1.
Postlewait T. Introduction: On Some Preliminary Matters. The Cambridge introduction to theatre historiography. Cambridge: Cambridge University Press; 2009. p. 1–24.
2.
Zarilli PB. Preface: interpreting performances and cultures. Theatre histories: an introduction. New York: Routledge; 2006. p. xvii–xxxi.
3.
Davis TC. The Context Problem. Theatre Survey. 2004 Nov;45(02):203–209.
4.
Bloomsbury (Firm). Mankind [Internet]. Lester GA, editor. [London]: Bloomsbury; 2013. Available from: http://dx.doi.org/10.5040/9781408169223.00000021
5.
The York Play of the Crucifixion [Internet]. Available from: http://www.wwnorton.com/college/english/nael/noa/pdf/YORKPLAY.pdf
6.
Dillon J. Instruction and Spectacle. The Cambridge introduction to early English theatre. Cambridge: Cambridge University Press; 2006. p. 171–212.
7.
Beadle R, Fletcher AJ, Cambridge Collections Online (Online service). The Cambridge companion to medieval English theatre [Internet]. 2nd ed. Cambridge: Cambridge University Press; 2008. Available from: 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 [Internet]. Minneapolis: University of Minnesota Press; 2000. Available from: http://www.jstor.org/stable/10.5749/j.cttts5rv
12.
Happé P. The Vice and the Folk-Drama. Folklore. 1964 Sep;75(3):161–193.
13.
King PM, dawsonera. Medieval literature 1300-1500 [Internet]. Edinburgh: Edinburgh University Press; 2011. Available from: 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 [Internet]. Oxford: Oxford University Press; 2010. Available from: 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. What Was Tragedy? [Internet]. Oxford University Press; 2015. p. 57–108. Available from: http://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780198749165.001.0001/acprof-9780198749165-chapter-2
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 [Internet]. 2nd ed. Cambridge: Cambridge University Press; 1980. Available from: 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 [Internet]. Cambridge: Cambridge University Press; 1995. Available from: http://dx.doi.org/10.1017/CBO9780511627460
27.
Dessen AC, Cambridge Books Online (Online service). Elizabethan Stage Conventions and Modern Interpreters [Internet]. Cambridge: Cambridge University Press; 1984. Available from: 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 [Internet]. Cambridge: Cambridge University Press; 2009. Available from: http://dx.doi.org/10.1017/CBO9780511635625
31.
Gurr A. The Shakespearean Stage 1574–1642 [Internet]. 4th ed. Cambridge: Cambridge University Press; 2008. Available from: 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 [Internet]. 2nd ed. Cambridge: Cambridge University Press; 2010. Available from: 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. Staging the renaissance: reinterpretations of Elizabethan and Jacobean drama. New York: Routledge; 1991. p. 57–67.
43.
Keenan S, Bloomsbury (Firm). Acting companies and their plays in Shakespeare’s London [Internet]. London: Bloomsbury; 2014. Available from: 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 [Internet]. Oxford: Oxford University Press; 2011. Available from: http://dx.doi.org/10.1093/oxfordhb/9780199697861.001.0001
46.
Staging the Henrician Court [Internet]. Available from: http://stagingthehenriciancourt.brookes.ac.uk/performance/index.html
47.
Walker G, Cambridge Books Online (Online service). Household drama and the art of good counsel. The Politics of Performance in Early Renaissance Drama [Internet]. Cambridge: Cambridge University Press; 1998. p. 51–75. Available from: http://dx.doi.org/10.1017/CBO9780511583155
48.
Betteridge T, Walker G, Oxford Handbooks Online (Online service). The Oxford handbook of Tudor drama [Internet]. Oxford: Oxford University Press; 2012. Available from: http://dx.doi.org/10.1093/oxfordhb/9780199566471.001.0001
49.
Carpenter S. The Sixteenth Century Court Audience: Performers and Spectators [Internet]. Available from: 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 [Internet]. Oxford: Oxford University Press; 2005. Available from: http://dx.doi.org/10.1093/acprof:oso/9780199283330.001.0001
56.
Wycherley W, Ogden J, Bloomsbury (Firm). The country wife. 2nd ed. London: A. and C. Black; 2007;New mermaids. Available from: 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(1):7–28.
58.
Blackwood, John (editor). The diary of Samuel Pepys / edited with an introduction by John Warrington. Blackwood’s Edinburgh magazine [Internet]. 66(408):501–518. Available from: https://search.proquest.com/docview/8229815/2A7EB65209044A9PQ/14?accountid=9730
59.
Bevis RW, dawsonera. English drama: Restoration and eighteenth century, 1660-1789 [Internet]. London; 2013. Available from: https://www.taylorfrancis.com/books/9781315836454
60.
Payne Fisk D, Cambridge Collections Online (Online service). The Cambridge companion to English Restoration theatre [Internet]. Cambridge: Cambridge University Press; 2006. Available from: 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. ScholarWorks @ Georgia State University; Available from: https://pdfs.semanticscholar.org/4173/fcc7f740b35a61030b8bb0fbce57ac76cf59.pdf?_ga=2.9312370.635656816.1521118137-25998301.1521118137
67.
Cowley, Hannah, 1743-1809. The Belle’s Stratagem [Internet]. Available from: http://www.gutenberg.org/ebooks/47604
68.
Rowe N. The fair penitent: a tragedy [Internet]. Available from: 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. Prologues, epilogues, curtain-raisers, and afterpieces: the rest of the eighteenth-century London stage. Newark, [Del.]: University of Delaware Press; 2007. p. 155–178.
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 [Internet]. Swindells J, Taylor DF, editors. Oxford: Oxford University Press; 2014. Available from: 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. Barnstormer plays. London: The Bodley Head; 1943. p. 1–80.
75.
Mayer D. Encountering melodrama. The Cambridge companion to Victorian and Edwardian theatre [Internet]. Cambridge: Cambridge University Press; 2006. p. 145–163. Available from: http://universitypublishingonline.org/ref/id/companions/CBO9780511999543A015
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, Taylor J, Bloomsbury (Firm). Miss Julie. London: Methuen Drama; 2006;Methuen student editions. Available from: http://dx.doi.org/10.5040/9781408168189.00000018
83.
Innes CD. Contemporary Theories of Naturalism. A sourcebook on naturalist theatre. London: Routledge; 2000. p. 43–64.
84.
Strindberg A. Preface to ‘Miss Julie’. Available from: 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 [Internet]. Cambridge: Cambridge University Press; 1998. Available from: 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.