(1)
Postlewait, T. Introduction: On Some Preliminary Matters. In The Cambridge introduction to theatre historiography; Cambridge University Press: Cambridge, 2009; Vol. Cambridge introductions to literature, pp 1–24.
(2)
Zarilli, P. B. Preface: Interpreting Performances and Cultures. In Theatre histories: an introduction; Routledge: New York, 2006; pp xvii–xxxi.
(3)
Davis, T. C. The Context Problem. Theatre Survey 2004, 45 (02), 203–209. https://doi.org/10.1017/S0040557404000158.
(4)
Bloomsbury (Firm). Mankind; Lester, G. A., Ed.; Bloomsbury: [London], 2013.
(5)
The York Play of the Crucifixion. http://www.wwnorton.com/college/english/nael/noa/pdf/YORKPLAY.pdf.
(6)
Dillon, J. Instruction and Spectacle. In The Cambridge introduction to early English theatre; Cambridge University Press: Cambridge, 2006; Vol. Cambridge introductions to literature, pp 171–212.
(7)
Beadle, R.; Fletcher, A. J.; Cambridge Collections Online (Online service). The Cambridge Companion to Medieval English Theatre, 2nd ed.; Cambridge University Press: Cambridge, 2008; Vol. Cambridge companions to literature and classics.
(8)
Twycross, M.; Carpenter, S. Masks and Masking in Medieval and Early Tudor England; Ashgate: Aldershot, 2002; Vol. Studies in performance and early modern drama.
(9)
Craik, T. W. The Tudor Interlude: Stage, Costume and Acting; Leicester University Press: Leicester, 1958.
(10)
Dillon, J. The Cambridge Introduction to Early English Theatre; Cambridge University Press: Cambridge, 2006; Vol. Cambridge introductions to literature.
(11)
Medieval Practices of Space; Hanawalt, B., Kobialka, M., Eds.; University of Minnesota Press: Minneapolis, 2000; Vol. Medieval cultures.
(12)
Happé, P. The Vice and the Folk-Drama. Folklore 1964, 75 (3), 161–193. https://doi.org/10.1080/0015587X.1964.9716964.
(13)
King, P. M.; dawsonera. Medieval Literature 1300-1500; Edinburgh University Press: Edinburgh, 2011; Vol. Edinburgh critical guides to literature.
(14)
King, P. M. The York Mystery Cycle and the Worship of the City; Boydell & Brewer: Woodbridge, 2006; Vol. Westfield medieval studies.
(15)
Treharne, E. M.; Walker, G.; Oxford Handbooks Online (Online service). The Oxford Handbook of Medieval Literature in English; Oxford University Press: Oxford, 2010.
(16)
Walker, G. Medieval Drama: An Anthology; Blackwell: Oxford, 2000.
(17)
Wickham, G. The Medieval Theatre, 3rd ed.; Cambridge University Press: Cambridge, 1987.
(18)
Wickham, G. Early English Stages, 1300 to 1660: Vol.1: 1300 to 1576, 2nd ed.; Routledge and K. Paul: London, 1980.
(19)
Wilson, F. P. The English Drama, 1485-1585; Clarendon Press: Oxford, 1969; Vol. Oxford history of English literature.
(20)
Webster, J.; Brown, J. R. The White Devil; Manchester University Press: Manchester, 1996; Vol. Revels student editions.
(21)
Hoxby, B. An Early Modern Poetics of Tragedy. In What Was Tragedy?; Oxford University Press, 2015; pp 57–108. https://doi.org/10.1093/acprof:oso/9780198749165.003.0002.
(22)
Halliwell, S. Aristotle’s Poetics; Duckworth: London, 1986.
(23)
Dollimore, J. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries, Reissued 3rd ed.; Palgrave Macmillan: Basingstoke, 2010.
(24)
Bradbrook, M. C. Themes and Conventions of Elizabethan Tragedy, 2nd ed.; Cambridge University Press: Cambridge, 1980.
(25)
Callaghan, D. Woman and Gender in Renaissance Tragedy: A Study of King Lear, Othello, The Duchess of Malfi, and The White Devil; Humanities Press International: Atlantic Highlands, N.J., 1989.
(26)
Dessen, A. C.; Cambridge Books Online (Online service). Recovering Shakespeare’s Theatrical Vocabulary; Cambridge University Press: Cambridge, 1995.
(27)
Dessen, A. C.; Cambridge Books Online (Online service). Elizabethan Stage Conventions and Modern Interpreters; Cambridge University Press: Cambridge, 1984.
(28)
Braunmuller, A. R.; Hattaway, M. The Cambridge Companion to English Renaissance Drama; Cambridge University Press: Cambridge, 1990.
(29)
Sinfield, A.; Dollimore, J. Political Shakespeare: Essays in Cultural Materialism, 2nd ed., with add. chapters.; Manchester University Press: Manchester, 1994.
(30)
Stern, T.; Cambridge Books Online (Online service). Documents of Performance in Early Modern England; Cambridge University Press: Cambridge, 2009.
(31)
Gurr, A. The Shakespearean Stage 1574–1642, 4th ed.; Cambridge University Press: Cambridge, 2008.
(32)
Holdsworth, R. V. Webster, ‘The White Devil’ and ‘The Duchess of Malfi’: A Casebook; Macmillan: London, 1975; Vol. Casebook series.
(33)
Gurr, A. Playgoing in Shakespeare’s London; Cambridge University Press: Cambridge, 1987.
(34)
Kastan, D. S.; Stallybrass, P. Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama; Routledge: New York, 1991.
(35)
Orgel, S. Impersonations: The Performance of Gender in Shakespeare’s England; Cambridge University Press: Cambridge, 1996.
(36)
Purcell, S. John Webster: The White Devil; Palgrave Macmillan: Basingstoke, 2012; Vol. The Shakespeare handbooks: Shakespeare’s contemporaries.
(37)
Greenblatt, S. Renaissance Self-Fashioning: From More to Shakespeare; University of Chicago Press: Chicago, 1980.
(38)
Escolme, B. Talking to the Audience: Shakespeare, Performance, Self; Routledge: Abingdon, 2005.
(39)
De Grazia, M.; Wells, S. W.; Cambridge Collections Online (Online service). The New Cambridge Companion to Shakespeare, 2nd ed.; Cambridge University Press: Cambridge, 2010; Vol. The Cambridge companions to literature and classics.
(40)
White, M. Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice and Performance; Routledge: London, 1998.
(41)
White, R. S. Twelfth Night; Macmillan: Basingstoke, 1996; Vol. New casebooks.
(42)
Jardine, L. Boy Actors, Female Roles and Elizabethan Eroticism. In Staging the renaissance: reinterpretations of Elizabethan and Jacobean drama; Routledge: New York, 1991; pp 57–67.
(43)
Keenan, S.; Bloomsbury (Firm). Acting Companies and Their Plays in Shakespeare’s London; Bloomsbury: London, 2014; Vol. The Arden Shakespeare.
(44)
Tribble, E. B. Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre; Palgrave Macmillan: New York, 2011; Vol. Cognitive studies in literature and performance.
(45)
Dutton, R.; Oxford Handbooks Online (Online service). The Oxford Handbook of Early Modern Theatre; Oxford University Press: Oxford, 2011.
(46)
Staging the Henrician Court. http://stagingthehenriciancourt.brookes.ac.uk/performance/index.html.
(47)
Walker, G.; Cambridge Books Online (Online service). Household Drama and the Art of Good Counsel. In The Politics of Performance in Early Renaissance Drama; Cambridge University Press: Cambridge, 1998; pp 51–75.
(48)
Betteridge, T.; Walker, G.; Oxford Handbooks Online (Online service). The Oxford Handbook of Tudor Drama; Oxford University Press: Oxford, 2012; Vol. Oxford handbooks of literature.
(49)
Carpenter, S. The Sixteenth Century Court Audience: Performers and Spectators. http://www.sitm.info/history/1998-2001/SITM_files/papers/Sarah_Carpenter.html.
(50)
Chambers, E. K. The Elizabethan Stage; Oxford University Press: Oxford, 1923.
(51)
Craik, T. W. The Tudor Interlude: Stage, Costume and Acting; Leicester University Press: Leicester, 1958.
(52)
Dillon, J. The Cambridge Introduction to Early English Theatre; Cambridge University Press: Cambridge, 2006; Vol. Cambridge introductions to literature.
(53)
Walker, G. Plays of Persuasion: Drama and Politics at the Court of Henry VIII; Cambridge University Press: Cambridge, 1991.
(54)
Walker, G. The Politics of Performance in Early Renaissance Drama; Cambridge University Press: Cambridge, 1998.
(55)
Walker, G.; Oxford Scholarship Online (Online service). Writing under Tyranny: English Literature and the Henrician Reformation; Oxford University Press: Oxford, 2005.
(56)
Wycherley, W.; Ogden, J.; Bloomsbury (Firm). The Country Wife. 2007, New mermaids.
(57)
Rosenthal, L.J. ‘All Injury’s Forgot’: Restoration Sex Comedy and National Amnesia. Comparative Drama 42 (1), 7–28. https://doi.org/10.1353/cdr.2008.0016.
(58)
Blackwood, John (editor). The Diary of Samuel Pepys / Edited with an Introduction by John Warrington. Blackwood’s Edinburgh magazine 66 (408), 501–518.
(59)
Bevis, R. W.; dawsonera. English Drama: Restoration and Eighteenth Century, 1660-1789; London, 2013; Vol. Longman literature in English series.
(60)
Payne Fisk, D.; Cambridge Collections Online (Online service). The Cambridge Companion to English Restoration Theatre; Cambridge University Press: Cambridge, 2006; Vol. The Cambridge companions to literature and classics.
(61)
Grundy, I.; Wiseman, S. Women, Writing, History, 1640-1740; Batsford: London, 1992.
(62)
Howe, E. The First English Actresses: Women and Drama, 1660-1700; Cambridge University Press: Cambridge, 1992.
(63)
Owen, S. J. Perspectives on Restoration Drama; Manchester University Press: Manchester, 2002.
(64)
Behn, A.; Spencer, J. The Rover: The Feigned Courtesans ; The Lucky Chance ; The Emperor of the Moon; Oxford University Press: Oxford, 1998; Vol. Oxford world’s classics.
(65)
Straub, K. Sexual Suspects: Eighteenth-Century Players and Sexual Ideology; Princeton University Press: Princeton, N.J., 1992.
(66)
Tasker, Elizabeth. Low Brows and High Profiles: Rhetoric and Gender in the Restoration and Early Eighteenth Century Theater.
(67)
Cowley, Hannah, 1743-1809. The Belle’s Stratagem.
(68)
Rowe, N. The fair penitent: a tragedy. http://find.galegroup.com/ecco/infomark.do?&source=gale&prodId=ECCO&userGroupName=univbri&tabID=T001&docId=CB3331339322&type=multipage&contentSet=ECCOArticles&version=1.0&docLevel=FASCIMILE.
(69)
Solomon, D. Tragic Play, Bawdy Epilogue. In Prologues, epilogues, curtain-raisers, and afterpieces: the rest of the eighteenth-century London stage; University of Delaware Press: Newark, [Del.], 2007; pp 155–178.
(70)
Anderson, M. G. Female Playwrights and Eighteenth-Century Comedy: Negotiating Marriage on the London Stage; Palgrave: New York, 2002.
(71)
Oxford Handbooks Online (Online service). The Oxford Handbook of the Georgian Theatre, 1737-1832; Swindells, J., Taylor, D. F., Eds.; Oxford University Press: Oxford, 2014.
(72)
Woods, L. Garrick Claims the Stage: Acting as Social Emblem in Eighteenth-Century England; Greenwood Press: Westport, Connecticut, 1984; Vol. Contributions in drama and theatre studies.
(73)
Ennis, D. J.; Slagle, J. B. Prologues, Epilogues, Curtain-Raisers, and Afterpieces: The Rest of the Eighteenth-Century London Stage; University of Delaware Press: Newark, [Del.], 2007.
(74)
Slater, M. Maria Marten. In Barnstormer plays; The Bodley Head: London, 1943; pp 1–80.
(75)
Mayer, D. Encountering Melodrama. In The Cambridge companion to Victorian and Edwardian theatre; Cambridge University Press: Cambridge, 2006; Vol. The Cambridge companions to literature and classics, pp 145–163. https://doi.org/10.1017/CCOL052179157X.009.
(76)
Booth, M. R. English Melodrama; H. Jenkins: London, 1965.
(77)
Bratton, J. S.; Cook, J.; Gledhill, C. Melodrama: Stage, Picture, Screen; British Film Institute: London, 1994.
(78)
Davis, T. C.; Holland, P. The Performing Century: Nineteenth-Century Theatre’s History; Palgrave Macmillan: Basingstoke, 2007; Vol. Redefining British theatre history.
(79)
Hadley, E. Melodramatic Tactics: Theatricalized Dissent in the English Marketplace, 1800-1855; Stanford University Press: Stanford, Calif, 1995.
(80)
Hays, M.; Nikolopoulou, A. Melodrama: The Cultural Emergence of a Genre; Macmillan: Basingstoke, 1996.
(81)
Smith, J. L. Victorian Melodramas: Seven English, French and American Melodramas; Dent: London, 1976.
(82)
Strindberg, A.; Meyer, M. L.; Thomas, D.; Taylor, J.; Bloomsbury (Firm). Miss Julie. 2006, Methuen student editions.
(83)
Innes, C. D. Contemporary Theories of Naturalism. In A sourcebook on naturalist theatre; Routledge: London, 2000; pp 43–64.
(84)
Strindberg, A. Preface to ‘Miss Julie’.
(85)
Innes, C. D. A Sourcebook on Naturalist Theatre; Routledge: London, 2000.
(86)
Schumacher, C. Naturalism and Symbolism in European Theatre, 1850-1918; Cambridge University Press: Cambridge, 1996; Vol. Theatre in Europe : a documentary history.
(87)
Williams, R.; Williams, R. Drama from Ibsen to Brecht, Rev. ed.; Hogarth: London, 1987.
(88)
Bratton, J. S. New Readings in Theatre History; Cambridge University Press: Cambridge, 2003; Vol. Theatre and performance theory.
(89)
Carlson, M. A. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present, Expanded ed.; Cornell University Press: Ithaca, 1993.
(90)
Counsell, C. Signs of Performance: An Introduction to Twentieth-Century Theatre; Routledge: London, 1996.
(91)
Dillon, J. The Cambridge Introduction to Early English Theatre; Cambridge University Press: Cambridge, 2006; Vol. Cambridge introductions to literature.
(92)
Innes, C. D. A Sourcebook on Naturalist Theatre; Routledge: London, 2000.
(93)
Postlewait, T.; McConachie, B. A. Interpreting the Theatrical Past: Essays in the Historiography of Performance; University of Iowa Press: Iowa City, 1989.
(94)
Walker, G.; Cambridge Books Online (Online service). The Politics of Performance in Early Renaissance Drama; Cambridge University Press: Cambridge, 1998.
(95)
Worthen, W. B.; Holland, P. Theorizing Practice: Redefining Theatre History; Palgrave Macmillan: Basingstoke, 2003; Vol. Redefining British theatre history.
(96)
Zarilli, P. B. Theatre Histories: An Introduction; Routledge: New York, 2006.
