1.
Postlewait, T.: Introduction: On Some Preliminary Matters. In: The Cambridge introduction to theatre historiography. pp. 1–24. Cambridge University Press, Cambridge (2009).
2.
Zarilli, P.B.: Preface: interpreting performances and cultures. In: Theatre histories: an introduction. pp. xvii–xxxi. Routledge, New York (2006).
3.
Davis, T.C.: The Context Problem. Theatre Survey. 45, 203–209 (2004). https://doi.org/10.1017/S0040557404000158.
4.
Bloomsbury (Firm): Mankind. 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. pp. 171–212. Cambridge University Press, Cambridge (2006).
7.
Beadle, R., Fletcher, A.J., Cambridge Collections Online (Online service): The Cambridge companion to medieval English theatre. Cambridge University Press, Cambridge (2008).
8.
Twycross, M., Carpenter, S.: Masks and masking in medieval and early Tudor England. Ashgate, Aldershot (2002).
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).
11.
Hanawalt, B., Kobialka, M. eds: Medieval practices of space. University of Minnesota Press, Minneapolis (2000).
12.
Happé, P.: The Vice and the Folk-Drama. Folklore. 75, 161–193 (1964). https://doi.org/10.1080/0015587X.1964.9716964.
13.
King, P.M., dawsonera: Medieval literature 1300-1500. Edinburgh University Press, Edinburgh (2011).
14.
King, P.M.: The York Mystery Cycle and the worship of the city. Boydell & Brewer, Woodbridge (2006).
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. Cambridge University Press, Cambridge (1987).
18.
Wickham, G.: Early English stages, 1300 to 1660: Vol.1: 1300 to 1576. Routledge and K. Paul, London (1980).
19.
Wilson, F.P.: The English drama, 1485-1585. Clarendon Press, Oxford (1969).
20.
Webster, J., Brown, J.R.: The white devil. Manchester University Press, Manchester (1996).
21.
Hoxby, B.: An Early Modern Poetics of Tragedy. In: What Was Tragedy? pp. 57–108. Oxford University Press (2015). 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. Palgrave Macmillan, Basingstoke (2010).
24.
Bradbrook, M.C.: Themes and Conventions of Elizabethan Tragedy. 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. 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. Cambridge University Press, Cambridge (2008).
32.
Holdsworth, R.V.: Webster, ‘The white devil’ and ‘The Duchess of Malfi’: a casebook. Macmillan, London (1975).
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).
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. Cambridge University Press, Cambridge (2010).
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).
42.
Jardine, L.: Boy Actors, Female Roles and Elizabethan Eroticism. In: Staging the renaissance: reinterpretations of Elizabethan and Jacobean drama. pp. 57–67. Routledge, New York (1991).
43.
Keenan, S., Bloomsbury (Firm): Acting companies and their plays in Shakespeare’s London. Bloomsbury, London (2014).
44.
Tribble, E.B.: Cognition in the Globe: attention and memory in Shakespeare’s theatre. Palgrave Macmillan, New York (2011).
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. pp. 51–75. Cambridge University Press, Cambridge (1998).
48.
Betteridge, T., Walker, G., Oxford Handbooks Online (Online service): The Oxford handbook of Tudor drama. Oxford University Press, Oxford (2012).
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).
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. New mermaids, (2007).
57.
Rosenthal, L.J.: ‘All injury’s forgot’: Restoration sex comedy and national amnesia. Comparative Drama. 42, 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, 501–518.
59.
Bevis, R.W., dawsonera: English drama: Restoration and eighteenth century, 1660-1789. , London (2013).
60.
Payne Fisk, D., Cambridge Collections Online (Online service): The Cambridge companion to English Restoration theatre. Cambridge University Press, Cambridge (2006).
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).
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. pp. 155–178. University of Delaware Press, Newark, [Del.] (2007).
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. 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).
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. pp. 1–80. The Bodley Head, London (1943).
75.
Mayer, D.: Encountering melodrama. In: The Cambridge companion to Victorian and Edwardian theatre. pp. 145–163. Cambridge University Press, Cambridge (2006). 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).
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. Methuen student editions, (2006).
83.
Innes, C.D.: Contemporary Theories of Naturalism. In: A sourcebook on naturalist theatre. pp. 43–64. Routledge, London (2000).
84.
Strindberg, A.: Preface to ‘Miss Julie’. Presented at the .
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).
87.
Williams, R., Williams, R.: Drama from Ibsen to Brecht. Hogarth, London (1987).
88.
Bratton, J.S.: New readings in theatre history. Cambridge University Press, Cambridge (2003).
89.
Carlson, M.A.: Theories of the theatre: a historical and critical survey from the Greeks to the present. 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).
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).
96.
Zarilli, P.B.: Theatre histories: an introduction. Routledge, New York (2006).
