ‘On the Skids: Some Years of Acting Animals’, Performance Research5:2: On Animals (2000), pp. 55–60.CrossRefGoogle Scholar
and , Slang and Its Analogues Past and Present, New York: Kraus Reprint Corporation, 1965.Google Scholar
, Further Contributions to the Theory and Technique of Psychoanalysis (New York: Basic Books, 1952).Google Scholar
, Ritual Irony: poetry and sacrifice in Euripides (Ithaca: Cornell University Press, 1985).Google Scholar
, Unbalancing Acts: Foundations for a Theater (New York: Theatre Communications Group, 1992).Google Scholar
, On Metapsychology: The Theory of Psychoanalysis, trans. James Strachey et al., (Harmondsworth: Penguin, 1984).Google Scholar
Pre-Psycho-Analytic Publications and Unpublished Drafts, trans. James Strachey et al. (London: Vintage, 2001).Google Scholar
, Art and Objecthood: Essays and Reviews (Chicago and London: University of Chicago Press, 1998).Google Scholar
‘Further contributions to the understanding of stage fright: Narcissistic issues’, Journal of the American Pyschoanalytic Association, 31 (1983), 423–441.CrossRefGoogle ScholarPubMed
, Bodied Spaces: Phenomenology and Performance in Contemporary Drama (Ithaca and London: Cornell Univesity Press, 1994).Google Scholar
and , eds. Performance Culture and Athenian Democracy (Cambridge: Cambridge University Press, 1999).Google Scholar
and , Art in Theory: An Anthology of Changing Ideas, 1900–1990 (Oxford: Blackwell, 1992).Google Scholar
, Stage Fright: its causes and cures, with special reference to violin playing (London: Bosworth, 1973).Google Scholar
Heathfield, Adrian, ‘Last Laughs’, performance/paper, Queen Mary University of London, February 2003.
, Introductory Lectures on Aesthetics, trans. Bernard Bosanquet (Harmondsworth: Penguin Books, 1993).Google Scholar
, The Fundamental Concepts of Metaphysics, trans. William McNeill and Nicholas Walker (Bloomington and Indianapolis: Indiana University Press, 1995).Google Scholar
, Nerve Control: The Cure of Nervousness and Stage Fright (London: William Richer and Son Ltd., 1915).Google Scholar
, The Political Unconcious: Narrative as a Socially Symbolic Act (London: Routledge, 1996).Google Scholar
, Treatise on Laughter, trans. Gregory David de Rocher (Auburn: The University of Alabama Press, 1980).Google Scholar
, Critique of Judgement, trans. Werner S. Pluhar (Indianapolis and Cambridge: Hackett, 1987).Google Scholar
, ed. Art Into Theatre: Performance Interviews and Documents (Amsterdam: Harwood Academic Publishers, 1996).Google Scholar
and , eds. Body and Text in the Eighteenth Century (Stanford: Stanford University Press, 1994).Google Scholar
, The Radical in Performance: Between Brecht and Baudrillard (Routledge: London and New York, 1999).Google Scholar
, ‘I Love You. Who Are You? The Strategy of Drama in Recognition Scenes’, PMLA 92 (1977), 297–306.CrossRefGoogle Scholar
, The Stage Fright, or How to Face an Audience (Boston: Press of Geo. H. Ellis, 1891).Google Scholar
, Acting Emotions: Shaping Emotions on Stage (Amsterdam: Amsterdam University Press, 2000).CrossRefGoogle Scholar
, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1986).Google Scholar
, Powers of Horror: An Essay in Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982).Google Scholar
, Totality and Infinity, trans. Alphonso Lingis (Pittsburgh: Duquesne University Press, 1969).Google Scholar
, The Inhuman: Reflections on Time, trans. Geoffrey Bennington and Rachel Bowlby (Cambridge: Polity Press, 1991).Google Scholar
, The Gift: The Form and Reason for Exchange in Archaic Societies, trans. W. D. Halls (London: Routledge, 1990).Google Scholar
, Perform or Else: From Discipline to Performance (London and New York: Routledge, 2001).CrossRefGoogle Scholar
, A Theory of Laughter with special relation to Comedy and Tragedy (London: George Allen and Unwin Ltd., 1931).Google Scholar
, ed. The Philosophy of Laughter and Humor (Albany: State University of New York Press, 1987).Google Scholar
, The Development of the Playhouse (Berkeley and Los Angeles: University of California Press, 1970).Google Scholar
, ed. Mimesis, Masochism and Mime: The Politics of Theatricality in Contemporary French Thought (Ann Arbor: University of Michigan Press, 1997).CrossRefGoogle Scholar
, The Birth of Tragedy from the Spirit of Music, trans. Francis Golffing (Garden City: Doubleday, 1956).Google Scholar
, A Dictionary of Slang and Unconventional English, ed. Paul Beale (London and New York: Routledge, 1994).Google Scholar
Peterson, Michael, ‘Stubborn as a Mule: Non-Human Performers and the Limits of Semiotics’, unpublished paper given at the American Society for Theatre Research Annual Conference, CUNY Graduate Center, New York, November 2000.
, Unmarked: the politics of performance (London and New York: Routledge 1993).CrossRefGoogle Scholar
, ‘The eye finds no fixed point on which to rest …’, trans. C. R. Parsons, Modern Drama 25:1 (1982), 154–162.Google Scholar
, ed. The Art of Art History: a critical anthology (Oxford: Oxford University Press, 1998).Google Scholar
, Remembrance of Things Past, Volume I, trans. C. K. Scott Moncrieff and Terence Kilmartin (Harmondsworth: Penguin Books, 1983).Google Scholar
, Stage Fright: Modernism, Antitheatricality and Drama (Baltimore: Johns Hopkins University Press, 2002).Google Scholar
, The Theatre and Everyday Life: An Ethics of Performance (London and New York: Routledge, 1993).CrossRefGoogle Scholar
Read, Alan ‘Prodigious Performance: Infants, Animals and Other Anomalies’, Inaugural Lecture, Roehampton, University of Surrey, 2002.
, Theatre Lighting in the Age of Gas (London: The Society for Theatre Research, 1978).Google Scholar
, Nervousness and Stage Fright: A Never-failing Remedy (45, Radnor Drive, Liscard, Cheshire: W. Ritchie 1915).Google Scholar
Ridout, Nicholas, ‘Who Does Cathy Naden Think She Is?’, unpublished paper given at the American Society for Theatre Research Annual Conference, CUNY Graduate Center, New York, November 2000.
, The Player's Passion: Studies in the Science of Acting (Ann Arbor: University of Michigan Press, 1993).CrossRefGoogle Scholar
, Being and Nothingness: An Essay of Phenomenological Ontology, trans. Hazel E. Barnes (London: Routledge, 1989).Google Scholar
, The Object of Performance: The American Avant-Garde since 1970 (Chicago: Chicago University Press, 1989).Google Scholar
and , eds. By Means of Performance: intercultural studies of theatre and ritual (Cambridge: Cambridge University Press, 1990).CrossRefGoogle Scholar
, Disenchanted Night: The Industrialisation of Light in the Nineteenth Century (Berkeley and Los Angeles: University of California Press, 1995).Google Scholar
Flesh and Stone: The Body and the City in Western Civilization (Harmondsworth: Penguin Books, 2002).Google Scholar
‘The Dog on Stage: Theatre as Phenomenon’, New Literary History, XIV (1983) 373–388.CrossRefGoogle Scholar
Great Reckonings in Little Rooms: The Phenomenology of Theater (Berkeley and Los Angeles: University of California Press, 1985).Google Scholar
, Affect, Imagery, Consciousness, Volume 2, The Negative Affects (New York: Springer, 1963).Google Scholar
, From Ritual to Theatre: The Human Seriousness of Play (New York: Performing Asts Journal Press, 1982).Google Scholar
and , Myth and Tragedy in Ancient Greece, trans. Janet Lloyd (New York: Zone Books, 1990).Google Scholar
, Daddy's Girl: Young Girls and Popular Culture (Cambridge, MA: Harvard University Press, 1997).Google Scholar
and , eds. A Dictionary of American Slang, Second Supplemented Edition (New York: Thomas Y Crowell, 1975).Google Scholar
, ‘The Right Horse, the Animal Eye – Bartabas and Théâtre Zingaro’, Performance Research 5:2 On Animals (2000), 29–40.CrossRefGoogle Scholar
, Shakespeare and the Authority of Performance (Cambridge: Cambridge University Press, 1997).CrossRefGoogle Scholar
, ed. Acting (Re)Considered: Theories and Practices (London and New York: Routledge, 1995).Google Scholar
, Stage Fright: Its Role in Acting (Chicago and London: University of Chicago Press, 1986).Google Scholar
, Oresteia: The Eumenides, trans. Richmond Lattimore (Chicago: University of Chicago Press, 1953).Google Scholar
, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen (Stanford: Stanford University Press, 1998).Google Scholar
–Remnants of Auschwitz: The Witness and the Archive, trans. Daniel Heller-Roazen (New York: Zone Books, 1999).Google Scholar
Means Without End: Notes on Politics, trans. Vincenzo Binetti and Cesare Casarino (Minneapolis and London: University of Minnesota Press, 2000).Google Scholar
, From Acting to Performance: Essays in Modernism and Postmodernism (New York and London: Routledge, 1997).CrossRefGoogle Scholar
, The Theatre and Its Double, trans. Victor Corti (Montreuil, London, New York: Calder, 1993).Google Scholar
, Mutterrecht. English. Selections, An English Translation of Bachofen's Mutterrecht (Mother Right) (1861): a study of the religious and juridical aspects of gynecocracy in the ancient world, trans. Edward Partenheimer (Lewiston, NY: Edwin Mellen Press, 2003).Google Scholar
, Rabelais and His World, trans. Hélène Iswolsky (Bloomington and Indianapolis: Indiana University Press, 1984).Google Scholar
, Terpsichore in Sneakers: Postmodern Dance (Middletown, CT: Wesleyan University Press, 1987).Google Scholar
Writing Dancing in the Age of Postmodernism (Hanover, NH: Wesleyan University Press/University Press of New England, 1994).Google Scholar
, The Antitheatrical Prejudice (Berkeley and Los Angeles: University of California Press, 1981).Google Scholar
, Critical Essays, trans. Richard Howard (Evanston: Northwestern University Press, 1972).Google Scholar
The Rustle of Language, trans. Richard Howard (Berkeley and Los Angeles: University of California Press, 1989).
Bayly, Simon, ‘A Pathognomy of Performance: Theatre, Philosophy and the Ethics of Interruption’, Ph.D. dissertation, University of Surrey, 2002.
, The Chrysanthemum and the Sword: Patterns of Japanese Culture (London: Routledge and Kegan Paul, 1977).Google Scholar
The Origin of German Tragic Drama, trans. John Osborne (London and New York: Verso, 1998).Google Scholar
, Theatre Audiences: A Theory of Production and Reception (London and New York: Routledge, 1997).Google Scholar
, Imaginary Audition: Shakespeare on Stage and Page (Berkeley and Los Angeles: University of California Press, 1989).Google Scholar
, Laughter: An Essay on The Meaning of the Comic, trans. Cloudesley Brereton and Fred Rothwell (New York: Macmillan, 1911).CrossRefGoogle Scholar
, All That Is Solid Melts Into Air: The Experience of Modernity (London and New York: Verso, 1983).Google Scholar
, Brecht on Theatre: The Development of an Aesthetic, trans. John Willett (London: Methuen, 1964).Google Scholar
, Notes on the Cinematographer, trans. Jonathan Griffin (London: Quartet Encounters, 1986).Google Scholar
, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 1989).Google Scholar
and , Les pèlerins de la matière: théorie et praxis du théâtre. Écrits de la Socìetas Raffaello Sanzio, trans. Karin Espinosa (Besançon: Les Solitaires Intempestifs, 2001).Google Scholar
Castellucci, Romeo, ‘The Animal Being on Stage’, trans. Carolina Melis, Valentina Valentini and Ric Allsopp, in Performance Research 5:2 On Animals (2000), 23–28.
, Performer and Audience: An Investigation into the psychological causes of Anxiety and Nervousness in Playing, Singing or Speaking Before an Audience (Oxford: Hall the Publisher Ltd., 1947).Google Scholar
, Democritus and the Sources of Greek Anthropology (Ann Arbor: Michigan University Press, 1967).Google Scholar
Connor, Steven ‘The Shakes: Conditions of Tremor’, www.bbk.ac.uk/eh/eng/skc/shakes
Conrad, Peter, ‘Shakespeare Made Sick’, The Observer, June 6, 1999.
, Signs of Performance: An Introduction to Twentieth Century Theatre (London: Routledge, 1996).Google Scholar
, Ethics-Politics-Subjectivity: Essays on Derrida, Levinas and Contemporary French Thought (London and New York: Verso, 1999).Google Scholar
, The Expression of Emotion in Man and Animals, ed. Paul Ekman (London: HarperCollins, 1998).Google Scholar
, Breaking Up [at] Totality: A Rhetoric of Laughter (Carbondale and Edwardsville: Southern Illinois University Press, 2000).Google Scholar
, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (London: Athlone, 1986).Google Scholar
Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (London: Athlone, 1989).Google Scholar
and , Anti-Oedipus: Capitalism and Schizophrenia, trans. Robert Hurley, Mark Seem and Helen R. Lane (London: Athlone, 1984).Google Scholar
and Kafka: Toward a Minor Literature, trans. Dana Polan (Minneapolis and London: University of Minnesota Press, 1986).Google Scholar
and A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (London: Athlone, 1988).Google Scholar
, Writing and Difference, trans. Alan Bass (London and Henley: Routledge and Kegan Paul, 1978).Google Scholar
‘The Animal That Therefore I Am (More to Follow)’, trans. David Wills, Critical Inquiry 28:2 (2002), 369–418.CrossRefGoogle Scholar
and , eds. The Cuisine of Sacrifice Among the Greeks, trans. Paula Wissing (Chicago and London: University of Chicago Press, 1989).Google Scholar
, Selected Writings on Art and Literature, trans. Geofrrey Bremner (Harmondsworth: Penguin Books, 2001).Google Scholar
ed. The Cambridge Companion to Greek Tragedy (Cambridge: Cambridge University Press, 1997).CrossRefGoogle Scholar
, Talking to the Audience: Shakespeare, Performance, Self (London and New York: Routledge, 2005).CrossRefGoogle Scholar
, ‘On the Skids: Some Years of Acting Animals’, Performance Research5:2: On Animals (2000), pp. 55–60.CrossRefGoogle Scholar
and , Slang and Its Analogues Past and Present, New York: Kraus Reprint Corporation, 1965.Google Scholar
, Further Contributions to the Theory and Technique of Psychoanalysis (New York: Basic Books, 1952).Google Scholar
, Ritual Irony: poetry and sacrifice in Euripides (Ithaca: Cornell University Press, 1985).Google Scholar
, Unbalancing Acts: Foundations for a Theater (New York: Theatre Communications Group, 1992).Google Scholar
, On Metapsychology: The Theory of Psychoanalysis, trans. James Strachey et al., (Harmondsworth: Penguin, 1984).Google Scholar
Pre-Psycho-Analytic Publications and Unpublished Drafts, trans. James Strachey et al. (London: Vintage, 2001).Google Scholar
, Art and Objecthood: Essays and Reviews (Chicago and London: University of Chicago Press, 1998).Google Scholar
‘Further contributions to the understanding of stage fright: Narcissistic issues’, Journal of the American Pyschoanalytic Association, 31 (1983), 423–441.CrossRefGoogle ScholarPubMed
, Bodied Spaces: Phenomenology and Performance in Contemporary Drama (Ithaca and London: Cornell Univesity Press, 1994).Google Scholar
and , eds. Performance Culture and Athenian Democracy (Cambridge: Cambridge University Press, 1999).Google Scholar
and , Art in Theory: An Anthology of Changing Ideas, 1900–1990 (Oxford: Blackwell, 1992).Google Scholar
, Stage Fright: its causes and cures, with special reference to violin playing (London: Bosworth, 1973).Google Scholar
Heathfield, Adrian, ‘Last Laughs’, performance/paper, Queen Mary University of London, February 2003.
, Introductory Lectures on Aesthetics, trans. Bernard Bosanquet (Harmondsworth: Penguin Books, 1993).Google Scholar
, The Fundamental Concepts of Metaphysics, trans. William McNeill and Nicholas Walker (Bloomington and Indianapolis: Indiana University Press, 1995).Google Scholar
, Nerve Control: The Cure of Nervousness and Stage Fright (London: William Richer and Son Ltd., 1915).Google Scholar
, The Political Unconcious: Narrative as a Socially Symbolic Act (London: Routledge, 1996).Google Scholar
, Treatise on Laughter, trans. Gregory David de Rocher (Auburn: The University of Alabama Press, 1980).Google Scholar
, Critique of Judgement, trans. Werner S. Pluhar (Indianapolis and Cambridge: Hackett, 1987).Google Scholar
, ed. Art Into Theatre: Performance Interviews and Documents (Amsterdam: Harwood Academic Publishers, 1996).Google Scholar
and , eds. Body and Text in the Eighteenth Century (Stanford: Stanford University Press, 1994).Google Scholar
, The Radical in Performance: Between Brecht and Baudrillard (Routledge: London and New York, 1999).Google Scholar
, ‘I Love You. Who Are You? The Strategy of Drama in Recognition Scenes’, PMLA 92 (1977), 297–306.CrossRefGoogle Scholar
, The Stage Fright, or How to Face an Audience (Boston: Press of Geo. H. Ellis, 1891).Google Scholar
, Acting Emotions: Shaping Emotions on Stage (Amsterdam: Amsterdam University Press, 2000).CrossRefGoogle Scholar
, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1986).Google Scholar
, Powers of Horror: An Essay in Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982).Google Scholar
, Totality and Infinity, trans. Alphonso Lingis (Pittsburgh: Duquesne University Press, 1969).Google Scholar
, The Inhuman: Reflections on Time, trans. Geoffrey Bennington and Rachel Bowlby (Cambridge: Polity Press, 1991).Google Scholar
, The Gift: The Form and Reason for Exchange in Archaic Societies, trans. W. D. Halls (London: Routledge, 1990).Google Scholar
, Perform or Else: From Discipline to Performance (London and New York: Routledge, 2001).CrossRefGoogle Scholar
, A Theory of Laughter with special relation to Comedy and Tragedy (London: George Allen and Unwin Ltd., 1931).Google Scholar
, ed. The Philosophy of Laughter and Humor (Albany: State University of New York Press, 1987).Google Scholar
, The Development of the Playhouse (Berkeley and Los Angeles: University of California Press, 1970).Google Scholar
, ed. Mimesis, Masochism and Mime: The Politics of Theatricality in Contemporary French Thought (Ann Arbor: University of Michigan Press, 1997).CrossRefGoogle Scholar
, The Birth of Tragedy from the Spirit of Music, trans. Francis Golffing (Garden City: Doubleday, 1956).Google Scholar
, A Dictionary of Slang and Unconventional English, ed. Paul Beale (London and New York: Routledge, 1994).Google Scholar
Peterson, Michael, ‘Stubborn as a Mule: Non-Human Performers and the Limits of Semiotics’, unpublished paper given at the American Society for Theatre Research Annual Conference, CUNY Graduate Center, New York, November 2000.
, Unmarked: the politics of performance (London and New York: Routledge 1993).CrossRefGoogle Scholar
, ‘The eye finds no fixed point on which to rest …’, trans. C. R. Parsons, Modern Drama 25:1 (1982), 154–162.Google Scholar
, ed. The Art of Art History: a critical anthology (Oxford: Oxford University Press, 1998).Google Scholar
, Remembrance of Things Past, Volume I, trans. C. K. Scott Moncrieff and Terence Kilmartin (Harmondsworth: Penguin Books, 1983).Google Scholar
, Stage Fright: Modernism, Antitheatricality and Drama (Baltimore: Johns Hopkins University Press, 2002).Google Scholar
, The Theatre and Everyday Life: An Ethics of Performance (London and New York: Routledge, 1993).CrossRefGoogle Scholar
Read, Alan ‘Prodigious Performance: Infants, Animals and Other Anomalies’, Inaugural Lecture, Roehampton, University of Surrey, 2002.
, Theatre Lighting in the Age of Gas (London: The Society for Theatre Research, 1978).Google Scholar
, Nervousness and Stage Fright: A Never-failing Remedy (45, Radnor Drive, Liscard, Cheshire: W. Ritchie 1915).Google Scholar
Ridout, Nicholas, ‘Who Does Cathy Naden Think She Is?’, unpublished paper given at the American Society for Theatre Research Annual Conference, CUNY Graduate Center, New York, November 2000.
, The Player's Passion: Studies in the Science of Acting (Ann Arbor: University of Michigan Press, 1993).CrossRefGoogle Scholar
, Being and Nothingness: An Essay of Phenomenological Ontology, trans. Hazel E. Barnes (London: Routledge, 1989).Google Scholar
, The Object of Performance: The American Avant-Garde since 1970 (Chicago: Chicago University Press, 1989).Google Scholar
and , eds. By Means of Performance: intercultural studies of theatre and ritual (Cambridge: Cambridge University Press, 1990).CrossRefGoogle Scholar
, Disenchanted Night: The Industrialisation of Light in the Nineteenth Century (Berkeley and Los Angeles: University of California Press, 1995).Google Scholar
Flesh and Stone: The Body and the City in Western Civilization (Harmondsworth: Penguin Books, 2002).Google Scholar
‘The Dog on Stage: Theatre as Phenomenon’, New Literary History, XIV (1983) 373–388.CrossRefGoogle Scholar
Great Reckonings in Little Rooms: The Phenomenology of Theater (Berkeley and Los Angeles: University of California Press, 1985).Google Scholar
, Affect, Imagery, Consciousness, Volume 2, The Negative Affects (New York: Springer, 1963).Google Scholar
, From Ritual to Theatre: The Human Seriousness of Play (New York: Performing Asts Journal Press, 1982).Google Scholar
and , Myth and Tragedy in Ancient Greece, trans. Janet Lloyd (New York: Zone Books, 1990).Google Scholar
, Daddy's Girl: Young Girls and Popular Culture (Cambridge, MA: Harvard University Press, 1997).Google Scholar
and , eds. A Dictionary of American Slang, Second Supplemented Edition (New York: Thomas Y Crowell, 1975).Google Scholar
, ‘The Right Horse, the Animal Eye – Bartabas and Théâtre Zingaro’, Performance Research 5:2 On Animals (2000), 29–40.CrossRefGoogle Scholar
, Shakespeare and the Authority of Performance (Cambridge: Cambridge University Press, 1997).CrossRefGoogle Scholar
, ed. Acting (Re)Considered: Theories and Practices (London and New York: Routledge, 1995).Google Scholar