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Bala M. The Clown. Jung Journal 2010;4:50–71. doi:10.1525/jung.2010.4.1.50
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Davison J. Clown Theory, Technique and Technology. In: Clown.137–73.
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Louise P. Clowns and Clown Play. In: Serious Play.https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=457089
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Henke R. Improvisation and characters. In: Performance and literature in the commedia dell’arte. Cambridge: : Cambridge University Press 2002. 12–30.
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Peacock L. Conflict and slapstick in Commedia dell’Arte — The double act of Pantalone and Arlecchino. Comedy Studies 2013;4:59–69. doi:10.1386/cost.4.1.59_1
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Gordon M. Comic Violence/Sadistic Behaviour. In: Lazzi: the comic routines of the Commedia dell’arte. New York: : Performing Arts Journal Publications 14–20.
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Acting Scenari - La Commedia dell’Arte. https://sites.google.com/site/italiancommedia/plays-and-scenari/scenari
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Bakhtin M. Rabelais and His World. In: Prentki T, Preston S, eds. The applied theatre reader. London: : Routledge 2009. 22–7.http://www.vlebooks.com/vleweb/product/openreader?id=Bristol&isbn=9780203891315
9
Robert Hornback. 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
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Willeford W. The fool and his sceptre: a study in clowns and jesters and their audience. London: : Edward Arnold 1969.
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Peabody RE. Commedia works. Lanham, MD : : University Press of America 1984.
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George DJ, Gossip CJ. Studies in the commedia dell’arte. Cardiff: : University of Wales Press 1993. 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
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Thomson P. The True Physiognomy of a Man: Richard Tarlton and His Legend. https://muse.jhu.edu/article/473688/pdf
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Wiles D, Cambridge Books Online (Online service). Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge: : Cambridge University Press 1987. https://bris.idm.oclc.org/login?url=http://dx.doi.org/10.1017/CBO9780511553417
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Shakespeare W. Twelfth Night (Globe on Screen). Twelfth Night. 2014. doi:10.5040/9790000000014.01
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Hamlet Q1. http://stf-theatre.org.uk/wp-content/uploads/2016/02/HAMLET-%E2%80%93-the-1st-Quarto.pdf
17
Barber CL. Shakespeare’s Festive Comedy: a Study of Dramatic Form and Its Relation to Social Custom. New ed. Princeton, N.J.: : Princeton University Press 2012. https://bris.idm.oclc.org/login?url=http://princeton.universitypressscholarship.com/view/10.23943/princeton/9780691149523.001.0001/upso-9780691149523
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Bell RH, Palgrave Connect (Online service). Shakespeare’s great stage of fools. 1st ed. New York: : Palgrave Macmillan 2011.
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Duncan-Jones K. The Life, Death and Afterlife of Richard Tarlton. The Review of English Studies 2014;65:18–32. doi:10.1093/res/hgs145
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Greif K. The stage clown in Shakespeare’s theatre. https://www.jstor.org/stable/pdf/2870589.pdf?refreqid=excelsior%3A2893e8d4f6127996cbd05296ff32b893
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Lipppincott HF. The stage clown in Shakespeare’s theatre. https://www.jstor.org/stable/pdf/2869605.pdf?refreqid=excelsior%3Abad1bcc237ca612060b2afc1b7ee0461
22
Purcell S. Popular Shakespeare: simulation and subversion on the modern stage. Basingstoke [England]: : Palgrave Macmillan 2009.
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Weimann R, Higbee H, West W. Author’s pen and actor’s voice: playing and writing in Shakespeare’s theatre. Cambridge: : Cambridge University Press 2000. https://bris.idm.oclc.org/login?url=https://doi.org/10.1017/CBO9780511484070
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Weimann R. Shakespeare and the popular tradition in the theater: studies in the social dimension of the dramatic form and function. Baltimore: : Johns Hopkins University Press
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Bratton JS, Featherstone A, University of Bristol. Theatre Collection. Mander and Mitchenson Theatre Collection. The Victorian Circus. In: The Victorian clown. Cambridge: : Cambridge University Press 2006. 3–29.
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Peacock L. The Development of the Circus Clown: Frame and Content. In: Serious play: modern clown performance. Bristol, UK: : Intellect 2009. 35–54.http://public.eblib.com/choice/publicfullrecord.aspx?p=457089
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Disher MW. Clowns & pantomimes. New York,: : B. Blom, 1968.
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Findlater R. Grimaldi, king of clowns. London,: : Macgibbon & Kee, 1955.
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Grock. Grock, life’s a lark,. London,: : W. Heinemann
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Little, Kenneth. Little, Kenneth: Surveilling Cirque Archaos: Transgression and the spaces of power in popular entertainment. Journal of Popular Culture 1995;29.https://literature.proquest.com/searchFulltext.do?id=R04164226&divLevel=0&queryId=3096512807252&trailId=167E0C7182A&area=criticism&forward=critref_ft
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Behan T, dawsonera. Dario Fo: revolutionary theatre. London: : Pluto Press 2000. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=3386066
32
Accidental Death Of An Anarchist. https://www.youtube.com/watch?v=p10xejjf0pw
33
Mitchell T. ‘Mistero buffo’ - popular culture, the giullari and the grotesque. In: Dario Fo: people’s court jester. London: : Methuen 1984. 10–24.
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Farrell J. Dario Fo: Zanni and Giullare. The Commedia dell’arte from the Renaissance to Dario Fo 1989;6:315–29.
35
Routledge P. Sensuous Solidarities: Emotion, Politics and Performance in the Clandestine Insurgent Rebel Clown Army. Antipode 2012;44:428–52. doi:10.1111/j.1467-8330.2010.00862.x
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St John G. Protestival: Global Days of Action and Carnivalized Politics in the Present. Social Movement Studies 2008;7:167–90. doi:10.1080/14742830802283550
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Clown Politics: Report on the International Clown-Theatre Congress. https://www.jstor.org/stable/pdf/1146206.pdf
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Zarrilli PB. Dario Fo: The roar of the clown. In: Acting (re)considered: a theoretical and practical guide. London: : Routledge 2002. http://site.ebrary.com/id/10099645
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Fo D. The tricks of the trade. London: : Methuen Drama
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Murray SD. The Texts of Jacques Lecoq. In: Jacques Lecoq. London: : Routledge 2003. 43–94.http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=1056897&T=F
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Purcell Gates L. Locating the self: narratives and practices of authenticity in French clown training. Theatre, Dance and Performance Training 2011;2:231–42. doi:10.1080/19443927.2011.553239
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Davison J. Clown training: a practical guide. New York: : Palgrave Macmillan 2015.
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Eldridge SA, Huston HW. Actor Training in the Neutral Mask. In: Acting (re)considered: a theoretical and practical guide. London: : Routledge 2002. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=235058
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Lecoq J, Carasso J-G, Lallias J-C. The moving body: teaching creative theatre. Rev. ed. London: : Methuen 2002.
45
LeBank E, Bridel D. Clowns: in conversation with modern masters. First edition. London: : Routledge, Taylor & Francis Group 2015. https://bris.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9781315719757
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Yarrow R, Chamberlain F. Jacques Lecoq and the British theatre. London: : Routledge 2002. http://ptarpp2.uitm.edu.my/ptarpprack/RAK-14.gif
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Davison J. Clown training: a practical guide. New York: : Palgrave Macmillan 2015.
48
Rudlin J. Commedia dell’arte: an actor’s handbook. London: : Routledge 1994. http://catalogue.londonmet.ac.uk/record=b1682859~S1
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Rudlin J, Crick O. Commedia dell’arte: a handbook for troupes. London: : Routledge 2001.
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Simon E. The art of clowning. 1st ed. New York: : Palgrave Macmillan 2009.
51
Wright J. Why is that so funny?: a practical exploration of physical comedy. London: : Nick Hern Books 2006.
52
Beckett S. Waiting for Godot. 2010. https://www.dramaonlinelibrary.com/plays/waiting-for-godot-iid-160142/do-9780571293216-div-00000012
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Brecht B, Nellhaus G. Man equals Man (from: Brecht Collected Plays: 2). https://www.dramaonlinelibrary.com/plays/man-equals-man-iid-137073/do-9781408161418-div-00000008
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Bryden M. Clowning with Beckett. In: A companion to Samuel Beckett. Oxford: : Wiley-Blackwell 2010. 358–71.
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Burgess H. Circus techniques. New York: : Crowell
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Croft-Cooke R, Cotes P. Circus: a world history. London: : Elek
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Disher MW. Clowns & pantomimes. New York,: : B. Blom, 1968.
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Frost A, Yarrow R. Improvisation in drama. Basingstoke: : Macmillan 1990.
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Frost T. Circus life and circus celebrities. London,: : Tinsley Bros., 1875.
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Fuchs E. Clown Shows: Anti-Theatricalist Theatricalism in Four Twentieth-Century Plays. https://muse.jhu.edu/article/501045/pdf
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Greenwood IJ. The circus, its origin and growth prior to 1835. New York: : B. Franklin 1970.
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Jando D, Granfield L. The circus, 1870s-1950s. Köln: : Taschen 2010.
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Kerr W. The silent clowns. First edition. New York: : Knopf 1975.
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Peacock L. Serious play: modern clown performance. Bristol, UK: : Intellect 2009. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=457089
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Schechter J. Popular theatre: a sourcebook. London: : Routledge 2003.
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Schechter J. Brecht’s clowns: Man is Man and after. In: The Cambridge companion to Brecht. Cambridge: : Cambridge University Press 2006. 68–78. doi:10.1017/CCOL0521414466.005
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Swortzell L, Hodges CW. Here come the clowns: a cavalcade of comedy from antiquity to the present. 1st ed. New York: : Viking Press 1978.
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Toole-Stott Raymond. 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. Derby, Eng.,: : Harpur, distributors 71AD.
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Tait P, Lavers K, editors. The Routledge Circus Studies reader. First edition. Abingdon, Oxon: : Routledge 2016.
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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 Studieshttps://literature.proquest.com/pageImage.do?ftnum=2277183161&fmt=page&area=criticism&journalid=12187364&articleid=R04416069&pubdate=2010
