1
Postlewait T. Introduction: On Some Preliminary Matters. In: The Cambridge introduction to theatre historiography. Cambridge: : Cambridge University Press 2009. 1–24.
2
Zarilli PB. Preface: interpreting performances and cultures. In: Theatre histories: an introduction. New York: : Routledge 2006. xvii–xxxi.
3
Davis TC. The Context Problem. Theatre Survey 2004;45:203–9. doi:10.1017/S0040557404000158
4
Bloomsbury (Firm). Mankind. [London]: : Bloomsbury 2013. http://dx.doi.org/10.5040/9781408169223.00000021
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: : Cambridge University Press 2006. 171–212.
7
Beadle R, Fletcher AJ, Cambridge Collections Online (Online service). The Cambridge companion to medieval English theatre. 2nd ed. Cambridge: : Cambridge University Press 2008. http://dx.doi.org/10.1017/CCOL9780521864008
8
Twycross M, Carpenter S. Masks and masking in medieval and early Tudor England. Aldershot: : Ashgate 2002.
9
Craik TW. The Tudor interlude: stage, costume and acting. Leicester: : Leicester University Press 1958.
10
Dillon J. The Cambridge introduction to early English theatre. Cambridge: : Cambridge University Press 2006.
11
Hanawalt B, Kobialka M, editors. Medieval practices of space. Minneapolis: : University of Minnesota Press 2000. http://www.jstor.org/stable/10.5749/j.cttts5rv
12
Happé P. The Vice and the Folk-Drama. Folklore 1964;75:161–93. doi:10.1080/0015587X.1964.9716964
13
King PM, dawsonera. Medieval literature 1300-1500. Edinburgh: : Edinburgh University Press 2011. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=714138
14
King PM. The York Mystery Cycle and the worship of the city. Woodbridge: : Boydell & Brewer 2006.
15
Treharne EM, Walker G, Oxford Handbooks Online (Online service). The Oxford handbook of medieval literature in English. Oxford: : Oxford University Press 2010. http://dx.doi.org/10.1093/oxfordhb/9780199229123.001.0001
16
Walker G. Medieval drama: an anthology. Oxford: : Blackwell 2000.
17
Wickham G. The medieval theatre. 3rd ed. Cambridge: : Cambridge University Press 1987.
18
Wickham G. Early English stages, 1300 to 1660: Vol.1: 1300 to 1576. 2nd ed. London: : Routledge and K. Paul 1980.
19
Wilson FP. The English drama, 1485-1585. Oxford: : Clarendon Press 1969.
20
Webster J, Brown JR. The white devil. Manchester: : Manchester University Press 1996.
21
Hoxby B. An Early Modern Poetics of Tragedy. In: What Was Tragedy? Oxford University Press 2015. 57–108. doi:10.1093/acprof:oso/9780198749165.003.0002
22
Halliwell S. Aristotle’s Poetics. London: : Duckworth 1986.
23
Dollimore J. Radical tragedy: religion, ideology and power in the drama of Shakespeare and his contemporaries. Reissued 3rd ed. Basingstoke: : Palgrave Macmillan 2010.
24
Bradbrook MC. Themes and Conventions of Elizabethan Tragedy. 2nd ed. Cambridge: : Cambridge University Press 1980. http://dx.doi.org/10.1017/CBO9780511620362
25
Callaghan D. Woman and gender in Renaissance tragedy: a study of King Lear, Othello, The Duchess of Malfi, and The White Devil. Atlantic Highlands, N.J.: : Humanities Press International 1989.
26
Dessen AC, Cambridge Books Online (Online service). Recovering Shakespeare’s Theatrical Vocabulary. Cambridge: : Cambridge University Press 1995. http://dx.doi.org/10.1017/CBO9780511627460
27
Dessen AC, Cambridge Books Online (Online service). Elizabethan Stage Conventions and Modern Interpreters. Cambridge: : Cambridge University Press 1984. http://dx.doi.org/10.1017/CBO9780511554179
28
Braunmuller AR, Hattaway M. The Cambridge companion to English Renaissance drama. Cambridge: : Cambridge University Press 1990.
29
Sinfield A, Dollimore J. Political Shakespeare: essays in cultural materialism. 2nd ed., with add. chapters. Manchester: : Manchester University Press 1994.
30
Stern T, Cambridge Books Online (Online service). Documents of Performance in Early Modern England. Cambridge: : Cambridge University Press 2009. http://dx.doi.org/10.1017/CBO9780511635625
31
Gurr A. The Shakespearean Stage 1574–1642. 4th ed. Cambridge: : Cambridge University Press 2008. http://dx.doi.org/10.1017/CBO9780511819520
32
Holdsworth RV. Webster, ‘The white devil’ and ‘The Duchess of Malfi’: a casebook. London: : Macmillan 1975.
33
Gurr A. Playgoing in Shakespeare’s London. Cambridge: : Cambridge University Press 1987.
34
Kastan DS, Stallybrass P. Staging the renaissance: reinterpretations of Elizabethan and Jacobean drama. New York: : Routledge 1991.
35
Orgel S. Impersonations: the performance of gender in Shakespeare’s England. Cambridge: : Cambridge University Press 1996.
36
Purcell S. John Webster: the white devil. Basingstoke: : Palgrave Macmillan 2012.
37
Greenblatt S. Renaissance self-fashioning: from More to Shakespeare. Chicago: : University of Chicago Press 1980.
38
Escolme B. Talking to the audience: Shakespeare, performance, self. Abingdon: : Routledge 2005.
39
De Grazia M, Wells SW, Cambridge Collections Online (Online service). The new Cambridge companion to Shakespeare. 2nd ed. Cambridge: : Cambridge University Press 2010. http://dx.doi.org/10.1017/CCOL9780521886321
40
White M. Renaissance drama in action: an introduction to aspects of theatre practice and performance. London: : Routledge 1998.
41
White RS. Twelfth night. Basingstoke: : Macmillan 1996.
42
Jardine L. Boy Actors, Female Roles and Elizabethan Eroticism. In: Staging the renaissance: reinterpretations of Elizabethan and Jacobean drama. New York: : Routledge 1991. 57–67.
43
Keenan S, Bloomsbury (Firm). Acting companies and their plays in Shakespeare’s London. London: : Bloomsbury 2014. http://dx.doi.org/10.5040/9781472575692
44
Tribble EB. Cognition in the Globe: attention and memory in Shakespeare’s theatre. New York: : Palgrave Macmillan 2011.
45
Dutton R, Oxford Handbooks Online (Online service). The Oxford handbook of early modern theatre. Oxford: : Oxford University Press 2011. http://dx.doi.org/10.1093/oxfordhb/9780199697861.001.0001
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: : Cambridge University Press 1998. 51–75.http://dx.doi.org/10.1017/CBO9780511583155
48
Betteridge T, Walker G, Oxford Handbooks Online (Online service). The Oxford handbook of Tudor drama. Oxford: : Oxford University Press 2012. http://dx.doi.org/10.1093/oxfordhb/9780199566471.001.0001
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 EK. The Elizabethan stage. Oxford: : Oxford University Press 1923.
51
Craik TW. The Tudor interlude: stage, costume and acting. Leicester: : Leicester University Press 1958.
52
Dillon J. The Cambridge introduction to early English theatre. Cambridge: : Cambridge University Press 2006.
53
Walker G. Plays of persuasion: drama and politics at the court of Henry VIII. Cambridge: : Cambridge University Press 1991.
54
Walker G. The politics of performance in early Renaissance drama. Cambridge: : Cambridge University Press 1998.
55
Walker G, Oxford Scholarship Online (Online service). Writing under tyranny: English literature and the Henrician Reformation. Oxford: : Oxford University Press 2005. http://dx.doi.org/10.1093/acprof:oso/9780199283330.001.0001
56
Wycherley W, Ogden J, Bloomsbury (Firm). The country wife. 2007;New mermaids.http://dx.doi.org/10.5040/9781408169124.00000012
57
Rosenthal, L.J. ‘All injury’s forgot’: Restoration sex comedy and national amnesia. Comparative Drama;42:7–28. doi: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;66:501–18.https://search.proquest.com/docview/8229815/2A7EB65209044A9PQ/14?accountid=9730
59
Bevis RW, dawsonera. English drama: Restoration and eighteenth century, 1660-1789. London: 2013. https://www.taylorfrancis.com/books/9781315836454
60
Payne Fisk D, Cambridge Collections Online (Online service). The Cambridge companion to English Restoration theatre. Cambridge: : Cambridge University Press 2006. http://dx.doi.org/10.1017/CCOL0521582156
61
Grundy I, Wiseman S. Women, writing, history, 1640-1740. London: : Batsford 1992.
62
Howe E. The first English actresses: women and drama, 1660-1700. Cambridge: : Cambridge University Press 1992.
63
Owen SJ. Perspectives on Restoration drama. Manchester: : Manchester University Press 2002.
64
Behn A, Spencer J. The rover: The feigned courtesans ; The lucky chance ; The emperor of the moon. Oxford: : Oxford University Press 1998.
65
Straub K. Sexual suspects: eighteenth-century players and sexual ideology. Princeton, N.J.: : Princeton University Press 1992.
66
Tasker, Elizabeth. Low brows and high profiles: Rhetoric and gender in the Restoration and early eighteenth century theater. https://pdfs.semanticscholar.org/4173/fcc7f740b35a61030b8bb0fbce57ac76cf59.pdf?_ga=2.9312370.635656816.1521118137-25998301.1521118137
67
Cowley, Hannah, 1743-1809. The Belle’s Stratagem. http://www.gutenberg.org/ebooks/47604
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. Newark, [Del.]: : University of Delaware Press 2007. 155–78.
70
Anderson MG. Female playwrights and eighteenth-century comedy: negotiating marriage on the London stage. New York: : Palgrave 2002.
71
Oxford Handbooks Online (Online service). The Oxford handbook of the Georgian theatre, 1737-1832. Oxford: : Oxford University Press 2014. http://dx.doi.org/10.1093/oxfordhb/9780199600304.001.0001
72
Woods L. Garrick claims the stage: acting as social emblem in eighteenth-century England. Westport, Connecticut: : Greenwood Press 1984.
73
Ennis DJ, Slagle JB. Prologues, epilogues, curtain-raisers, and afterpieces: the rest of the eighteenth-century London stage. Newark, [Del.]: : University of Delaware Press 2007.
74
Slater M. Maria Marten. In: Barnstormer plays. London: : The Bodley Head 1943. 1–80.
75
Mayer D. Encountering melodrama. In: The Cambridge companion to Victorian and Edwardian theatre. Cambridge: : Cambridge University Press 2006. 145–63. doi:10.1017/CCOL052179157X.009
76
Booth MR. English melodrama. London: : H. Jenkins 1965.
77
Bratton JS, Cook J, Gledhill C. Melodrama: stage, picture, screen. London: : British Film Institute 1994.
78
Davis TC, Holland P. The performing century: nineteenth-century theatre’s history. Basingstoke: : Palgrave Macmillan 2007.
79
Hadley E. Melodramatic tactics: theatricalized dissent in the English marketplace, 1800-1855. Stanford, Calif: : Stanford University Press 1995.
80
Hays M, Nikolopoulou A. Melodrama: the cultural emergence of a genre. Basingstoke: : Macmillan 1996.
81
Smith JL. Victorian melodramas: seven English, French and American melodramas. London: : Dent 1976.
82
Strindberg A, Meyer ML, Thomas D, et al. Miss Julie. 2006;Methuen student editions.http://dx.doi.org/10.5040/9781408168189.00000018
83
Innes CD. Contemporary Theories of Naturalism. In: A sourcebook on naturalist theatre. London: : Routledge 2000. 43–64.
84
Strindberg A. Preface to ‘Miss Julie’. http://www.dramaonlinelibrary.com/books/miss-julie-iid-12074/do-9781408168189-div-00000016
85
Innes CD. A sourcebook on naturalist theatre. London: : Routledge 2000.
86
Schumacher C. Naturalism and symbolism in European Theatre, 1850-1918. Cambridge: : Cambridge University Press 1996.
87
Williams R, Williams R. Drama from Ibsen to Brecht. Rev. ed. London: : Hogarth 1987.
88
Bratton JS. New readings in theatre history. Cambridge: : Cambridge University Press 2003.
89
Carlson MA. Theories of the theatre: a historical and critical survey from the Greeks to the present. Expanded ed. Ithaca: : Cornell University Press 1993.
90
Counsell C. Signs of performance: an introduction to twentieth-century theatre. London: : Routledge 1996.
91
Dillon J. The Cambridge introduction to early English theatre. Cambridge: : Cambridge University Press 2006.
92
Innes CD. A sourcebook on naturalist theatre. London: : Routledge 2000.
93
Postlewait T, McConachie BA. Interpreting the theatrical past: essays in the historiography of performance. Iowa City: : University of Iowa Press 1989.
94
Walker G, Cambridge Books Online (Online service). The Politics of Performance in Early Renaissance Drama. Cambridge: : Cambridge University Press 1998. http://dx.doi.org/10.1017/CBO9780511583155
95
Worthen WB, Holland P. Theorizing practice: redefining theatre history. Basingstoke: : Palgrave Macmillan 2003.
96
Zarilli PB. Theatre histories: an introduction. New York: : Routledge 2006.
