Allen, David. Performing Chekhov. London: Routledge, 2000. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=166119.
Aston, Elaine, and George Savona. ‘Theatre as Sign-System: A Semiotics of Text and Performance’. London: Routledge, 1991. https://contentstore.cla.co.uk/secure/link?id=a1c544da-f599-e711-80cb-005056af4099.
———. ‘Theatre as Sign-System: A Semiotics of Text and Performance’. London: Routledge, 1991. https://contentstore.cla.co.uk/secure/link?id=a1c544da-f599-e711-80cb-005056af4099.
Barkan, Leonard. ‘What Did Shakespeare Read? (Chapter 3)’. In The Cambridge Companion to Shakespeare, 1st ed., 31–47. Cambridge: Cambridge University Press, 2001. https://contentstore.cla.co.uk/secure/link?id=ac2c36cb-5fa7-eb11-85aa-281878522727.
Bartram, Graham, and Anthony Waine. Brecht in Perspective. London: Longman, 1982.
Bentley, Eric. The Theory of the Modern Stage: An Introduction to Modern Theatre and Drama. Reprinted with corrections, a New postscript and Revised index. Harmondsworth: Penguin, 1992. https://contentstore.cla.co.uk/secure/link?id=e8cdc0bb-8102-e811-80cd-005056af4099.
———. The Theory of the Modern Stage: An Introduction to Modern Theatre and Drama. Reprinted with corrections, a New postscript and Revised index. Harmondsworth: Penguin, 1992.
Boa, Elizabeth. The Sexual Circus: Wedekind’s Theatre of Subversion. Oxford: Basil Blackwell, 1987.
Bradbury, Malcolm, and James Walter McFarlane. Modernism, 1890-1930. Vol. Pelican guides to European literature. Hassocks: Harvester Press (etc.), 1978.
Bradbury, Malcolm and McFarlane, James Walter. Modernism 1890-1930. 1st ed., Reprinted with a new preface. Vol. Penguin literary criticism. Harmondsworth: Penguin Books, 1991.
Braun, Edward. The Director and the Stage: From Naturalism to Grotowski. London: Methuen, 1982.
———. The Director and the Stage: From Naturalism to Grotowski. London: Methuen, 1982.
Brecht, Bertolt. Mother Courage and Her Children, in Vol. 5 of Collected Plays. Edited by John Willett and Ralph Manheim. London: Methuen Drama, 1994.
Brecht, Bertolt, and David Hare. Mother Courage and Her Children. London: Methuen Drama, 1995.
Brecht, Bertolt, and John Willett. ‘Brecht on Theatre: The Development of an Aesthetic’. London: Methuen, 1964. https://contentstore.cla.co.uk/secure/link?id=a2c544da-f599-e711-80cb-005056af4099.
———. ‘Brecht on Theatre: The Development of an Aesthetic’. London: Methuen, 1964. https://contentstore.cla.co.uk/secure/link?id=a2c544da-f599-e711-80cb-005056af4099.
———. Brecht on Theatre: The Development of an Aesthetic. London: Methuen, 1964.
Brecht, Bertolt, John Willett, and Ralph Manheim. Mother Courage and Her Children, in Bertolt Brecht Collected Plays, Vol. 5. London: Eyre Methuen, 1980.
Brooker, Peter. ‘Key Words in Brecht’s Theory and Practice of Theatre’. In The Cambridge Companion to Brecht. Cambridge [England]: Cambridge University Press, n.d. https://contentstore.cla.co.uk/secure/link?id=b8b21ce8-f599-e711-80cb-005056af4099.
Brown, Ross. Sound: A Reader in Theatre Practice. Basingstoke: Palgrave Macmillan, 2009.
Counsell, Colin. Signs of Performance: An Introduction to Twentieth-Century Theatre. London: Routledge, 1996.
Esslin, Martin. The Theatre of the Absurd. 3rd ed. Vol. Pelican books. Harmondsworth (etc.): Penguin, 1980.
———. The Theatre of the Absurd. 3rd ed. Vol. Methuen literature. London: Methuen, 2001.
Hansberry, Lorraine. ‘THE NEGRO WRITER AND HIS ROOTS: TOWARD A NEW ROMANTICISM’. The Black Scholar 12, no. 2 (1981).
Hansberry, Lorraine, and Robert Nemiroff. A Raisin in the Sun. London: Methuen Drama, 2009.
Hansberry, Lorraine, and Deirdre Osborne. A Raisin in the Sun. London: Methuen Drama, 2011.
Huxley, Michael, and Noel Witts. ‘Samuel Beckett “Quad”, in The Twentieth-Century Performance Reader’. In The Twentieth-Century Performance Reader, 2nd ed., 68–72. London: Routledge, 2002. https://contentstore.cla.co.uk/secure/link?id=a3c544da-f599-e711-80cb-005056af4099.
———. The Twentieth-Century Performance Reader. 2nd ed. London: Routledge, 2002.
Innes, C. D. A Sourcebook on Naturalist Theatre. London: Routledge, 2000. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=165866.
Innes, C. D. A Sourcebook on Naturalist Theatre. London: Routledge, 2000. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=165866.
Innes, C. D. Avant Garde Theatre, 1892-1992. London: Routledge, 1993. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=179251.
Johnson, Walter. August Strindberg. Vol. Twayne’s world authors series. Boston: Twayne Publishers, 1976.
Kane, Sarah. Crave. Vol. Methuen modern plays. London: Methuen Drama, 1998.
———. Crave, in Complete Plays: Blasted, Phaedra’s Love, Cleansed, Crave, 4.48 Psychosis, Skin. Vol. Methuen contemporary dramatists. London: Methuen Drama, 2001.
Kuhns, David F. German Expressionist Theatre: The Actor and the Stage. Cambridge: Cambridge University Press, 1997.
Leach, Robert. Makers of Modern Theatre: An Introduction. London: Routledge, 2004. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=200349.
MacFarlane, James Walter. Ibsen [and] Meaning: Studies, Essays [and] Prefaces, 1953-87. Norwich: Norvik Press, 1989.
Marber, Patrick. ‘After Miss Julie | Digital Theatre+’, n.d. https://edu-digitaltheatreplus-com.oxfordbrookes.idm.oclc.org/content/productions/after-miss-julie.
Marker, Frederick J., and Lise-Lone Marker. Ibsen’s Lively Art: A Performance Study of the Major Plays. Cambridge: Cambridge University Press, 1989.
McFarlane, James Walter. The Cambridge Companion to Ibsen. Vol. Cambridge companions to literature. Cambridge: Cambridge University Press, 1994.
———, ed. ‘The Cambridge Companion to Ibsen’, 1st ed. Cambridge [England]: Cambridge University Press, 1994. https://contentstore.cla.co.uk/secure/link?id=a4c544da-f599-e711-80cb-005056af4099.
Merlin, Bella. Beyond Stanislavsky: The Psycho-Physical Approach to Actor Training. London: Nick Hern, 2001.
———. Konstantin Stanislavsky. Vol. Routledge performance practitioners. London: Routledge, 2003.
Oddey, Alison, and Christine A. White. The Potentials of Spaces: The Theory and Practice of Scenography & Performance. Bristol, UK: Intellect Books, 2006. https://contentstore.cla.co.uk/secure/link?id=a12c5ae1-f599-e711-80cb-005056af4099.
Patterson, Michael. The Revolution in German Theatre 1900-1933. Vol. Theatre production series. Boston, Mass: Routledge & Kegan Paul, 1981.
Pilling, John. The Cambridge Companion to Beckett. Vol. Cambridge companions to literature. Cambridge: Cambridge University Press, 1994.
Pitcher, Harvey J. The Chekhov Play: A New Interpretation. Berkeley: University of California Press, 1985.
Reinert, Otto. Strindberg: A Collection of Critical Essays. Vol. Twentieth century views. Englewood Cliffs: Prentice-Hall, 1971.
Rowell, George, ed. Nineteenth Century Plays. 2nd ed. London: Oxford University Press, 1972. https://contentstore.cla.co.uk/secure/link?id=a22c5ae1-f599-e711-80cb-005056af4099.
Schechner, Richard, and Sara Brady. ‘Performance Studies: An Introduction’, 3rd ed. London: Routledge, 2013. https://contentstore.cla.co.uk/secure/link?id=a32c5ae1-f599-e711-80cb-005056af4099.
———. ‘Performance Studies: An Introduction’, 3rd ed. London: Routledge, 2013. https://contentstore.cla.co.uk/secure/link?id=a32c5ae1-f599-e711-80cb-005056af4099.
Shakespeare, William, and Jonathan Bate. Titus Andronicus. Vol. Arden Shakespeare : third series. London: Arden Shakespeare, 2003. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=6158910.
Shakespeare, William, and Eugene M. Waith. Oxford Shakespeare: Titus Andronicus. Cary: Oxford University Press, 1984. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=3055167.
Shelley, Steven. A Practical Guide to Stage Lighting. 2nd ed. Amsterdam: Focal Press/Elsevier, n.d. https://contentstore.cla.co.uk/secure/link?id=b7b21ce8-f599-e711-80cb-005056af4099.
Shelley, Steven Louis. A Practical Guide to Stage Lighting. Third edition. Burlington, MA: Focal Press, 2014. https://oxfordbrookes.on.worldcat.org/oclc/868975040.
Sprinchorn, Evert. Strindberg as Dramatist. New Haven: Yale University Press, 1982.
Stanislavsky, Konstantin. An Actor Prepares. New York: Theatre Arts Books, 1936.
———. An Actor Prepares. London: Geoffrey Bles, 1936.
———. An Actor Prepares. Harmondsworth: Penguin, 1967.
———. Building a Character. Vol. Classic drama texts. London: Methuen Drama, 2008.
Stanislavsky, Konstantin, and Elizabeth Reynolds Hapgood. Building a Character. London: Eyre Methuen, 1979.
Steene, Birgitta. The Greatest Fire: A Study of August Strindberg. Vol. Crosscurrents: modern critiques. Carbondale: Southern Illinois University Press, 1973.
Strindberg, August, and Michael Robinson. Miss Julie: And Other Plays. Oxford: Oxford University Press, 2008. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=5050009.
———. Miss Julie: And Other Plays. Oxford: Oxford University Press, 2008.
Strindberg, August, Egil Törnqvist, and Birgitta Steene. Strindberg on Drama and Theatre: A Source Book. Amsterdam: Amsterdam University Press, 2007. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=419758.
Styan, J. L. Modern Drama in Theory and Practice: Vol.2: Symbolism, Surrealism and the Absurd. Cambridge: Cambridge University Press, 1981.
Templeton, Joan. Ibsen’s Women. Cambridge: Cambridge University Press, 1997.
Thomson, Peter, and Glendyr Sacks. ‘The Cambridge Companion to Brecht’. Cambridge [England]: Cambridge University Press, n.d. https://contentstore.cla.co.uk/secure/link?id=b8b21ce8-f599-e711-80cb-005056af4099.
Urban, Ken. ‘Sarah Kane (Chapter 16)’. In The Methuen Drama Guide to Contemporary British Playwrights, edited by Martin Middeke, Peter Paul Schnierer, and Aleks Sierz, 304–22. London: Methuen Drama, 2011. https://contentstore.cla.co.uk/secure/link?id=82a40bb4-5da7-eb11-85aa-281878522727.
Wallis, Mick, and Simon Shepherd. Studying Plays. Third edition. London: Bloomsbury Academic, 2010.
———. Studying Plays. 3rd ed. London: Bloomsbury Academic, 2010.
———. Studying Plays. Fourth edition. London: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2018.
———. Studying Plays. Fourth edition. London: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2018.
———. Studying Plays. Fourth edition. London: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2018.
———. Studying Plays. Fourth edition. London: Bloomsbury Academic, 2018.
Ward, John. The Social and Religious Plays of Strindberg. London: Athlone Press, 1980.
Wedekind, Frank, and Edward Bond. Spring Awakening. London: Eyre Methuen, 1980.
———. Spring Awakening. London: Eyre Methuen, 1980.
Wedekind, Frank, Elisabeth Pablé, Charlotte Ryland, and Edward Bond. Spring Awakening. London: Methuen Drama, 2012. https://oxfordbrookes.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=2437553&site=ehost-live.
Willett, John. The Theatre of Bertolt Brecht: A Study from Eight Aspects. Revised ed. (i.e. 3rd ed. with a revised bibliography). Vol. An Eyre Methuen dramabook. London: Eyre Methuen, 1977.