Accidental Death Of An Anarchist. (n.d.). https://www.youtube.com/watch?v=p10xejjf0pw
Acting Scenari - La Commedia dell’Arte. (n.d.). https://sites.google.com/site/italiancommedia/plays-and-scenari/scenari
Bakhtin, M. (2009). Rabelais and His World. In T. Prentki & S. Preston (Eds.), The applied theatre reader (pp. 22–27). Routledge. http://www.vlebooks.com/vleweb/product/openreader?id=Bristol&isbn=9780203891315
Bala, M. (2010). The Clown. Jung Journal, 4(1), 50–71. https://doi.org/10.1525/jung.2010.4.1.50
Barber, C. L. (2012). Shakespeare’s Festive Comedy: a Study of Dramatic Form and Its Relation to Social Custom (New ed). Princeton University Press. https://bris.idm.oclc.org/login?url=http://princeton.universitypressscholarship.com/view/10.23943/princeton/9780691149523.001.0001/upso-9780691149523
Beckett, S. (2010). Waiting for Godot. https://www.dramaonlinelibrary.com/plays/waiting-for-godot-iid-160142/do-9780571293216-div-00000012
Behan, T. & dawsonera. (2000). Dario Fo: revolutionary theatre [Electronic resource]. In Introduction & Mistero Buffo. Pluto Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=3386066
Bell, R. H. & Palgrave Connect (Online service). (2011). Shakespeare’s great stage of fools (1st ed). Palgrave Macmillan.
Bratton, J. S., Featherstone, A., & University of Bristol. Theatre Collection. Mander and Mitchenson Theatre Collection. (2006). The Victorian Circus. In The Victorian clown (pp. 3–29). Cambridge University Press.
Brecht, B., & Nellhaus, G. (n.d.). Man equals Man (from: Brecht Collected Plays: 2). https://www.dramaonlinelibrary.com/plays/man-equals-man-iid-137073/do-9781408161418-div-00000008
Bryden, M. (2010). Clowning with Beckett. In A companion to Samuel Beckett (pp. 358–371). Wiley-Blackwell.
Burgess, H. (n.d.). Circus techniques. Crowell.
Clown Politics: Report on the International Clown-Theatre Congress. (n.d.). https://www.jstor.org/stable/pdf/1146206.pdf
Croft-Cooke, R., & Cotes, P. (n.d.). Circus: a world history. Elek.
Davison, J. (n.d.). Clown Theory, Technique and Technology. In Clown (pp. 137–173).
Davison, J. (2015a). Clown training: a practical guide. Palgrave Macmillan.
Davison, J. (2015b). Clown training: a practical guide. Palgrave Macmillan.
Disher, M. W. (1968a). Clowns & pantomimes. B. Blom,.
Disher, M. W. (1968b). Clowns & pantomimes. B. Blom,.
Duncan-Jones, K. (2014). The Life, Death and Afterlife of Richard Tarlton. The Review of English Studies, 65(268), 18–32. https://doi.org/10.1093/res/hgs145
Eldridge, S. A., & Huston, H. W. (2002). Actor Training in the Neutral Mask. In Acting (re)considered: a theoretical and practical guide (2nd ed). Routledge. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=235058
Farrell, J. (1989). Dario Fo: Zanni and Giullare. The Commedia Dell’arte from the Renaissance to Dario Fo, 6, 315–329.
Findlater, R. (1955). Grimaldi, king of clowns. Macgibbon & Kee,.
Fo, D. (n.d.). The tricks of the trade. Methuen Drama.
Frost, A., & Yarrow, R. (1990). Improvisation in drama. Macmillan.
Frost, T. (1875). Circus life and circus celebrities. Tinsley Bros.,.
Fuchs, E. (n.d.). Clown Shows: Anti-Theatricalist Theatricalism in Four Twentieth-Century Plays. https://muse.jhu.edu/article/501045/pdf
George, D. J., & Gossip, C. J. (1993). Studies in the commedia dell’arte. University of Wales Press. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=006164342&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
Gordon, M. (n.d.). Comic Violence/Sadistic Behaviour. In Lazzi: the comic routines of the Commedia dell’arte (1st ed, pp. 14–20). Performing Arts Journal Publications.
Greenwood, I. J. (1970). The circus, its origin and growth prior to 1835 (Vol. 12). B. Franklin.
Greif, K. (n.d.). The stage clown in Shakespeare’s theatre. https://www.jstor.org/stable/pdf/2870589.pdf?refreqid=excelsior%3A2893e8d4f6127996cbd05296ff32b893
Grock. (n.d.). Grock, life’s a lark,. W. Heinemann.
Hamlet Q1. (n.d.). http://stf-theatre.org.uk/wp-content/uploads/2016/02/HAMLET-%E2%80%93-the-1st-Quarto.pdf
Henke, R. (2002). Improvisation and characters. In Performance and literature in the commedia dell’arte (pp. 12–30). Cambridge University Press.
Jando, D., & Granfield, L. (2010). The circus, 1870s-1950s (N. Daniel, Ed.). Taschen.
Kerr, W. (1975). The silent clowns (First edition). Knopf.
LeBank, E., & Bridel, D. (2015). Clowns: in conversation with modern masters (First edition). Routledge, Taylor & Francis Group. https://bris.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9781315719757
Lecoq, J., Carasso, J.-G., & Lallias, J.-C. (2002). The moving body: teaching creative theatre (Rev. ed). Methuen.
Lipppincott, H. F. (n.d.). The stage clown in Shakespeare’s theatre. https://www.jstor.org/stable/pdf/2869605.pdf?refreqid=excelsior%3Abad1bcc237ca612060b2afc1b7ee0461
Little, Kenneth. (1995). Little, Kenneth:  Surveilling Cirque Archaos: Transgression and the spaces of power in popular entertainment. Journal of Popular Culture, 29(1). https://literature.proquest.com/searchFulltext.do?id=R04164226&divLevel=0&queryId=3096512807252&trailId=167E0C7182A&area=criticism&forward=critref_ft
Louise, P. (n.d.). Clowns and Clown Play. In Serious Play. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=457089
Mitchell, T. (1984). ‘Mistero buffo’ - popular culture, the giullari and the grotesque. In Dario Fo: people’s court jester (pp. 10–24). Methuen.
Murray, S. D. (2003). The Texts of Jacques Lecoq. In Jacques Lecoq (pp. 43–94). Routledge. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=1056897&T=F
Peabody, R. E. (1984). Commedia works. University Press of America.
Peacock, L. (2009a). Serious play: modern clown performance. Intellect. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=457089
Peacock, L. (2009b). The Development of the Circus Clown: Frame and Content. In Serious play: modern clown performance (pp. 35–54). Intellect. http://public.eblib.com/choice/publicfullrecord.aspx?p=457089
Peacock, L. (2013). Conflict and slapstick in Commedia dell’Arte — The double act of Pantalone and Arlecchino. Comedy Studies, 4(1), 59–69. https://doi.org/10.1386/cost.4.1.59_1
Purcell Gates, L. (2011). Locating the self: narratives and practices of authenticity in French clown training. Theatre, Dance and Performance Training, 2(2), 231–242. https://doi.org/10.1080/19443927.2011.553239
Purcell, S. (2009). Popular Shakespeare: simulation and subversion on the modern stage. Palgrave Macmillan.
Robert Hornback. (n.d.). The English Clown Tradition from the Middle Ages to Shakespeare. https://www.cambridge.org/core/books/english-clown-tradition-from-the-middle-ages-to-shakespeare/687A6E19C65A0A86E351B4B9BCB2521F
Routledge, P. (2012). Sensuous Solidarities: Emotion, Politics and Performance in the Clandestine Insurgent Rebel Clown Army. Antipode, 44(2), 428–452. https://doi.org/10.1111/j.1467-8330.2010.00862.x
Rudlin, J. (1994). Commedia dell’arte: an actor’s handbook. Routledge. http://catalogue.londonmet.ac.uk/record=b1682859~S1
Rudlin, J., & Crick, O. (2001). Commedia dell’arte: a handbook for troupes. Routledge.
Schechter, J. (2003). Popular theatre: a sourcebook. Routledge.
Schechter, J. (2006). Brecht’s clowns: Man is Man and after [Electronic resource]. In The Cambridge companion to Brecht (pp. 68–78). Cambridge University Press. https://doi.org/10.1017/CCOL0521414466.005
Shakespeare, W. (2014). Twelfth Night (Globe on Screen). In Twelfth Night. Globe on Screen. https://doi.org/10.5040/9790000000014.01
Simon, E. (2009). The art of clowning (1st ed). Palgrave Macmillan.
St John, G. (2008). Protestival: Global Days of Action and Carnivalized Politics in the Present. Social Movement Studies, 7(2), 167–190. https://doi.org/10.1080/14742830802283550
Swortzell, L., & Hodges, C. W. (1978). Here come the clowns: a cavalcade of comedy from antiquity to the present (1st ed). Viking Press.
Tait, P., & Lavers, K. (Eds.). (2016). The Routledge Circus Studies reader (First edition). Routledge.
Thomson, P. (n.d.). The True Physiognomy of a Man: Richard Tarlton and His Legend. https://muse.jhu.edu/article/473688/pdf
Toole-Stott, Raymond. (71 C.E.). 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.
Varro, G. (n.d.). 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. https://literature.proquest.com/pageImage.do?ftnum=2277183161&fmt=page&area=criticism&journalid=12187364&articleid=R04416069&pubdate=2010
Weimann, R. (n.d.). Shakespeare and the popular tradition in the theater: studies in the social dimension of the dramatic form and function. Johns Hopkins University Press.
Weimann, R., Higbee, H., & West, W. (2000). Author’s pen and actor’s voice: playing and writing in Shakespeare’s theatre (Vol. 39). Cambridge University Press. https://bris.idm.oclc.org/login?url=https://doi.org/10.1017/CBO9780511484070
Wiles, D. & Cambridge Books Online (Online service). (1987). Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse [Electronic resource]. Cambridge University Press. https://bris.idm.oclc.org/login?url=http://dx.doi.org/10.1017/CBO9780511553417
Willeford, W. (1969). The fool and his sceptre: a study in clowns and jesters and their audience. Edward Arnold.
Wright, J. (2006). Why is that so funny?: a practical exploration of physical comedy. Nick Hern Books.
Yarrow, R., & Chamberlain, F. (2002). Jacques Lecoq and the British theatre (Vol. 42). Routledge. http://ptarpp2.uitm.edu.my/ptarpprack/RAK-14.gif
Zarrilli, P. B. (2002). Dario Fo: The roar of the clown. In Acting (re)considered: a theoretical and practical guide (2nd ed). Routledge. http://site.ebrary.com/id/10099645