Download 7AACM321 DEFENDING THE THEATRE In The European

7AACM321 DEFENDING THE THEATRE In The European Theatrical Tradition
INDICATIVE BIBLIOGRAPHIES (excluding primary sources).
Weeks 1&2
C. A. Barton, The Sorrows of the Ancient Romans: The Gladiator and the Monster (Princeton 1993)
K. Bassi, “Male Nudity and Disguise in the Discourse of Greek Histrionics” Helios 22 (1995) 3-22
K. Bassi, Acting Like Men: Gender, Drama and Nostalgia in Ancient Greece (Ann Arbor, Michigan
1998)
R. C. Beacham, Spectacle Entertainments of Early Imperial Rome (New Haven 1999)
E. Bobrick, “The Tyranny of Roles: Playacting and Privilege in Aristophanes' Thesmophoriazusae”,
in G. W. Dobrov (ed) The City as Comedy: Society and Representation in Athenian Drama (Chapel
Hill and London 1997)
R. P. Bond, “Plautus' Amphitryo as tragi-comedy”, Greece and Rome 46 (1999) 203-219
P. G. Brown, “Actors and Actor-Managers at Rome in the Time of Plautus and Terence”, in P. E.
Easterling and E. Hall (eds), Greek and Roman Actors: Aspects of an Ancient Profession
(Cambridge 2002) 225-37
D. Christenson (ed), Plautus: Amphitryo (Cambridge 2000), “Introduction”
E. Csapo, and W.J. Slater The Context of Ancient Drama (Ann Arbor 1995)
M. Damen, M. “Actor and Character in Greek Tragedy”, Theatre Journal 41 (1989( 316-40.
A. Duncan, Performance and Identity in the Classical World (Cambridge 2006)
P. E. Easterling, “Form and Performance”, in Easterling (ed), The Cambridge Companion to Greek
Tragedy (Cambridge 2002) 151-77
P. E. Easterling, “From Repertoire to Canon”, in Easterling (ed), The Cambridge Companion to
Greek Tragedy (Cambridge 2002) 211-27
Easterling, P.E. (2002) ‘Actor as Icon’, in P. E. Easterling and E. Hall (eds), Greek and Roman
Actors: Aspects of an Ancient Profession (Cambridge 2002) 327-341
T. Falkner, “ Containing Tragedy: Rhetoric and Self-Representation in Sophocles’ Philoctetes”,
Classical Antiquity 17.1 (1998) 25-58.
E. R. Gebhard, “The Theater and the City”, in W. J. Slater (ed) Roman Theater and Society (Ann
Arbor 1996) 113-27
B. Gredley, “Greek Tragedy and the ‘Discovery’ of the Actor”, in Themes in Drama 6: Drama and
the Actor (Cambridge 1984) 1-14
E. J. Gowers, The Loaded Table: Representations of Food in Roman Literature (Oxford 1993), ch.
2.
M. R. Jones, “The Performer's Curious Power: Theater and Anxiety in Ancient Rome”, in E.
Tylawsky and C. Weiss (eds), Essays in Honour of Gordon Williams. 25 Years at Yale (New Haven
2001) 129-45
E. Hall, The Theatrical Cast of Athens: Interactions between Ancient Greek Drama and Society
(Oxford 2006)
S. Halliwell, The Aesthetics of Mimesis: Ancient Texts and Modern Problems (Princeton, NJ 2002),
Chapters 1-4
I. Lada-Richards, “Staging the Ephebeia: Theatrical Role-Playing and Ritual Transition in
Sophocles' Philoctetes”, Ramus 27.1 (1998) 1-26
I. Lada-Richards, Initiating Dionysus: Ritual and Theatre in Aristophanes' Frogs (Oxford 1999)
I. Lada-Richards, “The Subjectivity of Greek Performance”, in E. Hall and P.E. Easterling (eds),
Greek and Roman Actors: Aspects of an Ancient Profession (Cambridge 2002) 395-418
I. Lada-Richards, “‘Within the Compass of a Lye ...’: Signs of Anti-theatricality on the Greek
Stage?”, in E. Theodorakopoulos (ed), Attitudes to Theatre from Plato to Milton (Bari 2003) 21-56
I. Lada-Richards, “Authorial Voice and Theatrical Self-Definition in Terence and Beyond: The
Hecyra Prologues in Ancient and Modern Contexts”, Greece and Rome 51 (2004) 55-82
I. Lada-Richards, “Greek Tragedy and Western Perceptions of Actors and Acting”, in J. Gregory
(ed), The Blackwell Companion to Greek Tragedy (Oxford 2005) 459-71
I. Lada-Richards, “‘The Players Will Tell All’: The Dramatist, the Actors and the Art of Acting in
Sophocles' Philoctetes”, in S. Goldhill and E. Hall (eds), Sophocles and the Greek Tragic Tradition
(Cambridge 2009) 48-68
T. J. Moore, The Theatre of Plautus: Playing to the Audience (Austin, Texas 1998)
F. Muecke, ‘Plautus and the Theatre of Disguise’, Classical Antiquity 5 (1986) 216-29
M. Ringer, Electra and the Empty Urn: Metatheater and Role Playing in Sophocles (Chapel Hill
and London 1998)
A. Sharrock, “The Art of Deceit: Pseudolus and the Nature of Reading”, Classical Quarterly 46
(1996) 152-74
A. Sharrock, Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence (Cambridge
2009)
E. Segal, Roman Laughter (Cambridge, Mass 1968)
Sifakis, G. M. (2002) ‘Looking for the Actor’s Art in Aristotle’, in E. Hall and P.E. Easterling (eds),
Greek and Roman Actors: Aspects of an Ancient Profession (Cambridge 2002) 148-64.
N. W. Slater, Plautus in Performance. The Theatre of the Mind (Princeton 1985)
N. W. Slater, “The Idea of the Actor” , in J. J. Winkler and F. I. Zeitlin, Nothing to Do with
Dionysos? Athenian Drama in its Social Context (Princeton 1990) 385-95
N. W.Slater, Spectator Politics: Metatheatre and Performance in Aristophanes (Philadelphia 2002)
Z. Stewart, “The Amphitryo of Plautus and Euripides' Bacchae”, Transactions and Proceedings of
the American Philological Association 89 (1958) 348-73
J. Wright, “The Transformations of Pseudolus”, Transactions and Proceedings of the American
Philological Association 105 (1975) 403-16
F. I. Zeitlin, “Travesties of Gender and Genre in Aristophanes' Thesmophoriazusae”, in H. Foley
(ed), Reflections of Women in Antiquity (New York and London 1981) 169-217
F. I. Zeitlin, “Playing the Other: Theater, Theatricality, and the Feminine in Greek Drama”, in J.J.
Winkler and F.I.Zeitlin, Nothing to Do with Dionysos? Athenian Drama in its Social Context
(Princeton, NJ 1990) 63-96
WEEKS 3&4
T. D. Barnes, “Christians and the Theatre”, in W. S. Slater (ed) Roman Theater and Society (Ann
Arbor 1996) 161-80
R. Beadle (ed), The Cambridge Companion to Medieval English Theatre (Cambridge 1994)
M. Briscoe and J.Coldewey (eds), Contexts for Early English Drama (Bloomington and
Indianapolis 1989)
S. Carpenter, “Masks and Mirrors: Questions of Identity in Medieval Morality Drama”, Medieval
English Theatre 13.1 (1991) 7-17
S. Carpenter, “Morality Play Characters”, METh 5 (1983) 18-28
L. M. Clopper, “Miracula and the Tretise of Miraclis Pleyinge”, Speculum 65 (1990) 878-505
C. Davidson, Deliver us from Evil : Essays on Symbolic Engagement in Early Drama (Brooklyn,
NY 2004)
C. Davidson, A Tretise of Miraclis Pleyinge (Kalamazoo, Mich. 1993)
C. Davidson (et al., eds) The Drama in the Middle Ages: Comparative and Critical Essays (N. York
1982)
D. Dox, The Idea of the Theater in Latin Christian Thought (Ann Arbor 2004)
J. O. Fichte, “The Presentation of Sin as Verbal Action in the Moral Interludes”, Anglia 103 (1985)
26-47
O. B. Hardison, Christian Rite and Christian Drama in the Middle Ages (Baltimore 1965)
R. Happé, English Drama Before Shakespeare (Harlow 1999)
R. Happé, “‘The Vice’ and teh Popular Theatre, 1547-80”, in A. Coleman and A. Hammond (eds),
Poetry and Drama 1570-1700: Essays in Honour of Harold F. Brooks (London 1981) 13-31
M. Harris, “Flesh and Spirits: The Battle between Virtues and Vices in Medieval Drama
Reassessed”, Medium Aevum 57 (1988) 56-65
J. Haubold and R. Miles, “Communality and Theatre in Libanius' Oration LXIV, In Defence of the
Pantomimes”, in I. Sandwell and J.Huskinson (eds), Culture and Society in Later Roman Antioch
(Oxford 2003)
R.C.Jones, “Dangerous Sport: The Audience's Engagement with Vice in the Moral Interludes”,
Renaissance Drama 6 (1973) 45-64
E. Kelemen, “Drama in Sermons: Quotation, Performativity, and Conversion in a Middle English
Sermon on the Prodigal Son and in a Tretise of Miraclis Pleyinge”, ELH 69 (2002) 1-19
I. Lada-Richards, “‘A Worthless Feminine Thing’? Lucian and the ‘Optic Intoxication’ of
Pantomime Dancing”, Helios 30.1 (2003) 21-75
I. Lada-Richards, “Becoming Mad On Stage: Lucian on the Perils of Acting and Spectating”,
Bulletin of the Institute of Classical Studies 49 (2006) 155-74
I. Lada-Richards, “‘In the Mirror of the Dance’: A Lucianic Metaphor in its Performative and
Ethical Contexts”, Mnemosyne 58.3 (2005) 335-57
I. Lada-Richards, Silent Eloquence: Lucian and Pantomime Dancing (London 2007)
I. Lada-Richards, “Was Pantomime ‘Good to Think With’ in the Ancient World?”, in E. Hall and R.
Wyles (eds), New Directions in Ancient Pantomime (Oxford 2008) 285-313
M. E. Molloy, Libanius and the Dancers (1996)
G. Olson, “Plays as Play: A Medieval Ethical theory of Performance and the Intellectual Context of
the Miraclis Pleyinge”, Viator 26 (1995) 195-221
D. S. Potter, “Martyrdom as Spectacle”, in R. Scodel (ed), Theater and Society in the Classical
World (Ann Arbor 1993)
B.D.Shaw, “Body/Power/Identity: Passions of the Martyrs”, in Journal of Early Christian Studies
4.3 (1996) 269-312
C. Sponsler, Drama and Resistance: Bodies, Goods, and Theatricality in Late Medieval England
(Minneapolis and London 1997
S. Swain, “Sophists and Emperors: The Case of Libanius”, in S. Swain and M. Edwards (eds),
Approaching Late Antiquity: The Transformation from Early to Late Empire (Oxford 2006) 355-400
R. Webb, Demons and Dancers: Performance in Late Antiquity (Cambridge, MA and London
2008)
P. W. White, “Theatre and Religious Culture”, in J. D. Cox and D. Scott Kastan (eds), A New
History of Early English Drama (New York 1997) 133-52
G. Wickham, The Medieval Theatre (3rd edn, Cambridge 1974)
*NB. I will translate myself Byzantine source material where there is no (or no easily accessible)
English translation
Weeks 5 & 6
J. Adelman, The Common Liar: An Essay on “Antony and Cleopatra” (New Haven and London
1973)
J. Barish, “Three Caroline ‘Defenses of the Stage’”, in A. R. Braunmuller and J.C.Bulman (eds),
Comedy from Shakespeare to Sheridan: Continuity in the English and European Dramatic
Tradition (Newark 1986) 194-212
H. T. Barnwell, Corneille: Writings on the Theatre (Oxford 1965)
G. E. Bentley, The Professions of Dramatist and Player in Shakespeare's Time, 1590-1642
(Princeton, NJ 1986)
R. A.Burt, "'Tis Writ by Me": Massinger's "The Roman Actor" and the Politics of Reception in the
English Renaissance Theatre”, Theatre Journal 40.3 (1988) 332-46
A. B. Dawson and P. Yachnin, The Culture of Playgoing in Shakespeare's England: A
Collaborative Debate (Cambridge 2001)
H. Diehl, Staging Reform, Reforming the Stage: Protestantism and Popular Theater in Early
Modern England (Ithaca and London 1997)
K. Duncan-Jones, Sir Philip Sidney, Courtier Poet (New Haven 1991)
R. Dutton, “Hamlet, An Apology for Actors, and the Sign of the Globe”, Shakespeare Survey 41
(1998) 35-43
K. Eisaman Maus, Inwardness and Theater in the English Renaissance (Chicago 1995)
J. Golder, “Holding a Mirror up to Theatre: Baro, Gougenot, Scudéry and Corneille as SelfReferentialists in Paris 1628-35/6”, in G. Fischer and B. Greiner (eds), The Play within the Play:
The Performance of Metatheatre and Self-Reflection (Amsterdam 2008)
S. Greenblatt, Shakespearean Negotiations (Berkeley 1988)
S. Greenblatt, “Introduction”, in S. Greenblatt et al. eds, The Norton Shakespeare (New York 1997)
1-76
W. E. Gruber, “The Actor in the Script: Affective Strategies in Shakespeare's Antony and
Cleopatra”, Comparative Drama 19 (1985) 30-48
A. J. Hartley, “Philip Massinger's The Roman Actor and the Semiotics of Censored Theater”, ELH
68.2 (2001) 359-76
M. Heinemann, Puritanism and Theatre: Thomas Middleton and the Opposition Drama under the
Early Stuarts (Cambridge 1980)
W. Ingram, The Business of Playing: the Beginnings of the Adult Professional Theater in
Elizabethan London (Ithaca and London 1992)
D. Scott Kastan (ed), A Companion to Shakespeare (Oxford 1999)
D. Scott Kastan and P. Stalybrass (eds), Staging the Renaissance: Representations of Elizabethan
and Jacobean Drama (London and N. York 1991)
A. B. Kernan, The Playwright As Magician: Shakespeare's Image of the Poet in the English Public
Theater (New Haven and London 1979)
P. Kiernan, Shakespeare's Theory of Drama (Cambridge 1996)
L. Levine, Men in Women's Clothing: Anti-Theatricality and Effeminization 1579-1642 (Cambridge
1994)
J. Lough, Seventeenth-Century French Drama: the Background (Oxford 1979)
D. Marshall, “Exchanging Visions: Reading A Midsummer Night's Dream”, ELH 49.3 (1982) 54375
G. McAuley (ed) From Page to Stage: L' Illusion Comique (Sydney 1987)
L. Montrose, The Purpose of Playing: Shakespeare and the Cultural Politics of the Elizabethan
Theatre (Chicago and London 1996)
S. Mullaney, The Place of the Stage: License, Play, and Power in Renaissance England (Ann Arbor
1988)
T. Murray, Theatrical Legitimation: Allegories of Genius in Seventeenth-Century England and
France (Oxford 1987)
S. Orgel, Impersonations: The Performance of Gender in Shakespeare's England (Cambridge 1996)
T. Pollard, Drugs and Theater in Early Modern England (Oxford 2005)
T. Pollard, Shakespeare's Theater: A Sourcebook (Blackwell 2004)
T. Postlewait, “Theatricality and Antitheatricality in Renaissance London”, in T. Postlewait and T.
Davis (eds), Theatricality (Cambridge 2003)
P. Rackin, “Shakespeare's Boy Cleopatra, the Decorum of Nature and the Golden World of Poetry”,
PMLA 87 (1972) 201-12
M. A. Skura, Shakespeare the Actor and the Purposes of Playing (Chicago and London 1993)
R. Weimann, Shakespeare and the Popular Tradition (Baltimore and London 1978)
R. Weimann, “Mimesis in Hamlet”, in P. Parker adn G. Hartman (eds), Shaespeare and the
Question of Theory (N.York and London 1985) 275-91
G. Wickham, H. Berry and W. Ingram (eds), English Professional Theatre, 1530-1660 (Cambridge
2000)
P. Womack, English Renaissance Drama (vol.16 of Blackwell Guides to Literature) (Oxford 2006)
WEEKS 7&8
R. Barthes, “Diderot, Brecht, Eisenstein”, in Image Music Text (trans. S. Heath) (London 1977)
T. Blanning, “The Making of History: John Weaver and the Englightenment”, in M. Kant (ed) The
Cambridge Companion to Ballet (Cambridge 2007), 78-86.
J. Caplan, Framed Narratives: Diderot's Genealogy of the Beholder (Manchester 1986)
M. Carlson, Voltaire and the Theatre of the Eighteenth Century (Westport 1998)
M.Cartwright, “Diderot and the Idea of Performance and the Performer”, in J.H.Fox,
M.H.Waddicov and D.A.Watts (eds), Studies in Eighteenth-Century French Literature presented to
R. Niklaus (Exeter 1975) 31-42
J. Chazin-Bennahum, “Cahusac, Diderot, and Noverre: Three Revolutionary French Writers on the
Eighteenth Century Dance”, Theatre Journal 35 (1983) 169-78
J. Chazin-Bennahum, ‘The Radical Influence of Eighteenth-Century Theatre on Ballet’, in David
Trott and Nicole Boursier (eds), The Age of Theatre in France (L'Age du Théâtre en France)
(Edmonton, Alberta, Canada 1988), 299-309.
J. Chazin-Bennahum, “Jean-Georges Noverre: Dance and Reform”, in M. Kant (ed) The Cambridge
Companion to Ballet (Cambridge 2007) 87-97.
S. J. Cohen, “Theory and Practice of Theatrical Dancing in England in the Restoration and Early
Eighteenth Century, part ii: John Weaver”, Bulletin of the New York Public Library 64 (1960) 41-54
A. J. Freer, “Talma and Diderot's Paradox on Acting”, Diderot Studies 8 (1966) 23-76
M. Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Chicago
1988)
J. Giles, “Dance and the French Enlightenment”, Dance Chronicle 4.3 (1981) 245-63
A. Goodden, Actio and Persuasion: Dramatic Performance in Eighteenth-Century France (Oxford
1986).
A. Goodden, Diderot and the Body (Oxford 2001)
K. K. Hansell, “Theatrical Ballet and Italian Opera”, in L. Bianconi and G. Pestelli, Opera on Stage
(trans. K. Singleton) (Chicago and London 2002) 177-308.
D. Heartz, “From Garrick to Gluck: the Reform of Theatre and Opera in the mid-Eighteenth
Century”, Proceedings of the Royal Musical Association 94 (1967-8) 111-27.
M. Hobson, The Object of Art: the Theory of Illusion in Eighteenth-Century France (Cambridge
1982)
D. Johnson, D., “Corporality and Communication: The Gestural Revolution of Diderot, David, and
The Oath of the Horatii”, Art Bulletin 71.1 (1989) 92-113
H. Josephs, Diderot’s Dialogue of Language and Gesture: Le Neveu de Rameau (Ohio 1969)
I. Lada-Richards, Silent Eloquence: Lucian and Pantomime Dancing (London 2007) 163-73
I. Lada-Richards, “Dead but not Extinct: Re-inventing Pantomime Dancing in the Eighteenth
Century”, in F. Macintosh (ed), The Ancient Dancer in the Modern world (Oxford 2010)
P. Murphy, “Ballet Reform in Mid-Eighteenth-Century France: The Philosophes and Noverre”,
Symposium 30 (1976) 27-41.
J. Powell, "Dance and Drama in the Eighteenth Century: David Garrick and Jean Georges Noverre."
Word and Image 4, no. 3/4 (1988): 678–91.
J. R. Roach, The Player's Passion: Studies in the Science of Acting (Ann Arbor 1993)
S. Rosenfeld, “Les Philosophes and le savoir: Words, Gestures and Other Signs in the Era of
Sedaine”, in D.Charlton and M. Ledbury (eds), Michel-Jean Sedaine (1719-1797): Theatre, Opera
and Art (Aldershot 2000), 39-51.
F. J. Talma, Talma on the Actor's Art (London 1883).
N. Taylor, “John Weaver and the Origins of English Pantomime: A Neoclassical Theory and
Practice for Uniting Dance and Theatre”, Theatre Survey 42.2 (2001) 191-214.
J. R. Roach, The Player's Passion: Studies in the Science of Acting (Ann Arbor 1993).
P. Szondi, “Tableau and Coup de Théâtre: On the Social Psychology of Diderot's Bourgeois
Tragedy”, New Literary History 11 (1980) 323-43.
D. Weickmann, “Choreography and Narrative: the Ballet d' Action of the Eighteenth century” in M.
Kant (ed) The Cambridge Companion to Ballet (Cambridge 2007) 53-64
Week 9
W. Appleton and K.A.Burnim, The Prompter: a Theatrical Paper (1734-1736) by Aaron Hill and
William Popple (N.York 1966)
J. Addison, The Spectator (ed. D. T. Bond, 5 vols, Oxford 1968)
J. Bate, “The Sympathetic Imagination in Eighteenth-Century English Criticism”, ELH 12 (1945)
144-64.
D. Barnett, The Art of Gesture: the Practices and Principles of Eighteenth-Century Acting
(Heidelbert 1987)
J. Brewer, The Pleasures of the Imagination: English Culture in the Eighteenth Century (N. York
1997)
A. Downer, “Nature to Advantage Dressed: Eighteenth Century Acting”, PMLA 58 (1943) 1002-37
C. Gerrard, Aaron Hill: The Muses' Projector 1685-1750 (Oxford 2003)
C. Gildon, The Life of Mr. Thomas Betterton, the Late Eminent Tragedian (London 1970; first edn.
1710).
P. Goring, “‘B for Broomstick? A Consideration of Aaron Hill's ‘Revolutionary’ Acting Theory”,
Leading Notes: Journal of the National Early Music Association 13 (Spring 1997) 19-23
P. Goring, The Rhetoric of Sensibility in Eighteenth-Century Culture (Cambridge 2005)
P. Holland, “The Age of Garrick”, in J. Bate and R. Jackson (eds), Shakespeare: An Illustrated
Stage History (Oxford 1996), 69–91.
E. Fisher-Lichte, “Theatre and the Civilizing Process: An Approach to the History of Acting“, in T.
Postlewait and B. A. McConachie (eds), Interpreting the Theatrical Past: Essays in the
Historiography of Performance (Iowa City 1989) 19-36
L.L. Marker and F. J. Marker, “Aaron Hill and Eighteenth-Century Acting Theory”, Quarterly
Journal of Speech 61 (1975) 416-27
A. T. McKenzie, “The Countenance You show Me: Reading the Passions in the Eighteenth
Century”, The Georgia Review 32 (1978) 58-73
J. R. Roach, The Player's Passion: Studies in the Science of Acting (Ann Arbor 1993)
P. Rogers, “David Garrick: the Actor as Culture Hero”, Themes in Drama 6: The Actor (Cambridge
1984) 63-83
D. S. Sechelski, “Garrick's Body and the Labor of Art in Eighteenth-Century Theater”, EighteenthCentury Studies 29.4 (1996) 369-89
G. Taylor, “The Just Delineation of the Passions”: Theories of Acting in the Age of Garrick”, in K.
Richards and P. Thomson (eds), The Eighteenth-Century Stage (London 1972) 51-72
P. Thomson, “Acting and Actors from Garrick to Kean”, in D. O'Quinn and J. Moody (eds), The
Cambridge Companion to British theatre 1730-1830 (Cambridge 2007), 3-20
E. R. Wasserman, “The Sympathetic Imagination in Eighteenth-Century Theories of Acting”,
Journal of English and Germanic Philology 46 (1947) 264-72.
S.West, The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and
Kemble (London 1991)
M. W. Wilson, “Garrick, Iconic Acting, and the Ideologies of Theatrical Portraiture”, Word and
Image 6.4 (1990) 368-94
L. Woods, “Crown of Straw on Little Men: Garrick's New Heroes”, Shakespeare Quarterly 32
(1981) 69-79
L. Woods, Garrick Claims the Stage: Acting as Social Emblem in Eighteenth-Century England
(Wesport, Connecticut and London 1984)
Week 10
A. Artaud, “The Theatre and its Double.” In Collected Works, vol. 4, trans. Victor Corti. (London
1974) 1-110.
P. Auslander, From Acting to Performance: Essays in Modernism and Postmodernism (London and
New York 1997)
T.Cole (ed) Acting: A Handbook of the Stanislavski Method. (New York 1955)
M. Eddershaw, “Acting Methods: Brecht and Stanislavsky”, in Bartram, Graham and Waine, A. E.
(eds.), Brecht in Perspective (London 1982) 128-44.
M. Esslin, Artaud (London 1976)
C. Innes, Avant Garde Theatre, 1892-1992 (London and New York 1993)
D. R. Jones, Great Directors at Work: Stanislavsky, Brecht, Kazan, Brook (Berkeley, Los Angeles,
and London 1986)
I. Lada-Richards, “‘Estrangement’ or ‘Reincarnation’? Performers and Performance on the
Classical Athenian Stage.” Arion 5.2 (1997) 66-107.
I. Lada-Richards, “Greek Tragedy and Western Perceptions of Actors nad Acting”, in J. Gregory
(ed), The Blackwell Companion to Greek Tragedy (Oxford 2005) 459-71
S. L. Leiter, From Stanislavsky to Barrault: Representative Directors of the European Stage (New
York 1991)
D. Magarshack, “Introduction”, in K. S. Stanislavksy on The Art of the Stage (London 1961)
S. Moore, The Stanislavksi System: The professional Training of an Actor. Digested From the
Teachings of K. S. Stanislavski (London 1966)
T. Wiles, The Theater Event: Modern Theories of Performance (Chicago and London 1980)
L. Wolford and R. Schechner, (eds) The Grotowski Sourcebook (New York and London 1997)