‘Acting Techniques of the Noh Classical Theatre of Japan’ (1980). Ann Arbor: Instructional Media Center, Michigan State University.
Albright, D. (1985) ‘Pound, Yeats, and the Noh Theater’, Iowa Review, 15(2), pp. 34–50. Available at: https://librarysearch.royalholloway.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_jstor_archive_520156175&indx=2&recIds=TN_jstor_archive_520156175&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844ROY%29%2C44ROY_EbscoLocal%2Cprimo_central_multiple_fe&tb=t&vid=44ROY_VU2&mode=Basic&srt=rank&tab=tab1&dum=true&vl(freeText0)=Pound%2C%20Yeats%2C%20and%20the%20Noh%20Theater&dstmp=1531211654016.
Alter, M.P. (1968) ‘Bertolt Brecht and the Noh Drama’, Modern Drama, 11, pp. 122–131. Available at: https://librarysearch.royalholloway.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_mla1968118897&indx=1&recIds=TN_mla1968118897&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844ROY%29%2C44ROY_EbscoLocal%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=44ROY_VU2&srt=rank&tab=tab1&dum=true&vl(freeText0)=Bertolt%20Brecht%20and%20the%20Noh%20Drama&dstmp=1531212036003.
Anno, M. and Halebsky, J. (2014) ‘Innovation in Nō: Matsui Akira Continues a Tradition of Change’, Asian Theatre Journal, 31(1), pp. 126–152. Available at: https://doi.org/10.1353/atj.2014.0028.
Appadurai, A. (1996a) ‘Disjuncture and Difference in the Global Cultural Economy’, in Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.
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Arcari, J. (2010) ‘Treasuring the Secret Within: Grotowski and the Flower’, Theatre, Dance and Performance Training, 1(1), pp. 4–21. Available at: https://doi.org/10.1080/19443920903432452.
Arlington, L.C. (1930) The Chinese Drama: From the Earliest Times Until Today. Shanghai: Kelly and Walsh.
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Banu, G. (1996) ‘The Absent Presence’, in The Intercultural Performance Reader. London: Routledge.
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Barba, E. (1994) The Paper Canoe: A Guide to Theatre Anthropology. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179536.
Barba, E. and Fowler, R. (1995) The Paper Canoe: A Guide to Theatre Anthropology. London: Routledge.
Barba, E. and Savarese, N. (2006a) A Dictionary of Theatre Anthropology: The Secret Art of the Performer. 2nd ed. London: Routledge.
Barba, E. and Savarese, N. (2006b) A Dictionary of Theatre Anthropology: The Secret Art of the Performer. 2nd ed. London: Routledge. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668433.
Barnes, P. (1992) ‘Working With Yukio Ninagawa’, New Theatre Quarterly, 8(32), pp. 389–391. Available at: https://doi.org/10.1017/S0266464X00007181.
Bethe, M. (1982) Dance in the No Theater: 1. Cornell Univ East Asia Program East Asia Series.
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Bharucha, R. (1993a) Theatre and the World: Performance and the Politics of Culture. [Rev. ed.]. London: Routledge.
Bharucha, R. (1993b) Theatre and the World: Performance and the Politics of Culture. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179242.
Bharucha, R. (2004) ‘Foreign Asia / Foreign Shakespeare: Dissenting Notes on New Asian Interculturality, Postcoloniality, and Recolonization’, Theatre Journal, 56(1), pp. 1–28. Available at: https://doi.org/10.1353/tj.2004.0004.
Bonds, A.B. (2008) Beijing Opera Costumes: The Visual Communication of Character and Culture. Honolulu: University of Hawai’i Press.
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Brandon, J.R. (1997) Nô and Kyôgen in the Contemporary World. Honolulu, Hawaii: University of Hawai’i Press.
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Brazell, K. and Araki, J.T. (1998) Traditional Japanese Theater: An Anthology of Plays. New York: Columbia University Press.
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Brecht, B. et al. (1984a) The Caucasian Chalk Circle. London: Methuen.
Brecht, B. et al. (1984b) ‘The Caucasian Chalk Circle’. Available at: https://doi.org/10.5040/9781408162965.00000022.
Brecht, B., Sauerländer, W. and Brecht, B. (2014a) He Who Says No. London: Bloomsbury. Available at: https://doi.org/10.5040/9781408163160.00000040.
Brecht, B., Sauerländer, W. and Brecht, B. (2014b) He Who Says Yes. London: Bloomsbury. Available at: https://doi.org/10.5040/9781408163160.00000034.
Brook, P. (1990) The Empty Space. Penguin.
Brook, P. (1996) ‘The Culture of Links’, in The Intercultural Performance Reader. London: Routledge.
Brook, P. and Kalb, J. (2010) ‘The Mahabharata Twenty-Five Years Later’, PAJ: A Journal of Performance and Art, 32(3), pp. 63–71. Available at: https://doi.org/10.1162/PAJJ_a_00009.
Brusák, K. (1976) ‘Signs in the Chinese Theater’, in Semiotics of Art: Prague School Contributions. Cambridge, Mass: MIT.
Canckini, G. (2010) ‘Theatre and Performance in the Age of Global Communications, 1950-Present’, in Theatre Histories: An Introduction. New York: Routledge, pp. 409–424. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203879177.
Canclini, G. (2006) ‘Theatre and Performance in the Age of Global Communications, 1950-Present’, in Theatre Histories: An Introduction. London: Routledge, pp. 409–424.
Carlson, M. (1990) ‘Peter Brook’s The Mahabharata and Ariane Mnouchkine’s L’Indiade as Examples of Contemporary Cross-Cultural Theatre’, in The Dramatic Touch of Difference: Theatre, Own and Foreign. Tübingen: Narr, pp. 49–56. Available at: https://contentstore.cla.co.uk/secure/link?id=98f7675d-83cc-e811-80cd-005056af4099.
Chang, D., Mitchell, J.D. and Yeu, R. (1974) ‘How the Chinese Actor Trains: Interviews with Two Peking Opera Performers.’, Educational Theatre Journal, 26, pp. 183–91. Available at: https://librarysearch.royalholloway.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_mla1975213774&indx=1&recIds=TN_mla1975213774&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844ROY%29%2C44ROY_EbscoLocal%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=44ROY_VU2&srt=rank&tab=tab1&dum=true&vl(freeText0)=How%20the%20Chinese%20Actor%20Trains%3A%20Interviews%20%20with%20Two%20Peking%20Opera%20Performers&dstmp=1531128010854.
Coldiron, M. (2004) Trance and Transformation of the Actor in Japanese Noh and Balinese Masked Dance-Drama. Lewiston, NY: E. Mellen.
Crump, J.I. and Malm, W.P. (1975) Chinese and Japanese Music-Dramas. Ann Arbor: Center for Chinese Studies, University of Michigan.
Dolby, W. (1976) A History of Chinese Drama. London: Elek.
Drain, R. (1995) ‘Part V: The Global Dimension’, in Twentieth-Century Theatre: A Sourcebook. London: Routledge.
Duchesne, I. (1994) ‘The Chinese Opera Star: Roles and Identity’, in Boundaries in China. London: Reaktion. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=475105.
Ernst, E. (1969) ‘The Influence of Japanese Theatrical Style on Western Theatre’, Educational Theatre Journal, 21(2), pp. 127–138. Available at: https://doi.org/10.2307/3205628.
Evans, M. (2012) ‘"Brand China” on the World Stage: Jingju, the Olympics, and Globalization’, TDR/The Drama Review, 56(2), pp. 113–130. Available at: https://doi.org/10.1162/DRAM_a_00170.
Fei, F.C. (1999) Chinese Theories of Theater and Performance From Confucius to the Present. Ann Arbor, Mich: University of Michigan Press.
Fei, F.C. and Sun, W.H. (2006) ‘Othello and Beijing Opera: Appropriation as a Two-Way Street’, TDR/The Drama Review, 50(1), pp. 120–133. Available at: https://doi.org/10.1162/dram.2006.50.1.120.
Fischer-Lichte, E., Jost, T. and Jain, S.I. (eds) (2014a) The Politics of Interweaving Performance Cultures: Beyond Postcolonialism. New York: Routledge.
Fischer-Lichte, E., Jost, T. and Jain, S.I. (eds) (2014b) The Politics of Interweaving Performance Cultures Beyond Postcolonialism. New York: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1596887.
Fischer-Lichte, E., Riley, J. and Gissenwehrer, M. (1990) The Dramatic Touch of Difference: Theatre, Own and Foreign. Tübingen: Narr.
Gilbert, H. and Lo, J. (2007) Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia. New York: Palgrave Macmillan.
Gilbert, H. and Lo, J. (2008) Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia. Houndmills: Palgrave Macmillan.
Goldstein, J. (2007) Drama Kings: Players and Publics in the Re-Creation of Peking Opera, 1870-1937. Berkeley: University of California Press.
Graham-Jones, J. (2005) ‘Editorial Comment: Theorizing Globalization Through Theatre’, Theatre Journal, 57(3), pp. viii–xvi. Available at: https://doi.org/10.1353/tj.2005.0106.
Grehan, H. (2001) ‘Theatre Works’ Desdemona: Fusing Technology and Tradition’, TDR/The Drama Review, 45(3), pp. 113–125. Available at: https://doi.org/10.1162/10542040152587141.
Griffiths, D. (1998) The Training of Noh Actors and the Dove. Harwood Academic Publrs.
Grotowski, J. (1996) ‘Around Theatre: The Orient – The Occident’, in The Intercultural Performance Reader. London: Routledge.
Grotowski, J. and Barba, E. (1969) Towards a Poor Theatre. London: Methuen.
Guangrun, R. (1999) ‘Brecht’s Influence in China: A Chinese Perspective’, Modern Drama, 42(2), pp. 247–252. Available at: https://librarysearch.royalholloway.ac.uk/primo_library/libweb/action/display.do?frbrVersion=2&tabs=detailsTab&ct=display&fn=search&doc=TN_museS1712528699200097&indx=1&recIds=TN_museS1712528699200097&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=2&frbg=&&dscnt=0&scp.scps=scope%3A%2844ROY%29%2C44ROY_EbscoLocal%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=44ROY_VU2&srt=rank&tab=tab1&dum=true&vl(freeText0)=Brecht%E2%80%99s%20influence%20in%20China%3A%20A%20Chinese%20Perspective&dstmp=1530875348128.
Halson, E. (1966) Peking Opera: A Short Guide. Hong Kong: Oxford University Press.
Hare, T.B. (1986) Zeami’s Style: The Noh Plays of Zeami Motokiyo. Stanford, California: Stanford University Press.
Hare, T.B. and Zeami, M. (2008) Zeami: Performance Notes. New York: Columbia University Press.
Holledge, J. and Tompkins, J. (2000) Women’s Intercultural Performance. London: Routledge.
Holmberg, A. (1996) The Theatre of Robert Wilson. Cambridge: Cambridge University Press.
Horie-Webber, A. (1994) Japanese Theatre and the West. London: Harwood.
Hsu, T.C. (1985) The Chinese Conception of the Theatre. Seattle: University of Washington Press.
Ikegami, E. (1995) The Taming of the Samurai: Honorific Individualism and the Making of Modern Japan. Cambridge, Mass: Harvard University Press.
Im, Y. (2004) ‘The Pitfalls of Intercultural Discourse: The Case of Yukio Ninagaawa’, Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship, 22(4), pp. 7–30. Available at: https://librarysearch.royalholloway.ac.uk/primo_library/libweb/action/display.do?frbrVersion=3&tabs=detailsTab&ct=display&fn=search&doc=TN_mla2004583487&indx=1&recIds=TN_mla2004583487&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=3&frbg=&&dscnt=0&scp.scps=scope%3A%2844ROY%29%2C44ROY_EbscoLocal%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=44ROY_VU2&srt=rank&tab=tab1&dum=true&vl(freeText0)=The%20Pitfalls%20of%20Intercultural%20Discourse%3A%20The%20Case%20of%20Yukio%20%20Ninagawa&dstmp=1531125528885.
Immoos, T. and Mayer, F. (1977) Japanese Theatre. New York: Rizzoli.
Keene, D. (1990) No; and, Bunraku: Two Forms of Japanese Theatre. New York: Columbia University Press.
Kiernander, A. (1993) Ariane Mnouchkine and the Théâtre du Soleil. Cambridge: Cambridge University Press.
Knowles, R.P. (2010) Theatre & Interculturalism. Basingstoke: Palgrave Macmillan.
Konparu, K. (1983) The Noh Theater: Principles and Perspectives. New York: Weatherhill/Tankosha.
Lan, Y.L. (2004) ‘Ong Keng Sen’s Desdemona, Ugliness, and the Intercultural Performative’, Theatre Journal, 56(2), pp. 251–273. Available at: https://doi.org/10.1353/tj.2004.0065.
Latrell, C. (2000) ‘After Appropriation’, TDR (Cambridge, Mass.), 44(4). Available at: https://librarysearch.royalholloway.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_gale_ofa68640730&indx=2&recIds=TN_gale_ofa68640730&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844ROY%29%2C44ROY_EbscoLocal%2Cprimo_central_multiple_fe&tb=t&mode=Basic&vid=44ROY_VU2&srt=rank&tab=tab1&dum=true&vl(freeText0)=After%20Appropriation&dstmp=1530872135269.
Lei, D.P.-W. (2011) Alternative Chinese Opera in the Age of Globalization: Performing Zero. Basingstoke: Palgrave Macmillan.
Leiter, S.L. and Ortolani, B. (1998) Zeami and the No Theatre in the World. New York: Center for Advanced Studies in Theatre Arts.
Li, R. (2010a) The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong: Hong Kong University Press.
Li, R. (2010b) The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong: Hong Kong University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677455.
Li, S. (2003) Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677456.
Li, S.L. (2006) Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press.
Lo, J. and Gilbert, H. (2002) ‘Toward a Topography of Cross-Cultural Theatre Praxis’, TDR/The Drama Review, 46(3), pp. 31–53.
Lonergan, P. (2009) Theatre and Globalization: Irish Drama in the Celtic Tiger Era. Basingstoke: Palgrave Macmillan.
Ma, Q. (2005) Women in Traditional Chinese Theater: The Heroine’s Play. Lanham, Md: University Press of America.
Mackerras, C. (1972) The Rise of the Peking Opera, 1770-1870: Social Aspects of the Theatre in Manchu China. Oxford: Clarendon Press.
Mackerras, C. (1983) Chinese Theater: From Its Origins to the Present Day. Honolulu: University of Hawaii Press.
Marranca, B. et al. (1996) Theatre of Images. New ed. Baltimore: Johns Hopkins University Press.
Marranca, B. and Dasgupta, G. (1991) Interculturalism and Performance: Writings for PAJ. New York: PAJ.
Martin, J. (2004) The Intercultural Performance Handbook. London: Routledge.
Maruoka, D. and Yoshikoshi, T. (1969) Noh. Osaka: Hoikusha.
Matsui, A., Hughes, D. and Emmert, R. (1991) ‘Inside Noh: 1-2’. S.l.: BBC Radio Off-air.
McDonald, K.I. (1993) Japanese Classical Theater in Films. Rutherford: Fairleigh Dickinson University Press.
Meierkhold, V.E. and Braun, E. (1998) Meyerhold on Theatre. Rev. ed. London: Methuen Drama.
Meyer-Dinkgrafe, D. (2001) ‘Approaches to Acting in the Intercultural Paradigm’, in Approaches to Acting: Past and Present. London: Continuum, pp. 137–158. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=742985.
Miller, J.G. (2007a) Ariane Mnouchkine. New York: Routledge.
Miller, J.G. (2007b) Ariane Mnouchkine. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=308538.
Min, T. (2000) ‘Male Dan: The Paradox of Sex, Acting, and Perception in Traditional Chinese Theatre’, Asian Theatre Journal, 17(1), pp. 78–97. Available at: https://doi.org/10.1353/atj.2000.0007.
Mitra, R. (2015) Akram Khan: Dancing New Interculturalism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Mnouchkine, A. (1996) ‘The Theatre is Oriental’, in The Intercultural Performance Reader. London: Routledge.
Moody, D. (1995) ‘Peter Brook’s Heart of Light: “Primitivism” and Intercultural Theatre’, New Theatre Quarterly, 11(41), pp. 33–39. Available at: https://doi.org/10.1017/S0266464X0000885X.
Murray, S. and Keefe, J. (2007a) ‘Bodies and Cultures’, in Physical Theatres: A Critical Introduction. New York: Routledge, pp. 185–203.
Murray, S. and Keefe, J. (2007b) ‘Bodies and Cultures’, in Physical Theatres: A Critical Introduction. London: Routledge, pp. 185–203. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203012826.
Nascimento, C.T. (2009a) ‘Tenuous Boundaries: Intra- and Intercultural Embodiments’, in Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge. New York, NY: Routledge, pp. 53–76.
Nascimento, C.T. (2009b) ‘Tenuous Boundaries: Intra- and Intercultural Embodiments’, in Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge. London: Routledge, pp. 53–76. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203891957.
Nogami, T. (1934) Japanese Noh Plays: How to See Them. Tokyo: Board of Tourist Industry, Japanese Government Railways.
Norridge, Z. (2010) ‘Dancing the Multicultural Conversation? Critical Responses to Akram Khan’s Work in the Context of Pluralist Poetics’, Forum for Modern Language Studies, 46(4), pp. 415–430. Available at: https://doi.org/10.1093/fmls/cqq019.
Onderdelinden, S. (1993) ‘Brecht and Asia’, in Theatre Intercontinental: Forms, Functions, Correspondences. Amsterdam: Rodofi.
Ortolani, B. (1995) The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism. Rev. ed. Princeton, N.J.: Princeton University Press.
Pavis, P. (1992a) ‘Culture and Mise en Scene’, in Theatre at the Crossroads of Culture. London: Routledge, pp. 1–23.
Pavis, P. (1992b) ‘Culture and Mise en Scene’, in Theatre at the Crossroads of Culture. London: Routledge, pp. 1–23. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203359334.
Pavis, P. (1996) The Intercultural Performance Reader. London: Routledge.
Peterson, W. (2003) ‘Consuming the Asian Other in Singapore: Interculturalism in Theatreworks’ Desdemona’, Theatre Research International, 28(1), pp. 79–95. Available at: https://doi.org/10.1017/S0307883303000166.
Pitches, J. (2003) Vsevolod Meyerhold. London: Routledge.
Plowright, P.S. (2002) Mediums, Puppets, and the Human Actor in the Theatres of the East. Lewiston, N.Y.: E. Mellen Press.
Quinn, S.F. (2005) Developing Zeami: The Noh Actor’s Attunement in Practice. Honolulu, Hawaii: University of Hawaii Press.
Rafolt, L. (2015a) ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, (4), pp. 95–121. Available at: https://doi.org/10.11649/ch.2015.00610.11649/ch.2015.006.
Rafolt, L. (2015b) ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, (4), pp. 95–121. Available at: https://doi.org/10.11649/ch.2015.00610.11649/ch.2015.006.
Rafolt, L. (2015c) ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, (4), pp. 95–121. Available at: https://doi.org/10.11649/ch.2015.00610.11649/ch.2015.006.
Rebellato, D. and Ravenhill, M. (2009) Theatre & Globalization. Basingstoke: Palgrave Macmillan.
Richie, D. (1997) ‘Asian Theatre and Grotowski’, in The Grotowski Sourcebook. London: Routledge & Kegan Paul.
Riley, J. (1997) Chinese Theatre and the Actor in Performance. Cambridge: Cambridge University Press.
Scholz-Cionca, S. and Leiter, S.L. (2001) Japanese Theatre and the International Stage. Leiden: Brill.
Scott, A.C. (1957) The Classical Theatre of China. Allen & Unwin.
Scott, A.C. (1969) Traditional Chinese Plays: Volume 2. Madison: University of Wisconsin Press.
Scott, A.C. (1970) Traditional Chinese Plays: Volume 1. Univ.Wisconsin P.
Scott, A.C. (1975) Traditional Chinese Plays: Volume 3. Madison: University of Wisconsin Press.
Scott, A.C. (1982) Actors Are Madmen: Notebook of a Theatregoer in China. Madison, Wis: University of Wisconsin Press.
Sekine, M. and Murray, C. (1990) Yeats and the Noh: A Comparative Study. Gerrards Cross: Smythe.
Sen, O.K. (2001) ‘Encounters’, TDR/The Drama Review, 45(3), pp. 126–133. Available at: https://doi.org/10.1162/10542040152587150.
Sen, O.K. (2007) ‘The New Chinoiserie’, Theater, 37(1), pp. 55–68. Available at: https://doi.org/10.1215/01610775-2006-010.
Shen, G. (2012) ‘Chinese Chuanqi Opera in English: Directing The West Wing With Modern Music’, Asian Theatre Journal, 29(1), pp. 183–205. Available at: https://doi.org/10.1353/atj.2012.0016.
Shevtsova, M. (1997) ‘Interculturalism, Aestheticism, Orientalism: Starting From Peter Brook’s Mahabharata’, Theatre Research International, 22(02), pp. 98–104. Available at: https://doi.org/10.1017/S0307883300020502.
Singleton, B. (1997) ‘Receiving Les Atrides Productively: Mnouchkine’s Intercultural Signs as Intertexts’, Theatre Research International, 22(1), pp. 19–23. Available at: https://doi.org/10.1017/S030788330001590X.
Smethurst, M.J. (1988) The Artistry of Aeschylus and Zeami: A Comparative Study of Greek Tragedy and Nō. Princeton, N.J.: Princeton University Press.
Sugawara, M. and Sabin, B. (1996) Lives of Master Swordsmen. Toky: The East Publications.
Sun, H. and Sun, W. (2009) ‘Performing Arts and Cultural Identity in the Era of Interculturalism’, TDR/The Drama Review, 53(2), pp. 7–11. Available at: https://doi.org/10.1162/dram.2009.53.2.7.
Tatlow, A. and Wong, T.-W. (1982) Brecht and East Asian Theatre: The Proceedings of a Conference on Brecht in East Asian Theatre. [Hong Kong]: Hong Kong University Press.
Thorpe, A. (2007) The Role of the Chou (‘Clown’) in Traditional Chinese Drama: Comedy, Criticism, and Cosmology on the Chinese Stage. Lewiston: Edwin Mellen Press.
Thorpe, A. (2011a) ‘Style, Experimentation and Jingju (Beijing Opera) as a Decentred Multiplicity’, Studies in Theatre and Performance, 31(3), pp. 275–291. Available at: https://doi.org/10.1386/stp.31.3.275_1.
Thorpe, A. (2011b) ‘Transforming Tradition: Performances of Jingju (“Beijing Opera”) in the Uk’, Theatre Research International, 36(1), pp. 33–46. Available at: https://doi.org/10.1017/S0307883310000702.
Thorpe, A. (2014) ‘How Can Westerners Study Japanese Noh? an Interview With Richard Emmert, Director of the Noh Training Project and Theatre Nohgaku’, Theatre, Dance and Performance Training, 5(3), pp. 321–333. Available at: https://doi.org/10.1080/19443927.2014.940113.
Thorpe, A. (2018) ‘Lines of Flight: Intersubjective Training Across Intercultures as the Basis for a Comparison Between Japanese Nô and Chinese Jingju (“Beijing Opera”)’, Theatre, Dance and Performance Training, 9(1), pp. 81–98. Available at: https://doi.org/10.1080/19443927.2017.1386231.
Tian, M. (1999) ‘Meyerhold Meets Mei Lanfang: Staging the Grotesque and the Beautiful’, Comparative Drama, 33(2), pp. 234–269. Available at: https://doi.org/10.1353/cdr.1999.0039.
Tian, M. (2008a) The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre. Hong Kong: Hong Kong University Press.
Tian, M. (2008b) The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre. Hong Kong: Hong Kong University Press.
Tian, M. (2016) ‘Authenticity and Usability, or "Welding the Unweldable”: Meyerhold’s Refraction of Japanese Theatre’, Asian Theatre Journal, 33(2), pp. 310–346. Available at: https://doi.org/10.1353/atj.2016.0033.
Trivedi, P. and Minami, R. (2010a) Re-playing Shakespeare in Asia. New York: Routledge.
Trivedi, P. and Minami, R. (2010b) Re-playing Shakespeare in Asia. New York: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=465399.
Tyler, R. (1992) Japanese No dramas. London: Penguin.
Umewaka, N. (1994) ‘The Inner World of The No’, Contemporary Theatre Review, 1(2), pp. 29–38. Available at: https://doi.org/10.1080/10486809408568262.
Varley, H.P. (2000) Japanese Culture. 4th Edition. Honolulu: University of Hawaiʻi Press.
Watson, I. (1993) Towards a Third Theatre: Eugenio Barba and the Odin Teatret. London: Routledge.
Watson, I. (2000a) ‘Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’’, in Twentieth Century Actor Training. New York: Routledge.
Watson, I. (2000b) ‘Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’’, in Twentieth Century Actor Training. London: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=33513.
Watson, I. (2001) Performer Training: Developments Across Cultures. Australia: Harwood Academic.
Watson, I. (2002a) ‘The Dynamics of Barter’, in Negotiating Cultures: Eugenio Barba and the Intercultural Debate. Manchester: Manchester University Press.
Watson, I. (2002b) ‘The Dynamics of Barter’, in Negotiating Cultures: Eugenio Barba and the Intercultural Debate. Manchester: Manchester University Press.
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Wetmore, K.J., Liu, S. and Mee, E.B. (2014b) Modern Asian Theatre and Performance 1900-2000. London: Bloomsbury Methuen Drama. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1645651.
Wichmann, E. (1990) ‘Tradition and Innovation in Contemporary Beijing Opera Performance’, TDR (1988-), 34(1), pp. 146–178. Available at: https://doi.org/10.2307/1146013.
Wichmann, E. (1991) Listening to Theatre: The Aural Dimension of Beijing Opera. Honolulu: University of Hawaii Press.
Wichmann-Walczak, E. (2000) ‘"Reform” at the Shanghai Jingju Company and Its Impact on Creative Authority and Repertory’, TDR/The Drama Review, 44(4), pp. 96–119. Available at: https://doi.org/10.1162/10542040051058500.
Wichmann-Walczak, E. (2005) ‘Jingju (Beijing/Peking ’Opera’) as International Art and as Transnational Root of Cultural Identification’, in Diasporas and Interculturalism in Asian Performing Arts: Translating Traditions. London: RoutledgeCurzon.
Williams, G.J. (2006) ‘Interculturalism, Hybridity, Tourism: The Performing World on New Terms’, in Theatre Histories: An Introduction. London: Routledge, pp. 485–519.
Williams, G.J. (2010) ‘Interculturalism, Hybridity, Tourism: The Performing World on New Terms’, in Theatre Histories: An Introduction. New York: Routledge, pp. 485–519. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203879177.
Wolford, L. (2000a) ‘Grotowski’s Vision of the Actor: The Search for Contact’, in Twentieth Century Actor Training. New York: Routledge.
Wolford, L. (2000b) ‘Grotowski’s Vision of the Actor: The Search for Contact’, in Twentieth Century Actor Training. London: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=33513.
Yamanaka, R. (2015) ‘Expressive Style in Noh: Monologue, Memory and Movement’, in Expressions of the Invisible: A Comparative Study of Noh and Other Theatrical Traditions. Tokyo: The Nogami Memorial Noh theatre Research Institure of Hosei University.
Yan, H. (2003) ‘Theatricality in Classical Chinese Drama’, in Theatricality. Cambridge: Cambridge University Press.
Yarrow, R. (2017) ‘Animating the Intercultural: Revisiting Peter Brook’s Practice and the Somatics of Performance’, Indian Theatre Journal, 1(2), pp. 147–156. Available at: https://doi.org/10.1386/itj.1.2.147_1.
Zarrilli, P.B. (2009) Psychophysical Acting: An Intercultural Approach After Stanislavski. London: Routledge.
Zarrilli, P.B. and Hulton, P. (2009) Psychophysical Acting: An Intercultural Approach After Stanislavski. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1047000.
Zeami, M. (1984) On the Art of the No Drama: The Major Treatises of Zeami. Edited by Y. Masakazu and J.T. Rimer. Princeton, N.J.: Princeton University Press.
Zung, C.S.L. (1937) Secrets of the Chinese Drama: A Complete Explanatory Guide to Actions and Symbols as Seen in the Performance of Chinese Dramas. Shanghai: Kelly and Walsh.