Further Reading

Falassi, A. (ed.) (1987) Time Out of Time: Essays on the Festival, Albuquerque: University of New Mexico Press.

Fischer, S.R. (2001) A History of Writing, London: Reaktion Books.

Frankfort, H. (1948) Ancient Egyptian Religion, N.Y.: Harper & Row.

Izeki, M. (1998) “The Aztec ritual sacrifices,” Performance Research, 3: 25–32.

Leftkowitz, M.R. and Fant, M.B. (1992) Women’s Life in Greece and Rome: A Sourcebook in Translation, 2nd edn, Baltimore: Johns Hopkins University Press.

MacDonald, M. and Walton, J.M. (eds) (2007) The Cambridge Companion to Greek and Roman Theatre,London and New York: Cambridge University Press.

Nellhaus, T. (2010) Theatre, Communication, Critical Realism, New York: Palgrave Macmillan.

Pickard-Cambridge, A. (1968, reissued in 1988) The Dramatic Festivals of Athens, 2nd edn revised by J.G. and D.M. Lewis, Oxford: Clarendon Press.

Rozik, E. (2002) The Roots of Theatre: Rethinking Ritual and Other Theories of Origin, Iowa City: University of Iowa Press.

Bhasa (1985 [1930]) Thirteen Plays, trans. A.C. Woolner and L. Sarup, Delhi: Molilal Banarsidass.

Bieber, M. (1961) The History of the Greek and Roman Theater, Princeton: Princeton University Press.

Blacker, C. (1975) The Catalpa Bow: A Study of Shamanistic Practices in Japan, London: George Allen & Unwin Ltd.

George, D.E.R. (1999) Buddhism as/in Performance: Analysis of Meditation and Theatrical Practice, New Delhi: D.K. Printworld(P), Ltd.

Ghosh, M. (ed. and trans.) (1967, 1961) The Natyasastra, Vol. I, Calcutta: Manisha Granthalaya, 1967; Vol. II, Calcutta: Asiatic Society, 1961.

Goff, J. (1991) Noh Drama and The Tale of Genji, Princeton: Princeton University Press.

Hawley, J.S. (1981) At Play with Krishna: Pilgrimage Dramas from Brindavan, Princeton: Princeton University Press.

Hein, N. (1972) The Miracle Plays of Mathura, New Haven: Yale University Press.

Inoura, Y. and Kawatake, T. (1981) The Traditional Theatre of Japan, New York: Weatherhill.

Keene, D. (1966) Nō: The Classical Theatre of Japan, New York: Kodansha International.

Keene, D. (1970) Twenty Plays of the Nō Theatre, New York: Columbia.

Leiter, S. (ed.) (2007) Encyclopedia of Asian Theatre, 2 vols. Westport, CT and London: Greenwood Press.

Lidova, N. (1994) Drama and Ritual of Early Hinduism, Delhi: Motilal Banarsidass.

Lutgendorf, P. (1991) The Life of a Text: Performing the Ramcaritmanas of Tulsidas, Berkeley: University of California Press.

MacDonald, M. and Walton, J.M. (eds) (2007) The Cambridge Companion to Greek and Roman Theatre,London and New York: Cambridge University Press.

Mahabharata (1970) translated and summarized by C. Rajogopalachari, 10th edn, Chowpatty, Bombay: Bharatya Vidya Bharan.

Mahabharata (1998) English version based on selected verses, by Chakravarthi V. Narasimhan, rev. edn, New York: Columbia University Press.

Marasinghe, E.W. (1989) The Sanskrit Theatre and Stagecraft, Delhi: Sri Satguru Publications.

Mehta, T. (1995) Sanskrit Play Production in Ancient India, Delhi: Motilal Banarsidass.

Murasaki, S. (1935) The Tale of Genji, trans. A. Waley, Boston, New York: Houghton Mifflin Co.

Ortolani, B. (1984) “Shamanism in the Origins of the Nō Theatre,” Asian Theatre Journal, 1, 2: 166–90.

Ortolani, B. (1995) The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Princeton: Princeton University Press.

Shih, C.-W. (1976) The Golden Age of Chinese Drama: Yuan Tsa-Chu, Princeton: Princeton University Press.

Slater, N.W. (1985) Plautus in Performance, Princeton: Princeton University Press.

Walton, J.M. and Arnott, P.D. (1996) Menander and the Making of Comedy, Westport, CT: Greenwood Press.

Wiles, D. (1991) The Masks of Menander: Sign and Meaning in Greek and Roman Performance, Cambridge: Cambridge University Press.

Anderson, B. (1983) Imagined Communities, London: Verso.

Beeman, W.O. (1982) Culture, Performance and Communication in Iran, Tokyo: Institute for the Study of Languages and Cultures of Asia and Africa.

Beeman, W.O. and Ghaffari, M.B. (2005) “Acting Styles and Actor Training in Ta’ziyeh,” TDR: The Drama Review, 49, 4: 48–60.

Bevington, D. (1975) Medieval Drama, Boston: Houghton Mifflin Company.

Castro-Klarén, S. (1993) “Dancing and the Sacred in the Andes: From the Taqui-Oncoy to Rasu-Niti,” in New World Encounters,Stephen Greenblatt (ed.), Berkeley: University of California Press, 159–76.

Chelkowski, P.J. (1979) Ta’ziyeh Ritual and Drama in Iran, N.Y.: New York University Press.

Chelkowski, P.J. (2005) “From Karbala to New York City: Ta’ziyeh on the Move,” TDR: The Drama Review, 49, 4:13–27.

Chelkowski, P.J. (2005) Special issue on Ta’ziyeh, TDR: The Drama Review,49, 4.

Dox, D. (2004) The Idea of the Theater in Latin Christian Thought, Ann Arbor: University of Michigan Press.

Drewal, M.J. and Drewal, M.T. (1983) Gelede: Art and Female Power Among the Yoruba, Bloomington: Indiana University Press.

Falassi, A. (ed.) (1987) Time Out of Time: Essays on the Festival, Albuquerque: University of New Mexico Press.

Fischer, S.R. (2001) A History of Writing, London: Reaktion Books.

Gose, P. (2008) Invaders as Ancestors: On the Intercultural Making and Unmaking of Spanish Colonialism in the Andes, University of Toronto Press.

Harris, J.W. (1992) Medieval Theatre in Context, London: Routledge.

Izeki, M. (1998) “The Aztec ritual sacrifices,” Performance Research, 3: 25–32.

King, P.M. and A. Salvador-Rabaza (1992) “The Festa or Misteri of Elx,” Medieval English Theatre, 14, 1: 4–21.

MacAloon, J.J. (1984) Rite, Drama, Festival, Spectacle, Philadelphia: University of Pennsylvania Press.

MacAloon, J.J. (1984) Rite, Drama, Festival, Spectacle, Philadelphia: University of Pennsylvania Press.

Newman, L.I. (1957) Pangs of the Messiah and Other Plays, Pageants and Cantatas, New York: Bloch Pub. Co.

Nijsten, G. (1997) “Feasts and Public Spectacle: Late Medieval Drama and Performance in the Low Countries,” in Alan E. Knight (ed.) The Stage as Mirror: Civic Theatre in Late Medieval Europe, Cambridge: D.S. Brewer, 107–43.

Ong, W.J. (1988; 1st edn 1982) Orality and Literacy, London: Routledge.

Ravicz, M. (1970) Early Colonial Religious Drama in Mexico: From Tzopantli to Golgotha, Washington, DC: Catholic University Press.

Taylor, D. and S. Townsend (eds) (2008) Stages of Conflict: A Critical Anthology of Latin American Theater and Performance, Ann Arbor: University of Michigan Press.

Turner, V. (1969) The Ritual Process, Chicago: Aldine Publishing Company.

Turner, V. (1982) From Ritual to Theatre: The Human Seriousness of Play, New York: PAJ Publications.

Tydeman, W. (1978) The Theatre in the Middle Ages, Cambridge: Cambridge University Press.

Vince, R. (1989) A Companion to the Medieval Theatre, New York: Greenwood Press.

Ybarra, P. (2009) Performing Conquest: Five Centuries of Theater, History, and Identity in Tlaxcala, Mexico,Ann Arbor: University of Michigan Press.

Allen, J.J. (1983) The Reconstruction of a Golden Age Playhouse: El Corral del Principe, 1583–1744,Gainesville: University Presses of Florida.

Andrews, R. (1993) Scripts and Scenarios: The Performance of Commedia in Renaissance Italy, Cambridge: Cambridge University Press.

Barish, A. (1981) The Antitheatrical Prejudice, Berkeley: University of California Press.

Bentley, G.E. (1971) Professions of Dramatist and Player in Shakespeare’s Time, 1590–1642,Princeton: Princeton University Press.

Bratton, J.S. (2003) New Readings in Theatre History, Cambridge: Cambridge University Press.

Cairns, C. (ed.) (1988) The Commedia dell’arte from the Renaissance to Dario Fo, Lewiston/Queenston/Lampeter: Edwin Mellen Press.

Chartier, R. (1999) Publishing Drama in Early Modern Europe, London: British Library.

Cohen, W. (1985) Drama of a Nation: Public Theatre in Renaissance England and Spain, Ithaca: Cornell University Press.

Dolby, W. (1976) A History of Chinese Drama, New York: Harper & Row.

Du, W. (1995) “The chalk circle comes full circle: From Yuan drama through the Western stage to Peking Opera,” Asian Theatre Journal, 307–25.

Ducharte, P.-L. (1966) The Italian Comedy; The Improvisation, Scenarios, Lives, Attributes, Portraits, and Masks of the Illustrious Characters of the commedia dell'arte,New York: Dover (reprint from George G. Harrap and Co., 1929).

Elsky, M. (1989) Authorizing Words: Speech, Writing, and Print in the English Renaissance, Ithaca: Cornell University Press.

Fischer, S.R. (2003) A History of Reading, London: Reaktion Books.

Fitzpatrick, T. (1995) The Relationship of Oral and Literate Performance Processes in Commedia dell’Arte, Lewiston: Edwin Mellen Press.

Forse, J.H. (1993) Art Imitates Business: Commercial and Political Influences in Elizabethan Theatre,Bowling Green, OH: Bowling Green University Popular Press.

Gunn, N.D. (2006) “A Justice to Come: The Role of Ethics in La Farce de maître Pierre Pathelin,” Theatre Survey 47:1 (May), 13–32.

Gurr, A. (2004) Playgoing in Shakespeare’s London, 3rd edn, Cambridge: Cambridge University Press.

Gurr, A. (2004) The Shakespeare Company, Cambridge: Cambridge University Press.

Heck, T.F. (1988) Commedia dell’Arte: A Guide to the Primary and Secondary Literature,New York and London: Garland, 1988.

Hudson, N. (1994) Writing and European Thought, 1600–1830, Cambridge: Cambridge University Press.

Ingram, W. (1993) The Business of Playing: The Beginning of the Adult Professional Theatre in Elizabethan London,Ithaca: Cornell University Press.

Katritzky, M.A. (2006) The Art of Commedia: A Study in the Commedia Dell'Arte 1560–1620 with Special Reference to the Visual Records, Amsterdam and New York: Editions Rodopi.

Kelly-Gadol, J. (1977). Did Women have a Renaissance? Boston, MA: Houghton Mifflin.

Knutson, R.L. (2001) Playing Companies and Commerce in Shakespeare’s Time,Cambridge and New York: Cambridge University Press.

Leacroft, R. and Leacroft, H. (1984) Theatre and Playhouse: An Illustrated Survey of Theatre Building from Ancient Greece to the Present, New York: Methuen.

Levin, R. (1989) “Women in the Renaissance Theatre Audience,” Shakespeare Quarterly 40, 2 (Summer): 165–74.

Liu, J.J. (1955) Elizabethan and Yuan: a brief comparison of some conventions in poetic drama (No. 8), The China Society.

McKendrick, M. (1974) Women and Society in the Spanish Drama of the Golden Age, London and New York: Cambridge University Press.

Mullaney, S. (1988) The Place of the Stage: License, Play and Power in Renaissance England,Chicago: University of Chicago Press.

Munro, L. (2005) Children of the Queen’s Revels: A Jacobean Theatre Repertory, Cambridge: Cambridge University Press.

Nagler, A.M. (1952) Sources of Theatrical History, New York: Theatre Annual.

Ong, W.J. (1988) Orality and Literacy: The Technologizing of the Word, London and New York: Routledge.

Orgel, S. (1975) The Illusion of Power: Political Theatre in the English Renaissance, Berkeley: California University Press.

Pearson, J. (1988) The Prostituted Muse: Images of Women and Women Dramatists, 1642–1737, Harvester Wheatsheaf.

Shih, C.-W. (2015) The Golden Age of Chinese Drama: Yuan Tsa-Chu, Princeton: Princeton University Press.

Thomson, P. (1992) Shakespeare’s Theatre, 2nd edn, London: Routledge.

Trussler, S. (1994) The Cambridge Illustrated History of British Theatre, Cambridge: Cambridge University Press.

Werner, S. (ed.) (2010) New Directions in Renaissance Drama and Performance Studies,London and New York: Palgrave Macmillan.

Wong, I.K. (2009) “The Heritage of Kunqu: Preserving Music and Theater Traditions in China,” in Intangible Heritage Embodied (D.F. Ruggles and H. Silverman, eds), New York: Springer, 15–35.

Yang, R.F. (1958) “The Social Background of the Yüan Drama,” Monumenta Serica, 331–52.

Banham, M. (ed.) (1988) The Cambridge Guide to World Theatre, Cambridge: Cambridge University Press.

Barish, J. (1981) The Antitheatrical Prejudice, Berkeley: University of California Press.

Chartier, R. (1999) Publishing Drama in Early Modern Europe, London: British Library.

Cohen, W. (1985) Drama of a Nation: Public Theatre in Renaissance England and Spain, Ithaca: Cornell University Press.

Dukore, B.F. (1974) Dramatic Theory and Criticism: Greeks to Grotowski, New York: Holt, Rinehart and Winston.

Dutton, R. (1991) Mastering the Revels: The Regulation and Censorship of English Renaissance Drama, Iowa City: Iowa University Press.

Elsky, M. (1989) Authorizing Words: Speech, Writing, and Print in the English Renaissance, Ithaca: Cornell University Press.

Gurr, A. (2004) Playgoing in Shakespeare’s London, 3rd edn, Cambridge: Cambridge University Press.

Gurr, A. (2004) The Shakespeare Company, Cambridge: Cambridge University Press.

Hill, C. (1980) The Century of Revolution, 1603–1714, New York: Norton.

Howarth, W.D. (ed.) (1977) French Theatre in the Neoclassical Era, 1550–1789, Cambridge: Cambridge University Press.

Hudson, N. (1994) Writing and European Thought, 1600–1830, Cambridge: Cambridge University Press.

Kennedy, D. (ed.) (2003) The Oxford Encyclopedia of Theatre and Performance, 2 vols, Oxford: Oxford University Press.

Leacroft, R. and Leacroft, H. (1984) Theatre and Playhouse: An Illustrated Survey of Theatre Building from Ancient Greece to the Present, New York: Methuen.

McKendrick, M. (1989) Theatre in Spain, 1490–1700, Cambridge: Cambridge University Press.

Munro, L. (2005) Children of the Queen’s Revels: A Jacobean Theatre Repertory, Cambridge: Cambridge University Press.

Nagler, A.M. (1952) Sources of Theatrical History, New York: Theatre Annual.

Nagler, A.M. (1968) Theatre Festivals of the Medici, 1539–1637, New Haven: Yale University Press.

Nellhaus, T. (2010) Theatre, Communication, Critical Realism, New York: Palgrave Macmillan.

Nicoll, A. (1966) The Development of the Theatre, 5th edn, New York: Harcourt, Brace, and World.

Orgel, S. (1975) The Illusion of Power: Political Theatre in the English Renaissance, Berkeley: California University Press.

Roberts, J.M. (2003) The New History of the World, Oxford: Oxford University Press.

Scales, R.W. (2002) “The battle of the stages: the conflict between the theatre and the institutions of government and religion in England, 1660–1890,” Unpublished dissertation, City University: London.

Thomson, P. (1992) Shakespeare’s Theatre, 2nd edn, London: Routledge.

Trussler, S. (1994) The Cambridge Illustrated History of British Theatre, Cambridge: Cambridge University Press.

Barbier, P. (1996) The World of the Castrati: The History of an Extraordinary Operatic Phenomenon, Margaret Crosland (trans.), London: Souvenir Press.

Bianconi, L. and Pestelli, G. (eds) (1998) Opera Production and Its Resources, Chicago: University of Chicago Press.

Carlson, M. (1998) Voltaire and the Theatre of the Eighteenth Century, Westport, CT: Greenwood Press.

Clay, L. (2007) “Profits and Public Theaters: Rethinking Cultural Unification in Ancien Regime France,” Journal of Modern History, Vol. 79 No. 4 (December), 729–71.

Cronk, N. (ed.) (2009) The Cambridge Companion to Voltaire, Cambridge: Cambridge University Press.

Fisk, D.P. (ed.) (2000) The Cambridge Companion to English Restoration Theatre, Cambridge: Cambridge University Press.

Glixon, B. and Glixon, J. (2006) Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice, Oxford: Oxford University Press.

Greenberg, M. (2010) Racine: From Ancient Myth to Tragic Modernity, Minneapolis, MN: University of Minnesota Press.  

Howarth, W.D. (ed.) (1977) French Theatre in the Neoclassical Era, 1550–1789, Cambridge: Cambridge University Press.

Johnson, J. H. (1995) Listening in Paris: A Cultural History, Berkeley: University of California Press.

Lewis, J. and Novak, M.E. (eds) (2004) Enchanted Ground: Reimagining John Dryden, Toronto: University of Toronto Press.

Maskell, D. (1991) Racine: A Theatrical Reading, Oxford: Clarendon Press.

Nagler, A.M. (1968) Theatre Festivals of the Medici, 1539-1637, New Haven: Yale University Press.

Nellhaus, T. (2010) Theatre, Communication, Critical Realism, New York: Palgrave Macmillan.

Orgel, S. (1975) The Illusion of Power: Political Theatre in the English Renaissance,  Berkeley: California University Press.

Russo, E. (2007) Styles of Enlightenment: Taste, Politics, and Authorship in Eighteenth-Century France, Baltimore: Johns Hopkins University Press.

Zwicker, S.N. (ed.) (2004) The Cambridge Companion to John Dryden, Cambridge: Cambridge University Press.

Eagleton, T. (1990) The Ideology of the Aesthetic, Oxford: Basil Blackwell.

Ellis, F.H. (1991) Sentimental Comedy: Theory and Practice, Cambridge: Cambridge University Press.

Goring, P. (2005) The Rhetoric of Sensibility in Eighteenth-Century Culture, Cambridge: Cambridge University Press.

Nellhaus, T. (2010) Theatre, Communication, Critical Realism, New York: Palgrave Macmillan.

Peter Hanns Reill, P.H. and Wilson, E.J. (2004) Encyclopedia of the Enlightenment,rev. edn,New York: Facts on File.

Wikander, M.H. (2002) Fangs of Malice: Hypocrisy, Sincerity, and Acting, Iowa City, IA: University of Iowa Press.

Woods, L. (1984) Garrick Claims the Stage: Acting as Social Emblem in Eighteenth-Century England, Westport, CT: Greenwood Press.

Arblaster, A. (1992) Viva la Liberta!: Politics in Opera, London: Verso.

Beezley, W. and Curcio-Nagy, L. (eds) (2012) Latin American Popular Culture Since Independence: An Introduction, Lanham, MD: Rowman and Littlefield Publishers.

Mahr, W.J. (1999) Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture, Urbana: University of Illinois Press.

Moya, J. (2011) The Oxford Handbook of Latin American History, Oxford: Oxford University Press.

Nathans, H. (2009) Slavery and Sentiment on the American Stage, 1787–1861: Lifting the Veil of Black, Cambridge: Cambridge University Press.

Storey, J. (2003) Inventing Popular Culture, Oxford: Blackwell Publishing.

Toll, R.C. (1974) Blacking Up: The Minstrel Show in Nineteenth-Century America, New York: Oxford University Press.

Young, R. and Cisneros, O. (2011) Historical Dictionary of Latin American Literature and Theater, Lanham, MD: Scarecrow Press.

Audio-visual resources

American Variety Stage: Vaudeville and Popular Entertainment 1870–1920 (1998), Library of Congress: https://memory.loc.gov/ammem/vshtml/vshome.html.

Historic Footage – Vaudeville Acts 1898 to 1910.  Video compilations.  Part 1: https://www.youtube.com/watch?v=vZo4imTt4Og.  Part 2: https://www.youtube.com/watch?v=PsVQ9e8nWx0.  (Other videos are also available on YouTube by searching “vaudeville.”)

Music Hall Days (2003) DVD/video, Kultur Video.

P.T. Barnum: The Greatest Showman on Earth (1999) DVD/video, A&E Home Video.

Ringling Brothers: Kings of the Circus (2005) DVD, Jansen Media, 47 minutes.

The Anton Chekhov Collection (2008), DVD/video, 6 discs (Chekhov’s four major plays with Anthony Hopkins, Judi Dench, and others).

The Henrik Ibsen Collection (2007), DVD/video, 6 discs (Hedda Gabler, Ghosts, Little Eyolf, Wild Duck and Master Builder with Michael Redgrave, Ingrid Bergman, Denholm Elliott, and others).

Vaudeville!  A Dazzling Display of Heterogeneous Splendor!: http://xroads.virginia.edu/~ma02/easton/vaudeville/vaudevillemain.html  

Vintage Variety Stage and Vaudeville Film Collection (2009) DVD, Bestsellers in Movies and TV.

“Virtual Vaudeville” (2006): www.virtualvaudeville.com.

Books and Articles

Adams, B. (1997) E Pluribus Barnum: The Great Showman and U.S. Popular Culture, Minneapolis: University of Minnesota Press.

Allen, R.C. (1991) Horrible Prettiness: Burlesque and American Culture, Chapel Hill and London: University of North Carolina Press.

Assael, B. (2005) The Circus and Victorian Society, Charlottesville and London: University of Virginia Press.

Bailey, P. (1998) Popular Culture and Performance in the Victorian City, Cambridge: Cambridge University Press.

Bogdan, R. (1988) Freak Show: Presenting Human Oddities for Amusement and Profit, Chicago: University of Chicago Press.

Booth, M. (1991) Theatre in the Victorian Age, Cambridge: Cambridge University Press.

Bratton, J.S. (ed.) (1991) Acts of Supremacy: The British Empire and the Stage, Manchester: Manchester University Press.

Braun, E. (1982) The Director and the Stage: From Naturalism to Grotowski, New York: Holmes and Meier.

Brockett, O.G. and Findlay, R. (1991) A Century of Innovation: A History of European and American Theatre and Drama since the Late Nineteenth Century, 2nd edn, Needham Heights, M.A.: Prentice-Hall.

Davis, J.M. (2002) The Circus: Culture and Society Under the American Big Top, Chapel Hill and London: University of North Carolina Press.

Davis, T. (1991) Actresses as Working Women: Their Social Identity in Victorian Culture, New York and London: Routledge.

Drain, R. (ed.) (1995) Twentieth-Century Theatre: A Sourcebook, London: Routledge.

Foege, A.V. (2008) Right of the Dial: The Rise and Fall of Clear Channel and the Fall of Commercial Radio, New York: Faber & Faber.

Freud, S. (1930) Civilization and Its Discontents, authorized translation by Jean Riviere. New York: J. Cape and H. Smith.

Gabel, M. and Brunner, H. (2003) Global Inc.: An Atlas of the Multinational Corporation, New York: Arno Press.

Gaido, D. (2006) The Formative Period of American Capitalism: A Materialist Interpretation, London and New York: Routledge.

Gainor, J.E. (ed.) (1995) Imperialism and Theatre: Essays on World Theatre, Drama, and Performance, London: Routledge.

García Canclini, N. (1995) Hybrid Cultures: Strategies for Entering and Leaving Modernity, trans. C.J. Chiappari and S. López, Minneapolis: University of Minnesota Press.

García Canclini, N. (2001) Consumers and Citizens: Globalization and Multicultural Conflicts, trans. George Yúdice, Minneapolis: University of Minnesota Press.

Gorman, L., and McLean, D. (2003) Media and Society in the Twentieth Century: A Historical Introduction, Oxford: Blackwell Publishing Ltd.

Greenhalgh, P. (1988) Ephemeral Vistas: The Expositions Universelles, Great Exhibitions, and World’s Fairs, 1851–1939, Manchester: Manchester University Press.

Green-Lewis, J. (1996) Framing the Victorians: Photography and the Culture of Realism, Ithaca, N.Y.: Cornell University Press.

Hays, M. and Nikolopoulou, A. (eds) (1996) Melodrama: The Cultural Emergence of a Genre, New York: St. Martin’s Press.

Hobsbawm, E. (1987) The Age of Empire, 1875–1914, New York: Pantheon.

Kahn, D. and Whitehead, G. (eds) (1992) The Wireless Imagination, Cambridge, M.A.: MIT Press.

Kibler, M.A. (1999) Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville, Chapel Hill and London: University of North Carolina Press.

Kift, D. (1996) The Victorian Music Hall: Culture, Class, and Conflict, trans. R. Kift, Cambridge: Cambridge University Press.

Kittler, F. (1999) Gramophone, Film, Typewriter, trans. G. Winthrop-Young and M. Wutz, Stanford: Stanford University Press.

Langer, S. (1953), Feeling and Form: A Theory of Art, New York: Charles Scribner and Sons.

Leiter, S. (ed.) (2007) Encyclopedia of Asian Theatre, 2 vols. Westport, CT and London: Greenwood Press.

Levenson, M. (ed.) (1999) The Cambridge Companion to Modernism, Cambridge: Cambridge University Press.

Lewis, R.M. (2003) (ed.) From Traveling Show to Vaudeville: Theatrical Spectacle in America, 1830–1910, Baltimore and London: Johns Hopkins University Press.

Makinen, H., Wilmer, S.E. and Worthen, W.B. (eds) Theatre, History, and National Identities, Helsinki: Helsinki University Press.

May, L. (1980) Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry, New York: Oxford University Press.

Mayer, D. and Johnson, S. (2002) Spectacles of Themselves: Popular Melodramas Which Became Significant Silent Films, Westport, CT: Greenwood Press.

McConachie, B.A. (1992) Melodramatic Formations, American Theatre and Society, 1820–1870, Iowa City, IA: University of Iowa Press.

Milling, J. and Ley, G. (2001) Modern Theories of Performance: From Stanislavski to Boal, Basingstoke: Palgrave.

Mizejewski, L. (1999) Ziegfeld Girl: Image and Icon in Culture and Cinema, Durham and London: Duke University Press.

Nasaw, D. (1993) Going Out: The Rise and Fall of Public Amusements, New York: Basic Books.

Powell, B. (2000) Japan’s Modern Theatre: A Century of Change and Continuity, London: Japan Library.

Rimer, J.T. (1974) Toward a Modern Japanese Theatre: Kishida Kunio, Princeton: Princeton University Press.

Rydell, R. (1984) All the World’s a Fair, Chicago: University of Chicago Press.

Segel, H.B. (1987) Turn-of-the-Century Cabaret: Paris, Barcelona, Berlin, Munich, Vienna, Cracow, Moscow, St. Petersburg, Zurich, New York: Columbia University Press.

Senelick, L. (1989, 1992) Cabaret Performance: Europe 1890–1940, 2 vols, New York: PAJ Publications.

Senelick, L. (1997) The Chekhov Theatre: A Century of the Plays in Performance, Cambridge: Cambridge University Press.

Short, R. (2003) The Age of Gold: Surrealist Cinema, London: Creation Books.

Snyder, R.W. (1989) The Voice of the City: Vaudeville and Popular Culture in New York, Oxford: Oxford University Press.

Styan, J. L. (1981) Modern Drama in Theory and Practice, 3 vols, New York: Cambridge University Press.

Wilmeth, D.B. and Bigsby, C. (eds) (1999) The Cambridge History of American Theatre, Volume II: 1870–1945, Cambridge: Cambridge University Press.

Yeats, W.B. (1952) The Collected Plays, New York: Macmillan.

Ziter, E. (2003) The Orient on the Victorian Stage, Cambridge: Cambridge University Press.

Block, H. (1963) Mallarme and the Symbolist Drama, Detroit: Wayne State University Press.

Booth, M. (1991) Theatre in the Victorian Age, Cambridge: Cambridge University Press.

Braun, E. (1982) The Director and the Stage: From Naturalism to Grotowski, New York: Holmes and Meier.

Brockett, O.G. and Findlay, R. (1991) A Century of Innovation: A History of European and American Theatre and Drama since the Late Nineteenth Century, 2nd edn, Needham Heights, M.A.: Prentice-Hall.

Charnow, S.D. (2005) Theatre, Politics, and Markets in Fin-de Siècle Paris: Staging Modernity, New York: Palgrave.

Cole, T. and Chinoy, H.K. (eds) (1963) Directors on Directing, Indianapolis: Bobbs-Merrill.

Davis, T. (1991) Actresses as Working Women: Their Social Identity in Victorian Culture, New York and London: Routledge.

Deak, F. (1993) Symbolist Theatre: The Formation of the Avant-Garde, Baltimore: Johns Hopkins University Press.

Drain, R. (ed.) (1995) Twentieth-Century Theatre: A Sourcebook, London: Routledge.

Innes, C. (1993) Avant-Garde Theatre, 1892–1992, London: Routledge.

Kahn, D. and Whitehead, G. (eds) (1992) The Wireless Imagination, Cambridge, MA: MIT Press.

Kittler, F. (1999) Gramophone, Film, Typewriter, trans. G. Winthrop-Young and M. Wutz, Stanford: Stanford University Press.

Kuhns, D.F. (1997) German Expressionist Theatre, Cambridge: Cambridge University Press.

Murphy, B. (2005) The Provincetown Players and the Culture of Modernity, Cambridge: Cambridge University Press.

Nasaw, D. (1993) Going Out: The Rise and Fall of Public Amusements, New York: Basic Books.

Patterson, M. (1981) The Revolution in German Theatre, 1900–1933, Boston: Routledge and Kegan Paul.

Rudnitsky, K. (1988) Russian and Soviet Theatre: Tradition and the Avant-Garde, London: Thames and Hudson.

Sauter, W. (2000) The Theatrical Event: Dynamics of Performance and Perception, Iowa City, IA: University of Iowa Press.

Segel, H.B. (1987) Turn-of-the-Century Cabaret: Paris, Barcelona, Berlin, Munich, Vienna, Cracow, Moscow, St. Petersburg, Zurich, New York: Columbia University Press.

Senelick, L. (1989, 1992) Cabaret Performance: Europe 1890–1940, 2 vols, New York: PAJ Publications.

Styan, J. L. (1981) Modern Drama in Theory and Practice, 3 vols, New York: Cambridge University Press.

Walker, J. (2005) Expressionism and Modernism in the American Theatre: Bodies, Voices, Words, Cambridge: Cambridge University Press.

Wilmeth, D.B. and Bigsby, C. (eds) (1999) The Cambridge History of American Theatre, Volume II: 1870–1945, Cambridge: Cambridge University Press.

Zola, É. (1881) “Naturalism in the Theatre,” in Eric Bentley (ed.) The Theory of the Modern Stage (1968), Harmondsworth: Penguin, 351–72.

Berghaus, G. (2005) Theatre, Performance, and the Historical Avant-garde, New York: Palgrave Macmillan.

Bigsby, C.W.E. (1982) A Critical Introduction to Twentieth-Century American Drama, Vol 1, Cambridge: Cambridge University Press.

Braun, E. (1982) The Director and the Stage: From Naturalism to Grotowski, New York: Holmes and Meier.

Brockett, O.G. and Findlay, R. (1991) A Century of Innovation: A History of European and American Theatre and Drama since the Late Nineteenth Century, 2nd edn, Needham Heights, MA: Prentice-Hall.

Charnow, S.D. (2005) Theatre, Politics, and Markets in Fin-de Siècle Paris: Staging Modernity, New York: Palgrave.

Deak, F. (1993) Symbolist Theatre: The Formation of the Avant-Garde, Baltimore: Johns Hopkins University Press.

Drain, R. (ed.) (1995) Twentieth-Century Theatre: A Sourcebook, London: Routledge.

Fuegi, J. (1987) Bertolt Brecht: Chaos, According to Plan, Directors in Perspective, Cambridge: Cambridge University Press.

Gordon, M. (1987) Dada Performance, New York: PAJ Publications.

Harding, J.M. and Rouse, J. (eds) (2006) Not the Other Avant-Garde, Ann Arbor: University of Michigan Press.

Hodge, A. (ed.) (2000) Twentieth-Century Actor Training, London: Routledge.

Hughes, T. (1989) American Genesis: A Century of Invention and Technological Enthusiasm,

1870–1970, New York: Viking.

Innes, C. (1993) Avant-Garde Theatre, 1892–1992, London: Routledge.

Innes, C.D. (1972) Erwin Piscator’s Political Theatre, New York: Cambridge University Press.

Kanigel, R. (1997) The One Best Way: Frederick Winslow Taylor and the Enigma of Efficiency, New York: Viking.

Kirby, M. (1971) Futurist Performance, New York: PAJ Publications.

Kittler, F. (1999) Gramophone, Film, Typewriter, trans. G. Winthrop-Young and M. Wutz, Stanford: Stanford University Press.

Leach, R. (1989) Vsevolod Meyerhold, Christopher Innes (ed.) Directors in Perspective Series, Cambridge: Cambridge University Press.

Levenson, M. (ed.) (1999) The Cambridge Companion to Modernism, Cambridge: Cambridge University Press.

Lorch, J. (2005) Pirandello: Six Characters in Search of an Author, London: Cambridge University Press.

Mancing, H. (2006) “See the Play, Read the Book,” in B. McConachie and F.E. Hart (eds), Performance and Cognition: Theatre Studies and the Cognitive Turn, London and New York: Routledge.

May, L. (1980) Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry, New York: Oxford University Press.

Mayer, D. (2009) Stagestruck Filmmaker: D.W. Griffith and the American Theatre, Iowa City: University of Iowa Press.

Mews, S. (ed.) (1997) A Bertolt Brecht Reference Companion, Westport, CT: Greenwood Press.

Meyerhold, V. (1969) Meyerhold on Theatre, trans. and ed. E. Braun, New York: Hill and Wang.

Milling, J. and Ley, G. (2001) Modern Theories of Performance: From Stanislavski to Boal, Basingstoke: Palgrave.

Postlewait, T. (2009) “Cultural Histories: the case of Alfred Jarry’s Ubu Roi,” in The Cambridge Introduction to Theatre Historiography, Cambridge: Cambridge University Press, 60–85.

Rouse, J. (1989) Brecht and the West German Theatre: The Practice and Politics of Interpretation, Ann Arbor: University of Michigan Press.

Rudnitsky, K. (1988) Russian and Soviet Theatre: Tradition and the Avant-Garde, London: Thames and Hudson.

Styan, J. L. (1981) Modern Drama in Theory and Practice, 3 vols, New York: Cambridge University Press.

Takeishi, Midori (2006) Japanese Elements in Michio Ito’s Early Period (1915–1924): Meetings of East and West in the Collaborative Works, ed. and revised by David Edward Pacun, Tokyo: Gendaiosho.

Tannenbaum, E.R. (1972) The Fascist Experience: Italian Society and Culture, 1922–1945, New York and London: Basic Books.

Willett, J. (1988) The Theatre of the Weimar Republic, New York: Holmes and Meier.

Williams, R. (1969) Drama  from Ibsen to Brecht, New York: Oxford University Press.

Addenbrooke, D. (1974) The Royal Shakespeare Company: The Peter Hall Years, London: Kimber.

Adler, S. (2004) On Broadway: Art and Commerce on the Great White Way, Urbana: Southern Illinois University Press.

Bentley, E. (1945) The Playwright as Thinker: A Study of Drama in Modern Times, New York: Harcourt Brace.

Berghaus, G. (2005) Theatre, Performance, and the Historical Avant-garde, New York: Palgrave Macmillan.

Boon, R. and Plastow, J. (eds) (1998) Theatre Matters: Performance and Culture on the World Stage, Cambridge: Cambridge University Press.

Braun, K. (1996) A History of Polish Theater, 1939–1989, Spheres of Captivity and Freedom, Westport, C.T.: Greenwood.

Brockett, O.G. and Findlay, R. (1991) A Century of Innovation: A History of European and American Theatre and Drama in the Late Nineteenth Century, 2nd edn, Needham Heights, M.A.: Prentice-Hall.

Brook, P. (1968) The Empty Space, New York: Avon Books.

Burgess, R.D. (1985) Mexican Theatre: The Generation of 1969, Ann Arbor: University of Michigan Press.

Carlson, M. (1993) Theories of the Theatre,expanded edition, Ithaca and London: Cornell University Press.

Carlson, M. (1996) Performance: A Critical Introduction, London and New York: Routledge.

Carlson, M. (2000) “The Macaronic Theatre,” in C. Sponsler and X. Chen (eds) East of West: Cross-Cultural Performance and the Staging of Difference, New York: Palgrave.

Drain, R. (ed.) (1995) Twentieth-Century Theatre: A Sourcebook, London: Routledge.

Elam, H.J. (1996) Taking It to the Streets: The Social Protest Theatre of Louis Valdez and Amiri Baraka, Ann Arbor: University of Michigan Press.

Erven, E. van (1988) Radical People’s Theatre, Bloomington: Indiana University Press.

Erven, E. van (1992) The Playful Revolution: Theatre and Liberation in Asia, Bloomington: Indiana University Press.

Erven, E. van (2001) Community Theatre: Global Perspectives, London: Routledge.

Esslin, M. (1961) The Theatre of the Absurd, Garden City, NY: Doubleday.

Esslin, M. (1970) The Peopled Wound: The Work of Harold Pinter, Garden City, NY: Doubleday.

Estrin, M. and Simon, R.T. (2004) Rehearsing with Gods: Photographs and Essays on the Bread and Puppet Theatre, White River Junction, VT: Chelsea Green Publishing.

Fischer-Lichte, E. (1997) The Show and the Gaze of Theatre: A European Perspective, Iowa City: University of Iowa Press.

Fischer-Lichte, E. (2002) History of European Drama and Theatre, trans. Jo Riley, London and New York: Routledge.

Frye, N. (1957) Anatomy of Criticism: Four Essays, Princeton: Princeton University Press.

Green, A. (1994) The Revisionist Stage, American Directors Reinvent the Classics,Cambridge and New York: Cambridge University Press.

Haedicke, S. and Nellhaus, T. (eds) (2001) Performing Democracy: International Perspectives on Urban Community-Based Performance, Ann Arbor: University of Michigan Press.

Handke, P. (1993) The Hour When We Knew Nothing of Each Other, trans. G. Honegger, Theater 1:93–105.

Harding, J.M. and Rouse, J. (eds) (2006) Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance, Ann Arbor: University of Michigan Press.

Innes, C. (1992) Modern British Drama, 1890–1990, Cambridge: Cambridge University Press.

Innes, C. (1993) Avant-Garde Theatre, 1892–1992, London: Routledge.

Johnson, M. (2007) The Meaning of the Body: Aesthetics of Human Understanding, Chicago and London: University of Chicago Press.

Kalb, J. (1989) Beckett in Performance, Cambridge and New York: Cambridge University Press.

Kershaw, B. (1992) The Politics of Performance: Radical Theatre as Cultural Intervention, London: Routledge.

Knowles, R. (2004) Reading the Material Theatre, Cambridge: Cambridge University Press.

Knowles, R. (2004) Shakespeare and Canada: Essays on Production, Translation, and Adaptation, Bruxelles: Peter Lang.

Kott, J. (1964) Shakespeare Our Contemporary, trans. B. Taborski, Garden City, NY: Doubleday.

Kruger, L. (2004) Post-Imperial Brecht: Politics and Performance, East and West, Cambridge: Cambridge University Press.

Langer, S. (1953), Feeling and Form: A Theory of Art, New York: Charles Scribner and Sons.

Leiter, S. (ed.) (2007) Encyclopedia of Asian Theatre, 2 vols. Westport, CT and London: Greenwood Press.

Levenson, M. (ed.) (1999) The Cambridge Companion to Modernism, Cambridge: Cambridge University Press.

Lorch, J. (2005) Pirandello: Six Characters in Search of an Author, London: Cambridge University Press.

MacMullen, A. (1993) Theatre on Trial: Samuel Beckett’s Later Drama,New York: Routledge.

McConachie, B. (2003) American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962, Iowa City, IA: University of Iowa Press.

Mews, S. (ed.) (1997) A Bertolt Brecht Reference Companion, Westport, CT: Greenwood Press.

Milling, J. and Ley, G. (2001) Modern Theories of Performance: From Stanislavski to Boal, Basingstoke: Palgrave.

Milling, J. and Ley, G. (2001) Modern Theories of Performance: From Stanislavski to Boal, Basingstoke: Palgrave.

Murphy, B. (1992) Tennessee Williams and Elia Kazan: A Collabora­tion in the Theatre, Cambridge: Cambridge University Press.

Murphy, B. (1992) Tennessee Williams and Elia Kazan: A Collaboration in the Theatre, Cambridge: Cambridge University Press.

Oppenheim, L. (ed.) (1994) Directing Beckett, Ann Arbor: University of Michigan Press.

Orenstein, C. (1998) Festive Revolutions: The Politics of Popular Theatre and the San Francisco Mime Troupe, Jackson, Mississippi: University Press of Mississippi.

Powell, B. (2000) Japan’s Modern Theatre: A Century of Change and Continuity, London: Japan Library.

Rouse, J. (1989) Brecht and the West German Theatre: The Practice and Politics of Interpretation, Ann Arbor: University of Michigan Press.

Sell, M. (2005) Avant-Garde Performance and the Limits of Criticism, Ann Arbor: University of Michigan Press.

Sommer, D. (ed.) (2006) Cultural Agency in the Americas, Durham, NC: Duke University Press.

Styan, J.L. (1981) Modern Drama in Theory and Practice, 3 vols, New York: Cambridge University Press.

Suzuki, T. (1986) The Way of Acting: The Theatre Writings of Tadashi Suzuki,trans. T.J. Rimer, New York: Theatre Communications Group.

Taylor, D. (1991) Theatre of Crisis: Drama and Politics in Latin America, Lexington, KY: University Press of Kentucky.

Valdez, Luis (1992) I Don’t Have to Show You No Stinking Badges and Other Plays, introduction by Horge Juerta, Houston, TX: Arte Publico Press.

Versenyi, A. (1993) Theatre in Latin America: Religion, Politics, and Culture from Cortes to the 1980s, Cambridge: Cambridge University Press.

Weimann, R. (1978) Shakespeare and the Popular Tradition in the Theatre: Studies in the Social Dimension of Dramatic Form and Function, trans. R. Schwartz (ed.), Baltimore: Johns Hopkins University Press.

Weiss, J.A. and Damasceno, L. (1993) Latin American Popular Theatre: The First Five Centuries, Albuquerque, N.M.: University of New Mexico Press.

Westlake, E.J. (2005) Our Land is Made of Courage and Glory: Nationalist Performance of Nicaragua and Guatemala, Carbondale: Southern Illinois University Press.

Willet, J. (1959) The Theatre of Bertolt Brecht, a Study from Eight Aspects, London: Methuen.

Wilmer, S.E. (2002) Theatre, Society, and the Nation: Staging American Identities, Cambridge: Cambridge University Press.

Wilmeth, D.B. and Bigsby, C. (2000) The Cambridge History of American Theatre, Volume III: Post World War II to the 1990s, Cambridge: Cambridge University Press.

Worthen, W.B. (2003) Shakespeare and the Force of Modern Performance, Cambridge: Cambridge University Press.

Appadurai, A. (1996) Modernity at Large: Cultural Dimensions of Globalization, Minneapolis: University of Minnesota Press.

Banham, M., Hill, E. and Woodyard, G. (eds) (1994) The Cambridge Guide to African and Caribbean Theatre, Cambridge and New York: Cambridge University Press.

Bertens, H. The Idea of the Postmodern, a History,New York and London: Routledge.

Blumenthal, E. (1999) Julie Taymor: Playing With Fire: Theatre, Opera, Film, New York: H.N. Abrams.

Bobbitt, P. (2002) The Shield of Achilles: War, Peace, and the Course of History,New York: Alfred Knopf.

Byam, L.D. (1999) Community in Motion: Theatre for Development in Africa, Westport, CT, and London: Bergin and Garvey.

Cole, C.M. (2001) Ghana’s Concert Party Theatre, Bloomington: Indiana University Press.

Crane, D., Kawashima, N. and Kawasaki, K. (eds) (2002) Global Culture: Media, Arts, Policy and Globalization, New York and London: Routledge.

Dimmick, J.W. (2003) Media Competition and Coexistence: The Theory of the Niche, Mahwah, N.J. and London: Lawrence Erlbaum Associates.

Durham, M.G. and Kellner, D.M. (eds) (2001) Media and Cultural Studies, Keyworks, Oxford: Blackwell Publishing Ltd.

Fanon, F. (1968) The Wretched of the Earth, trans. Constance Farrington, preface by Jean-Paul Sartre, New York: Grove Press.

Foege, A.V. (2008) Right of the Dial: The Rise and Fall of Clear Channel and the Fall of Commercial Radio, New York: Faber & Faber.

Gabel, M. and Brunner, H. (2003) Global Inc.: An Atlas of the Multinational Corporation, New York: Arno Press.

García Canclini, N. (1995) Hybrid Cultures: Strategies for Entering and Leaving Modernity, trans. C.J. Chiappari and S. López, Minneapolis: University of Minnesota Press.

García Canclini, N. (2001) Consumers and Citizens: Globalization and Multicultural Conflicts, trans. George Yúdice, Minneapolis: University of Minnesota Press.

Gómez-Peña, G. (2000) Dangerous Border Crossers: The Artist Talks Back, London: Routledge.

Gorman, L., and McLean, D. (2003) Media and Society in the Twentieth Century: A Historical Introduction, Oxford: Blackwell Publishing Ltd.

Jaywant, J., Singh, R. and Chaturvedi, R. (1994) Entry for India, in D. Rubin (ed.) World Encyclopedia of Contemporary Theatre, Vol. 5, London and New York: Routledge.

Jensen, A.P. (2007) Theatre in a Media Culture: Production, Performance and Perception Since 1970,Jefferson, N.C. and London: McFarland & Co., Inc.

Kellner, D. (1995) Media Culture, Cultural Studies, Identity and Politics between the Modern and the Postmodern, London and New York: Routledge.

Kiernander, A. (1993) Ariane Mnouchkine and the Théâtre du Soleil, Cambridge: Cambridge University Press.

Kruger, L. (1999) The Drama of South Africa, London and New York: Routledge.

Lee, M. (1989) “The Seoul international theatre festival and forum 1988,” Asian Theatre Journal 6:202–207.

Lo, J. and Gilbert, H. (2002) “Toward a topography of cross-cultural theatre praxis,” TDR 46:31–47.

Lull, J. (1995) Media, Communication, Culture: A Global Approach, New York: Columbia University Press.

Pavis, P. (1992) Theatre at the Crossroads of Culture, trans. L. Krueger, London and New York: Routledge.

Salter, D. (1993) “Hand eye mind soul: Théâtre du Soleil,” Theater 24:59–65.

Schechner, R. (2002) Performance Studies: An Introduction, London and New York: Routledge.

Soyinka, W. (1998) Interview with Wole Soyinka, 1998 Nobel Prize for Literature Laureate, transcribed: http://globetrotter.berkeley.edu/Elberg/Soyinka/soyinka-con0.html.

Thiong’o, N. (1986) Decolonizing the Mind, London, Portsmouth, Nairobi, Harare: James Curry (London), Heinemann (Portsmouth), EAEP (Narobi), Zimbabwe Publishing House (Harare).

Williams, D. (ed.) (1999) Collaborative Theatre: The Théâtre du Soleil Sourcebook, New York and London: Routledge.

Adler, S. (2004) On Broadway: Art and Commerce on the Great White Way, Urbana: Southern Illinois University Press.

A’Ness, F. (2004) “Resisting Amnesia: Yuyachkani, Performance, and the Postwar Reconstruction of Peru,” Theatre Journal 56.3: 395–414.

Banham, M., Gibbs, J., Osofisan, F., and Plastow, J. (1999) African Theatre in Development (Vol. 1), Bloomington: Indiana University Press.

Bharucha, R. (2000) The Politics of Cultural Practice: Thinking Through Theatre in an Age of Globalization, Hanover and London: Wesleyan University Press.

Blumenthal, E. (1999) Julie Taymor: Playing With Fire: Theatre, Opera, Film, New York: H.N. Abrams.

Boal, A. (1985) Theatre of the Oppressed (trans. C.A. and M.-O.L. McBride), New York: TCG Books.

Boal, A. (1995) The Rainbow of Desire: The Boal Method of Theatre and Therapy (trans. A. Jackson), London and New York: Routledge.

Boal, A. (2008) Theatre of the Oppressed (trans. C.A. and M.-O.L. McBride and E. Fryer), London: Pluto Press (electronic edition).

Boon, R. and Plastow, J. (eds) (1998) Theatre Matters: Performance and Culture on the World Stage, Cambridge: Cambridge University Press.

Brandon, J.R. (ed.) (1970) On Thrones of Gold: Three Javanese Shadow Plays, Cambridge, Mass.: Harvard University Press.

Carlson, M. (2000) “The Macaronic Theatre,” in C. Sponsler and X. Chen (eds) East of West: Cross-Cultural Performance and the Staging of Difference, New York: Palgrave.

Day, B. (1996) This Wooden 'O': Shakespeare's Globe Reborn: Achieving an American's Dream, Milwaukee: Amadeus Press.

Erven, E. van (1988) Radical People’s Theatre, Bloomington: Indiana University Press.

Erven, E. van (1992) The Playful Revolution: Theatre and Liberation in Asia, Bloomington: Indiana University Press.

Erven, E. van (2001) Community Theatre: Global Perspectives, London: Routledge.

Fischer-Lichte, E. (1997) The Show and the Gaze of Theatre: A European Perspective, Iowa City: University of Iowa Press.

Haedicke, S. and Nellhaus, T. (eds) (2001) Performing Democracy: International Perspectives on Urban Community-Based Performance, Ann Arbor: University of Michigan Press.

Jameson, F. and Miyoshi, M. (eds) (1998) The Cultures of Globalization, Durham: Duke University Press.

Jaywant, J., Singh, R. and Chaturvedi, R. (1994) entry for India, in D. Rubin (ed.) World Encyclopedia of Contemporary Theatre, Vol. 5, London and New York: Routledge.

Kerr, D. (2014) “Theater for development,” in K. Gwinn Wilkins, T. Tufte, and R. Obregon (eds), The Handbook of Development Communication and Social Change, Oxford: Wiley-Blackwell, 207–25.

Kershaw, B. (1992) The Politics of Performance: Radical Theatre as Cultural Intervention, London: Routledge.

Kiernander, A. (1993) Ariane Mnouchkine and the Théâtre du Soleil, Cambridge: Cambridge University Press.

Kirshenblatt-Gimblett, B. (2004) “Intangible Heritage as Metacultural Production,” Museum International, 56(1–2), 52–65.

Knowles, R. (2004) Reading the Material Theatre, Cambridge: Cambridge University Press.

Knowles, R. (2004) Shakespeare and Canada: Essays on Production, Translation, and Adaptation, Bruxelles: Peter Lang.

Kruger, L. (1999) “Theater for development and TV nation: Notes on an educational soap opera in South Africa,” Research in African Literatures, 30(4), 106–26.

Lee, M. (1989) “The Seoul international theatre festival and forum 1988,” Asian Theatre Journal 6, 202–7.

Lo, J. and Gilbert, H. (2002) “Toward a topography of cross-cultural theatre praxis,” TDR 46, 31–47.

Magelssen, S. (2007) Living History Museums: Undoing History Through Performance, Lanham, MD: Scarecrow Press.

Maurin, F. (2003) “Still and Again: Whither Festivals?” Contemporary Theatre Review, Vol. 13(4): 5–11.

McLuhan, M. (1962) The Gutenberg Galaxy, London: Routledge & Kegan Paul.

McLuhan, M. (1964) Understanding Media, New York: Mentor.

McLuhan, M. and Fiore, Q. (1967) The Medium is the Massage, New York: Bantam.

McLuhan, M. and Fiore, Q. (1968) War and Peace in the Global Village, New York: Bantam.

Orenstein, C. (1998) Festive Revolutions: The Politics of Popular Theatre and the San Francisco Mime Troupe, Jackson, MS: University Press of Mississippi.

Pavis, P. (1992) Theatre at the Crossroads of Culture, trans. L. Krueger, London and New York: Routledge.

Prendergast, M. and Saxton, J. (2009) Applied Theatre: International Case Studies and Challenges for Practice, Intellect Books.

Prentki, T. and Preston, S. (eds) (2013) The Applied Theatre Reader, London and New York: Routledge.

Salter, D. (1993) “Hand eye mind soul: Théâtre du Soleil,” Theater 24:59–65.

Smith, L. and Akagawa, N. (eds) (2008) Intangible Heritage, London and New York: Routledge.

Sommer, D. (ed.) (2006) Cultural Agency in the Americas, Durham, NC: Duke University Press.

Sternfeld, J. (2006) The Megamusical, Bloomington: Indiana University Press.

Thompson, J. (2008) Applied Theatre: Bewilderment and Beyond,Oxford and New York: Peter Lang.

Underiner, T. (2004) Contemporary Theatre in Mayan Mexico: Death-Defying Acts, Austin: University of Texas Press.

Weintraub, A.N. (2004) Power Plays: Wayang Golek Puppet Theater of West Java, Southeast Asia Studies No. 110, Athens, Ohio: Centre for International Studies.

Weiss, J.A. and Damasceno, L. (1993) Latin American Popular Theatre: The First Five Centuries, Albuquerque, N.M.: University of New Mexico Press.

Westlake, E.J. (2005) Our Land is Made of Courage and Glory: Nationalist Performance of Nicaragua and Guatemala, Carbondale: Southern Illinois University Press.

Williams, D. (ed.) (1999) Collaborative Theatre: The Théâtre du Soleil Sourcebook, New York and London: Routledge.

Wilmer, S.E. (2002) Theatre, Society, and the Nation: Staging American Identities, Cambridge: Cambridge University Press.

Ahn, H.S., Lee, D.W., Choi, D., Lee, D.Y., Hur, M.H., Lee, H., and Shon, W.H. (2011) “Development of an android for singing with facial expression,” in IECON 2011: 37th Annual Conference on IEEE Industrial Electronics Society, 104–9.

Alexander, J.C. (2004) “From the Depths of Despair: Performance, Counterperformance, and September 11,” Sociological Theory 22, 88–105.

Alston, A. (2013) “Audience Participation and Neoliberal Value: Risk, agency and responsibility in immersive theatre,” Performance Research, 18(2), 128–38.

Barnett, D. (2008) “When is a play not a drama? Two examples of postdramatic theatre texts,” New Theatre Quarterly, 24(1), 14–23.

Bay-Cheng, S. (2007) “Theatre squared: theatre history in the age of media,” Theatre Topics 17(1), 37–50.

Bay-Cheng, S., Kattenbelt, C., and Lavender, A. (eds) (2010) Mapping Intermediality in Performance (Vol. 4), Amsterdam University Press.

Blake, B. (2014) Theatre and the Digital,Basingstoke: Palgrave Macmillan.

Brejzek, T. (2010) “From social network to urban intervention: On the scenographies of flash mobs and urban swarms,” International Journal of Performance Arts and Digital Media, 6(1), 109–22.

Carlson, M. (2011) “Furry cartography: Performing species,” Theatre Journal, 63(2), 191–208.

Causey, M. (2007) Theatre and Performance in Digital Culture: From Simulation to Embeddedness, London and New York: Routledge.

Clarke, J. (2002) “The human/not human in the work of Orlan and Stelarc,” in J. Zylinska(ed.), The Cyborg Experiments: The Extensions of the Body in the Media Age, London, New Delhi, New York and Sydney: A&C Black, 33–55.

Craig, E.G. (2008/1958) On the Art of the Theatre, London and New York: Routledge.

Eckersall, P. (2015) “Towards a Dramaturgy of Robots and Object-Figures,” TDR/The Drama Review, 59(3), 123–31.

Farley, K. (2002) “Digital dance theatre: The marriage of computers, choreography and techno/human reactivity,” Body, Space and Technology 3(1), 39–46.

Farnell, R. (1999) “In Dialogue with Posthuman Bodies: Interview with Stelarc,” Body & Society, 5(2–3), 129–47.

Featherstone, M. (ed.) (2000) Body Modification (Vol. 5, Nos. 2–3), London: Sage Publications.

Goodall, J. (1999) “An ‘order of pure decision’: Un-natural selection in the work of Stelarc and Orlan,” Body & Society, 5(2–3), 149–70.

Govan, E., Nicholson, H., and Normington, K. (2007) Making a Performance: Devising Histories and Contemporary Practices, London and New York: Routledge.

Graham, S. and Hoggett, S. (2014) The Frantic Assembly Book of Devising Theatre, London and New York: Routledge.

Havis, A. (ed.) (2010) American Political Plays After 9/11, Carbondale: Southern Illinois University Press.

Heddon, D. and Milling, J. (2005) Devising Performance: A Critical History, Basingstoke: Palgrave Macmillan.

Hill, L. and Paris, H. (2014) Performing Proximity: Curious Intimacies, Basingstoke: Palgrave Macmillan.

Hoffman, G. (2011) “On stage: robots as performers,” in RSS 2011 Workshop on Human-Robot Interaction: Perspectives and Contributions to Robotics from the Human Sciences. Los Angeles, CA (Vol. 1).

Lehmann, H.T. (1999/2006) Postdramatic Theatre, London and New York: Routledge.

Lepage, R. (1998) Robert Lepage: Connecting Flights, New York: Theatre Communications Group.

Lu, D.V. (2012) “Ontology of robot theatre,” in Proceedings of the Workshop Robotics and Performing Arts: Reciprocal Influences, ICRA.

Lu, D.V. and Smart, W.D. (2011) “Human-robot interactions as theatre,” RO-MAN, 2011 IEEE (July), IEEE: 473–8.

Muse, J.H. (2010) “Flash mobs and the diffusion of audience,” Theater, 40(3), 9–23.

Nicholson, J.A. (2005) “Flash! Mobs in the age of mobile connectivity,” The Fiberculture Journal,6.

Oddey, A. (2013) Devising Theatre: A Practical and Theoretical Handbook, London and New York: Routledge.

Parker-Starbuck, J. (2011) Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance, Basingstoke: Palgrave Macmillan.

Pitts, V. (2003) In the Flesh: The Cultural Politics of Body Modification, Basingstoke: Palgrave Macmillan.

Schirle, J. (2005) “Potholes in the Road to Devising,” Theatre Topics, 15(1), 91–102.

Smith, M. (2005) Stelarc: The Monograph, Cambridge, MA: MIT Press.

White, G. (2012) “On immersive theatre,” Theatre Research International, 37(3), 221–35.

Zylinska, J. (ed.) (2002) The Cyborg Experiments: The Extensions of the Body in the Media Age, London, New Delhi, New York and Sydney: A&C Black.