1
Innes C, Shevtsova M. The Cambridge introduction to theatre directing. Cambridge: : Cambridge University Press 2013.
2
Shepherd S. Direction. Basingstoke, Hampshire: : Palgrave Macmillan 2012. https://primo.aber.ac.uk/view/action/uresolver.do?operation=resolveService&package_service_id=5445943600002418&institutionId=2418&customerId=2415&VE=true
3
Cole SL. A Hidden World. In: Directors in rehearsal: a hidden world. New York: : Routledge 1992. 1–9.https://contentstore.cla.co.uk/secure/link?id=26cc489b-4892-e711-80cb-005056af4099
4
Pavis P. Contemporary mise en scène: staging theatre today. London: : Routledge 2013. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.aber.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203125137
5
The Play of Regie | Issue No.10. http://www.criticalstages.org/the-play-of-regie/
6
Boenisch PM. Directing scenes and senses: the thinking of regie. Manchester: : Manchester University Press 2015. https://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4711189130002418&institutionId=2418&customerId=2415
7
Mitchell K. Chapter 11 of The director’s craft: a handbook for the theatre. London: : Routledge 2009. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780203889701
8
Innes C, Shevtsova M. The Cambridge introduction to theatre directing. Cambridge: : Cambridge University Press 2013.
9
Hampton C, Chekhov AP. The seagull. 2007;FF plays.http://dx.doi.org/10.5040/9780571293520.00000005
10
Innes CD. A sourcebook on naturalist theatre. London: : Routledge 2000. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=2463020960002418&institutionId=2418&customerId=2415
11
Benedetti J. Stanislavski and the actor. London: : Methuen Drama 1998.
12
Benedetti J. Stanislavski. London: : Methuen 1988.
13
Whyman R. Stanislavski. London: : Routledge 2013.
14
Toporkov VO. Stanislavski in rehearsal: the final years. New York: : Routledge 1979.
15
Craig M, Langton J, Copernicus Films, et al. Stanislavsky and the Russian theatre. 2011.
16
Szondi P, Hays M. Theory of the modern drama: a critical edition. Minneapolis: : University of Minneapolis Press 1987.
17
Grotowski J. Towards a poor theatre. First Routledge edition. New York: : Routledge 2002. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780203819814
18
Kumiega J. Extract from ‘ Koridan to The Constant Prince’. In: The theatre of Grotowski. London: : Methuen 1985. 66–71.
19
Innes C, Shevtsova M. The Cambridge introduction to theatre directing. Cambridge: : Cambridge University Press 2013.
20
Marlowe, Christopher, 1564-1593. The Tragical History of Doctor Faustus
From the Quarto of 1604. http://www.gutenberg.org/ebooks/779
21
Flaszen L. Grotowski & company. Holstebro: : Icarus 2010.
22
Grotowski J, Schechner R, Wolford L. The Grotowski sourcebook. London: : Routledge 2001.
23
Richards T, Grotowski J. At work with Grotowski on physical actions. London: : Routledge 1995. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037248920002418&institutionId=2418&customerId=2415
24
Allain P, British Grotowski Project. Grotowski’s empty room. London: : Seagull Books 2009.
25
Kantor T, Wajda A, Puzyna K, et al. Umarła klasa =: The dead class : a dramatic séance by Tadeusz Kantor ; filmed by Andrzej Wajda. 2015.
26
Kobialka M. Further on, Nothing: Tadeusz Kantor’s Theatre. Minneapolis: : University of Minnesota Press 2009. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=2608318200002418&institutionId=2418&customerId=2415
27
Romanska M, ebrary, Inc. The post-traumatic theatre of Grotowski and Kantor: history and Holocaust in Akropolis and The dead class. London: : Anthem Press 2012. http://site.ebrary.com/lib/aber/Doc?id=10651449
28
Kantor T, Kobialka M. A journey through other spaces: essays and manifestos, 1944-1990. Berkeley: : University of California Press 1993.
29
Twitchin M. The Theatre of Death - The Uncanny in Mimesis 2016: Tadeusz Kantor, Aby Warburg, and an Iconology of the Actor. 1st ed. 2016. Basingstoke: : Palgrave Macmillan 2016.
30
Kantor T, Munder H, Migros Museum für Gegenwartskunst. Tadeusz Kantor. Zürich: : Migros Museum für Gegenwartskunst
31
Kantor T, Porebski M, Miodonska-Joucaviel K, et al. Tadeusz Kantor: rozmowa = Tadeusz Kantor : conversation. Toulouse: : Presses universitaires du Midi
32
Witts N. Tadeusz Kantor. Milton Park, Abingdon, Oxon: : Routledge 2010.
33
Pavis P. Contemporary mise en scène: staging theatre today. London: : Routledge 2013. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780203125137
34
Kirwan P. Review of Shakespeare’s Roman Tragedies (Coriolanus, Julius Caesar, Antony and Cleopatra) (directed by Ivo Van Hove for Toneelgroep Amsterdam) at the Barbican, London, 20 November 2009. Shakespeare 2010;6:478–82. doi:10.1080/17450918.2010.527362
35
Worthen WB. Shakespeare performance studies. Cambridge: : Cambridge University Press 2014. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://shibboleth.aber.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781316013601
36
Review of Roman Tragedies. http://www.tandfonline.com/doi/pdf/10.1080/17450918.2010.527362
37
Theatre Laid Bare - The New Yorker. http://www.newyorker.com/magazine/2015/10/26/theatre-laid-bare
38
Dutch courage: Toneelgroep Amsterdam’s Kings of War â�� in pictures | Stage | The Guardian. https://www.theguardian.com/stage/gallery/2016/apr/27/dutch-courage-toneeelgroep-amsterdam-kings-of-war-in-pictures#img-1
39
Inside the War Room | Barbican Blog. http://blog.barbican.org.uk/2016/04/inside-the-war-room/
40
Ivo van Hove on �Kings of War� | Barbican Blog. http://blog.barbican.org.uk/2016/04/ivo-van-hove-on-kings-of-war/
41
Delgado MM, Rebellato D. Thomas Ostermeier. In: Contemporary European theatre directors. London: : Routledge 2010. 339–59.
42
Boenisch PM. Directing scenes and senses: the thinking of regie. Manchester: : Manchester University Press 2015. https://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4711575440002418&institutionId=2418&customerId=2415
43
Boenisch PM, Ostermeier T. ‘On Directing’. In: The theatre of Thomas Ostermeier. London: : Routledge 2016. 132–84.
44
Innes C, Shevtsova M. The Cambridge introduction to theatre directing. Cambridge: : Cambridge University Press 2013.
45
McGuinness F, Ibsen H, McGuinness F, et al. A doll’s house. London: : Faber 1996. http://dx.doi.org/10.5040/9780571284245.00000005
46
Thomas Ostermeier. ‘The More Political We Are, the Better We Sell’: A Conversation about the Political Potential of Directing Classical Drama and the Nasty Traps of Today’s Cultural Industry. Performance Paradigm Published Online First: 2014.http://www.performanceparadigm.net/index.php/journal/article/view/142/141
47
Thomas Ostermeier, ‘Reading and Staging Ibsen’. http://www.schaubuehne.de/uploads/Reading-and-Staging-Ibsen.pdf
48
Pappelbaum J, Dürrschmidt A. You should be able to sit in an Ibsen play: An interview with Jan Pappelbaum. In: Dem Einzelnen ein Ganzes: BuÌhnen = A whole for the parts : stages. Berlin: : Theater der Zeit 2006. 16–30.
49
Bogart A. ‘Intention’ in And then, you act: making art in an unpredictable world. New York: : Routledge 2007. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780203965504
50
Bogart A, Landau T. ‘Introducing the Individual Viewpoints’ in The viewpoints book: a practical guide to viewpoints and composition. New York: : Theatre Communications Group 2005.
51
Bogart A. ‘Politics’ in What’s the story: essays about art, theater and storytelling. In: What’s the story: essays about art, theater and storytelling. London: : Routledge 2014. 123–39.
52
Innes C, Shevtsova M. The Cambridge introduction to theatre directing. Cambridge: : Cambridge University Press 2013.
53
Strindberg A. Miss Julie. 2006;Methuen student editions.http://dx.doi.org/10.5040/9781408168189.00000018
54
Fensham R. To watch theatre: essays on genre and corporeality. New York: : P.I.E. Peter Lang 2009.
55
Bogart A. A director prepares: seven essays on art and theatre. London: : Routledge 2001. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039381080002418&institutionId=2418&customerId=2415
56
Dixon MB, Smith JA. Anne Bogart: viewpoints. 1st ed. Lyme, NH: : Smith and Kraus 1995.
57
Gertrude Stein’s Doctor Faustus Lights the Lights. https://faustuslightsthelights.files.wordpress.com/2015/07/stein_doctorfaustus.pdf
58
Marranca B. The Wooster Group: A Dictionary of Ideas. PAJ: A Journal of Performance and Art 2003;25:1–18. doi:10.1162/152028103321781510
59
LeCompte E, Wooster Group. House/Lights: after Gertrude Stein’s Doctor Faustus lights the lights. 2004.
60
Quick A. House/Lights. In: The Wooster Group work book. London: : Routledge 2007. 164–219.
61
Innes C, Shevtsova M. The Cambridge introduction to theatre directing. Cambridge: : Cambridge University Press 2013. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9781107255265
62
Klich R, Scheer E. Chapter 3: The Theatre of Images Revisited. In: Multimedia performance. Basingstoke: : Palgrave Macmillan 2012. 53–46.https://whelf-aber.primo.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4688967020002418&institutionId=2418&customerId=2415
63
Arfara K. Review Essay: The Wooster Group: , or the Tragic of the Surface. Performance Research 2008;13:134–7. doi:10.1080/13528160802465680
64
Woycicki P. Post-cinematic theatre and performance. Houndmills, Basingstoke: : Palgrave Macmillan 2014.
65
Giesekam G. Staging the screen: the use of film and video in theatre. Basingstoke: : Palgrave Macmillan 2007.
66
Parker-Starbuck J. Cyborg theatre: corporeal/technological intersections in multimedia performance. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2014.
67
Marranca B. Performance histories. 1st ed. New York: : PAJ Publications 2008. http://catdir.loc.gov/catdir/toc/ecip0723/2007030976.html
68
Savran D, Savran D. Breaking the rules: the Wooster Group. New York: : Theatre Communications Group 1988.
69
Callens J. The Wooster Group and its traditions. Bruxelles: : P.I.E.-Peter Lang 2004. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=013111230&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
70
Giesekam G. Chapter 4 Postmodern Collage: The Wooster Group. In: Staging the screen: the use of film and video in theatre. Basingstoke: : Palgrave Macmillan 2007. 80–115.
71
Parker-Starbuck J. CONTROLling the channel: House/lights and intersecting landscapes. In: Cyborg theatre: corporeal/technological intersections in multimedia performance. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2014. 110–9.
72
Lavery C. Chapter 6 - The Blacks in The politics of Jean Genet’s late theatre: spaces of revolution. Manchester: : Manchester University Press 2010. https://contentstore.cla.co.uk/secure/link?id=14a488df-5999-e711-80cb-005056af4099
73
Genet J. The maids. London: : Faber 2009.
74
Eldridge L. Genet’s The Maids: performativity in performance. Studies in Theatre and Performance 2005;25:99–114. doi:10.1386/stap.25.2.99/1
75
Shepherd S. Direction. Basingstoke, Hampshire: : Palgrave Macmillan 2012. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3039373230002418&institutionId=2418&customerId=2415
76
Stafford-Clark M. Extract. In: Letters to George: the account of a rehearsal. London: : Nick Hern 1990. 66–73.https://contentstore.cla.co.uk/secure/link?id=68437c2b-087c-e611-80c6-005056af4099
77
Moseley N. Actioning and how to do it. London: : Nick Hern Books 2016.
78
Caldarone M, Lloyd-Williams M. Actions: the actors’ thesaurus. London: : Nick Hern 2004.
79
Gainor JE, Gainor JE. Chapter 14 ‘On Jean Genet’s Late Works’ in Imperialism and Theatre. Hoboken: : Taylor and Francis 2012. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=2463020730002418&institutionId=2418&customerId=2415
80
Finburgh C, Lavery C, Shevtsova M. Jean Genet: performance and politics. Basingstoke: : Palgrave Macmillan 2006.
81
Oswald L. Jean Genet and the semiotics of performance. Bloomington, [Ind.]: : Indiana University Press 1989.
82
Oswald L. Jean Genet and the semiotics of performance. Bloomington, [Ind.]: : Indiana University Press 1989.
83
Derrida J, Rand R, Leavey JP. Glas. Lincoln: : University of Nebraska Press 1986.
84
Catanese BW. Problem of the Color blind: Racial Transgression and the Politics of Black Performance. Ann Arbor: : University of Michigan Press 2014. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=2463020580002418&institutionId=2418&customerId=2415
85
Quadri F, Bertoni F, Stearns R. Robert Wilson. New York: : Rizzoli 1998.
86
Shyer L. Robert Wilson and his collaborators. 1st ed. New York, NY: : Theatre Communications Group 1989.
87
Delgado MM, Rebellato D. Katie Mitchell in Contemporary European theatre directors. London: : Routledge 2010.
88
Saunders G. ‘Cleansed’. In: ‘Love me or kill me’: Sarah Kane and the theatre of extremes. Manchester: : Manchester University Press 2002. 86–99.
89
Mitchell K. The director’s craft: a handbook for the theatre. London: : Routledge 2009. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780203889701
90
Katie Mitchell’s The Waves Education Pack. http://www.nationaltheatre.org.uk/sites/all/libraries/files/documents/Waves_workpack.pdf
91
Katie Mitchell ...some trace of her Workpack. http://d1wf8hd6ovssje.cloudfront.net/documents/Some%20trace%20of%20her%20workpack%20FINAL.pdf
92
In between stage and screen: The intermedial in Katie Mitchell’s…some trace of her. http://www.tandfonline.com/doi/pdf/10.1386/padm.7.1.43_1
93
Armstrong J. Cruel Britannia: Sarah Kane’s postmodern traumatics. Bern, Switzerland: : Peter Lang 2015.
94
Nally C, Smith A. Chapter 3 of Naked Exhibitionism: Gendered Performance and Public Exposure. London: : I.B.Tauris 2013.
95
Vos L de, Saunders G. Sarah Kane in context. Manchester, UK: : Manchester University Press 2010.
96
Mangold AC. The empty I: Sarah Kane and the aesthetics of the new tragic. Aberystwyth: 2010.
97
Saunders G. About Kane: the playwright and the work. London: : Faber and Faber 2009.
98
Delgado MM, Heritage P. In contact with the Gods?: directors talk theatre. Manchester: : Manchester University Press 1996.
99
Roberts P, Stafford-Clark M, Haynes J. Taking stock: the theatre of Max Stafford-Clark. London: : Nick Hern 2007.
100
Mitter S. Systems of rehearsal: Stanislavsky, Brecht, Grotowski and Brook. London: : Routledge 1992. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037253950002418&institutionId=2418&customerId=2415
101
Mitter S, Shevtsova M. Fifty key theatre directors. London: : Routledge 2005. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3037253940002418&institutionId=2418&customerId=2415
102
Trevis D. Being a director: a life in theatre. London: : Routledge 2012. http://www.vlebooks.com/vleweb/product/openreader?id=AberystUni&isbn=9780203816363
103
Kelleher J. The illuminated theatre: studies on the suffering of images. Abingdon, Oxon: : Routledge 2015.
104
Delgado MM, Rebellato D. Contemporary European theatre directors. London: : Routledge 2010.
105
Dixon MB, Smith JA. Anne Bogart: viewpoints. 1st ed. Lyme, NH: : Smith and Kraus 1995.
106
O’Reilly K. the 9 Fridas. In: Atypical plays for atypical actors. London: : Oberon Books 2016. 171–213.
107
Stein P. Peer Gynt. 1971.
108
Goethe JW von, Schönhofer P, Grimm T, et al. Peter Stein inszeniert Faust. 2007.
109
Lewin A, Stein P. Lontano: die Schaubühne von Peter Stein. 2013.
110
Klotz N, Perceval E, Baecque A de. Le vent souffle dans la cour d’honneur: les utopies contemporaines du Festival d’Avignon. 2013.
111
Ostermeier T. Hamlet.
112
Viotte M, Kent D, Cavassilas P, et al. 60 Ans festival d’Avignon. 2007.
113
Rossacher H, Ostermeier T, Büchner G, et al. Woyzeck. 2007.
114
Hedda Gabler [DVD] / by Henrik Ibsen ; directed by Thomas Ostermeier ; translation into German by Hinrich Schmidt-Henkel. http://69.70.65.162/in/faces/details.xhtml?id=p%3A%3Ausmarcdef_0000075519&highlight=*&posInPage=0&bookmark=4c8e456e-1e80-4b88-b09b-43d14fe2dfbe&queryid=e656dee3-c4db-445c-9cc4-68cf474a52df
115
Helland F. Ibsen in practice: relational readings of performance, cultural encounters and power. London: : Bloomsbury 2015.
