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Benedetti, J. (1988) ‘Foundations’, in Stanislavski. London: Methuen.
Berry, C. (2000) Voice and the Actor. London: Virgin.
Carey, D. and Carey, R.C. (2008) Vocal Arts Workbook and DVD: A Practical Course for Achieving Clarity and Expression With Your Voice. London: Methuen Drama.
Hall, P. (2014a) ‘Caesura’, in Shakespeare’s Advice to the Players. London: Oberon Books, pp. 32–34. Available at: https://contentstore.cla.co.uk/secure/link?id=9e9600cb-f258-e811-80cd-005056af4099.
Hall, P. (2014b) ‘Sanctity of the Line’, in Shakespeare’s Advice to the Players. London: Oberon Books, pp. 24–25. Available at: https://contentstore.cla.co.uk/secure/link?id=9d9600cb-f258-e811-80cd-005056af4099.
Hall, P. (2014c) ‘Structure of the Line’, in Shakespeare’s Advice to the Players. London: Oberon Books, pp. 28–29. Available at: https://contentstore.cla.co.uk/secure/link?id=9c9600cb-f258-e811-80cd-005056af4099.
Hall, P. (2014d) ‘Verse’, in Shakespeare’s Advice to the Players. London: Oberon Books, pp. 26–27. Available at: https://contentstore.cla.co.uk/secure/link?id=9b9600cb-f258-e811-80cd-005056af4099.
Linklater, K. (2009a) ‘Figures of Speech’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009b) Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009c) Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009d) ‘Iambic Pentameter’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009e) ‘Line Endings’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009f) ‘Organically, Cosmically and Etymologically Speaking’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009g) ‘Rhyme’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009h) ‘Verse and Prose Alternation’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009i) ‘Vowels and Consanants’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009j) ‘Words and Images’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. (2009k) ‘Words into Phrases’, in Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. London: Nick Hern.
Linklater, K. and Slob, A. (2006a) Freeing the Natural Voice: Imagery and Art in the Practice of Voice and Language. Rev. and expanded [ed.]. London: Nick Hern.
Linklater, K. and Slob, A. (2006b) Freeing the Natural Voice: Imagery and Art in the Practice of Voice and Language. Rev. and expanded [ed.]. London: Nick Hern.
Linklater, K. and Slob, A. (2006c) Freeing the Natural Voice: Imagery and Art in the Practice of Voice and Language. Rev. and expanded [ed.]. London: Nick Hern.
McCallion, M. (1998) The Voice Book: For Everyone Who Wants to Make the Most of Their Voice. New ed. London: Faber.
Mills, J. (2004a) The broadcast voice. Oxford: Focal.
Mills, J. (2004b) The Broadcast Voice. Oxford: Focal. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=288782.
Mills, L. (2009) ‘When the Voice Itself Is Image’, Modern Drama, 52(4), pp. 389–404. Available at: https://muse-jhu-edu.ezproxy01.rhul.ac.uk/article/376433.
Rodenburg, P. (1997) The Actor Speaks: Voice and the Performer. London: Methuen.
Rodenburg, P. (2006a) ‘Rhyme’, in Speaking Shakespeare. London: Bloomsbury Methuen Drama.
Rodenburg, P. (2006b) Speaking Shakespeare. London: Bloomsbury Methuen Drama.
Rodenburg, P. (2015a) ‘Declaring Your Vocal Rights’, in The Right to Speak: Working With the Voice. Second edition. London: Bloomsbury Methuen Drama.
Rodenburg, P. (2015b) The Right to Speak: Working With the Voice. Second edition. London: Bloomsbury Methuen Drama.
Turner, J.C. and Morrison, M. (1977) Voice and Speech in the Theatre. 3rd ed., revised by Malcolm Morrison. London: Pitman.
Wakeling, C. (2015) ‘“Only Her Mouth Could Move”: Sensory Deprivation and the Billie Whitelaw Plays’, TDR: The Drama Review, 59(3), pp. 91–107. Available at: https://muse.jhu.edu/article/589730.
