[1]
Acting Scenari - La Commedia dell’Arte: https://sites.google.com/site/italiancommedia/plays-and-scenari/scenari.
[2]
Bakhtin, M. 2009. Rabelais and His World. The applied theatre reader. T. Prentki and S. Preston, eds. Routledge. 22–27.
[3]
Bala, M. 2010. The Clown. Jung Journal. 4, 1 (Jan. 2010), 50–71. DOI:https://doi.org/10.1525/jung.2010.4.1.50.
[4]
Barber, C.L. 2012. Shakespeare’s Festive Comedy: a Study of Dramatic Form and Its Relation to Social Custom. Princeton University Press.
[5]
Beckett, S. 2010. Waiting for Godot.
[6]
Behan, T. and dawsonera 2000. Dario Fo: revolutionary theatre. Pluto Press.
[7]
Bell, R.H. and Palgrave Connect (Online service) 2011. Shakespeare’s great stage of fools. Palgrave Macmillan.
[8]
Bratton, J.S. et al. 2006. The Victorian Circus. The Victorian clown. Cambridge University Press. 3–29.
[9]
Brecht, B. and Nellhaus, G. Man equals Man (from: Brecht Collected Plays: 2).
[10]
Bryden, M. 2010. Clowning with Beckett. A companion to Samuel Beckett. Wiley-Blackwell. 358–371.
[11]
Burgess, H. Circus techniques. Crowell.
[12]
Croft-Cooke, R. and Cotes, P. Circus: a world history. Elek.
[13]
Davison, J. Clown Theory, Technique and Technology. Clown. 137–173.
[14]
Davison, J. 2015. Clown training: a practical guide. Palgrave Macmillan.
[15]
Davison, J. 2015. Clown training: a practical guide. Palgrave Macmillan.
[16]
Disher, M.W. 1968. Clowns & pantomimes. B. Blom,.
[17]
Disher, M.W. 1968. Clowns & pantomimes. B. Blom,.
[18]
Duncan-Jones, K. 2014. The Life, Death and Afterlife of Richard Tarlton. The Review of English Studies. 65, 268 (Feb. 2014), 18–32. DOI:https://doi.org/10.1093/res/hgs145.
[19]
Eldridge, S.A. and Huston, H.W. 2002. Actor Training in the Neutral Mask. Acting (re)considered: a theoretical and practical guide. Routledge.
[20]
Farrell, J. 1989. Dario Fo: Zanni and Giullare. The Commedia dell’arte from the Renaissance to Dario Fo. 6, (1989), 315–329.
[21]
Findlater, R. 1955. Grimaldi, king of clowns. Macgibbon & Kee,.
[22]
Fo, D. The tricks of the trade. Methuen Drama.
[23]
Frost, A. and Yarrow, R. 1990. Improvisation in drama. Macmillan.
[24]
Frost, T. 1875. Circus life and circus celebrities. Tinsley Bros.,.
[25]
Fuchs, E. Clown Shows: Anti-Theatricalist Theatricalism in Four Twentieth-Century Plays.
[26]
George, D.J. and Gossip, C.J. 1993. Studies in the commedia dell’arte. University of Wales Press.
[27]
Gordon, M. Comic Violence/Sadistic Behaviour. Lazzi: the comic routines of the Commedia dell’arte. Performing Arts Journal Publications. 14–20.
[28]
Greenwood, I.J. 1970. The circus, its origin and growth prior to 1835. B. Franklin.
[29]
Greif, K. The stage clown in Shakespeare’s theatre.
[30]
Grock Grock, life’s a lark,. W. Heinemann.
[31]
Henke, R. 2002. Improvisation and characters. Performance and literature in the commedia dell’arte. Cambridge University Press. 12–30.
[32]
Jando, D. and Granfield, L. 2010. The circus, 1870s-1950s. Taschen.
[33]
Kerr, W. 1975. The silent clowns. Knopf.
[34]
LeBank, E. and Bridel, D. 2015. Clowns: in conversation with modern masters. Routledge, Taylor & Francis Group.
[35]
Lecoq, J. et al. 2002. The moving body: teaching creative theatre. Methuen.
[36]
Lipppincott, H.F. The stage clown in Shakespeare’s theatre.
[37]
Little, Kenneth 1995. Little, Kenneth: Surveilling Cirque Archaos: Transgression and the spaces of power in popular entertainment. Journal of Popular Culture. 29, 1 (1995).
[38]
Louise, P. Clowns and Clown Play. Serious Play.
[39]
Mitchell, T. 1984. ‘Mistero buffo’ - popular culture, the giullari and the grotesque. Dario Fo: people’s court jester. Methuen. 10–24.
[40]
Murray, S.D. 2003. The Texts of Jacques Lecoq. Jacques Lecoq. Routledge. 43–94.
[41]
Peabody, R.E. 1984. Commedia works. University Press of America.
[42]
Peacock, L. 2013. Conflict and slapstick in Commedia dell’Arte — The double act of Pantalone and Arlecchino. Comedy Studies. 4, 1 (Jan. 2013), 59–69. DOI:https://doi.org/10.1386/cost.4.1.59_1.
[43]
Peacock, L. 2009. Serious play: modern clown performance. Intellect.
[44]
Peacock, L. 2009. The Development of the Circus Clown: Frame and Content. Serious play: modern clown performance. Intellect. 35–54.
[45]
Purcell Gates, L. 2011. Locating the self: narratives and practices of authenticity in French clown training. Theatre, Dance and Performance Training. 2, 2 (Sep. 2011), 231–242. DOI:https://doi.org/10.1080/19443927.2011.553239.
[46]
Purcell, S. 2009. Popular Shakespeare: simulation and subversion on the modern stage. Palgrave Macmillan.
[47]
Robert Hornback The English Clown Tradition from the Middle Ages to Shakespeare.
[48]
Routledge, P. 2012. Sensuous Solidarities: Emotion, Politics and Performance in the Clandestine Insurgent Rebel Clown Army. Antipode. 44, 2 (Mar. 2012), 428–452. DOI:https://doi.org/10.1111/j.1467-8330.2010.00862.x.
[49]
Rudlin, J. 1994. Commedia dell’arte: an actor’s handbook. Routledge.
[50]
Rudlin, J. and Crick, O. 2001. Commedia dell’arte: a handbook for troupes. Routledge.
[51]
Schechter, J. 2006. Brecht’s clowns: Man is Man and after. The Cambridge companion to Brecht. Cambridge University Press. 68–78.
[52]
Schechter, J. 2003. Popular theatre: a sourcebook. Routledge.
[53]
Shakespeare, W. 2014. Twelfth Night (Globe on Screen). Twelfth Night. Globe on Screen.
[54]
Simon, E. 2009. The art of clowning. Palgrave Macmillan.
[55]
St John, G. 2008. Protestival: Global Days of Action and Carnivalized Politics in the Present. Social Movement Studies. 7, 2 (Sep. 2008), 167–190. DOI:https://doi.org/10.1080/14742830802283550.
[56]
Swortzell, L. and Hodges, C.W. 1978. Here come the clowns: a cavalcade of comedy from antiquity to the present. Viking Press.
[57]
Tait, P. and Lavers, K. eds. 2016. The Routledge Circus Studies reader. Routledge.
[58]
Thomson, P. The True Physiognomy of a Man: Richard Tarlton and His Legend.
[59]
Toole-Stott, Raymond. 71AD. Circus and allied arts; a world bibliography, 1500-[1970] based mainly on circus literature in the British Museum, the Library of Congress, the Bibliothèque Nationale, and on his own collection. Harpur, distributors.
[60]
Varro, G. Versions of the Clown in Samuel Beckett’s Waiting for Godot and Sam Shepard’s Kicking a Dead Horse. Hungarian Journal of English and American Studies.
[61]
Weimann, R. et al. 2000. Author’s pen and actor’s voice: playing and writing in Shakespeare’s theatre. Cambridge University Press.
[62]
Weimann, R. Shakespeare and the popular tradition in the theater: studies in the social dimension of the dramatic form and function. Johns Hopkins University Press.
[63]
Wiles, D. and Cambridge Books Online (Online service) 1987. Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge University Press.
[64]
Willeford, W. 1969. The fool and his sceptre: a study in clowns and jesters and their audience. Edward Arnold.
[65]
Wright, J. 2006. Why is that so funny?: a practical exploration of physical comedy. Nick Hern Books.
[66]
Yarrow, R. and Chamberlain, F. 2002. Jacques Lecoq and the British theatre. Routledge.
[67]
Zarrilli, P.B. 2002. Dario Fo: The roar of the clown. Acting (re)considered: a theoretical and practical guide. Routledge.
[68]
Accidental Death Of An Anarchist.
[69]
Clown Politics: Report on the International Clown-Theatre Congress.
