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Bharucha, R. (2004). Foreign Asia / Foreign Shakespeare: Dissenting Notes on New Asian Interculturality, Postcoloniality, and Recolonization. Theatre Journal, 56(1), 1–28. https://doi.org/10.1353/tj.2004.0004
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Brecht, B., Stern, J., Stern, T., Auden, W. H., & Rorrison, H. (1984a). The Caucasian Chalk Circle. Methuen.
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Canckini, G. (2010). Theatre and Performance in the Age of Global Communications, 1950-Present. In Theatre Histories: An Introduction (pp. 409–424). Routledge. 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 (pp. 409–424). Routledge.
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: Vol. Bd.2 (pp. 49–56). Narr. https://contentstore.cla.co.uk/secure/link?id=98f7675d-83cc-e811-80cd-005056af4099
Chang, D., Mitchell, J. D., & Yeu, R. (1974). How the Chinese Actor Trains: Interviews with Two Peking Opera Performers. Educational Theatre Journal, 26, 183–191. 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: Vol. v. 30. E. Mellen.
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Dolby, W. (1976). A History of Chinese Drama. Elek.
Drain, R. (1995). Part V: The Global Dimension. In Twentieth-Century Theatre: A Sourcebook. Routledge.
Duchesne, I. (1994). The Chinese Opera Star: Roles and Identity. In Boundaries in China. Reaktion. 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), 127–138. 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), 113–130. https://doi.org/10.1162/DRAM_a_00170
Fei, F. C. (1999). Chinese Theories of Theater and Performance From Confucius to the Present. University of Michigan Press.
Fei, F. C., & Sun, W. H. (2006). Othello and Beijing Opera: Appropriation as a Two-Way Street. TDR/The Drama Review, 50(1), 120–133. https://doi.org/10.1162/dram.2006.50.1.120
Fischer-Lichte, E., Jost, T., & Jain, S. I. (Eds.). (2014a). The Politics of Interweaving Performance Cultures: Beyond Postcolonialism (Vol. 33). Routledge.
Fischer-Lichte, E., Jost, T., & Jain, S. I. (Eds.). (2014b). The Politics of Interweaving Performance Cultures Beyond Postcolonialism (Vol. 33). Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1596887
Fischer-Lichte, E., Riley, J., & Gissenwehrer, M. (1990). The Dramatic Touch of Difference: Theatre, Own and Foreign: Vol. Bd.2. Narr.
Gilbert, H., & Lo, J. (2007). Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia. Palgrave Macmillan.
Gilbert, H., & Lo, J. (2008). Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia. Palgrave Macmillan.
Goldstein, J. (2007). Drama Kings: Players and Publics in the Re-Creation of Peking Opera, 1870-1937. University of California Press.
Graham-Jones, J. (2005). Editorial Comment: Theorizing Globalization Through Theatre. Theatre Journal, 57(3), viii–xvi. https://doi.org/10.1353/tj.2005.0106
Grehan, H. (2001). Theatre Works’ Desdemona: Fusing Technology and Tradition. TDR/The Drama Review, 45(3), 113–125. https://doi.org/10.1162/10542040152587141
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Halson, E. (1966). Peking Opera: A Short Guide. Oxford University Press.
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Im, Y. (2004). The Pitfalls of Intercultural Discourse: The Case of Yukio Ninagaawa. Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship, 22(4), 7–30. 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
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Lei, D. P.-W. (2011). Alternative Chinese Opera in the Age of Globalization: Performing Zero. Palgrave Macmillan.
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Li, R. (2010a). The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong University Press.
Li, R. (2010b). The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677455
Li, S. (2003). Cross-Dressing in Chinese Opera. Hong Kong University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677456
Li, S. L. (2006). Cross-Dressing in Chinese Opera. Hong Kong University Press.
Lo, J., & Gilbert, H. (2002). Toward a Topography of Cross-Cultural Theatre Praxis. TDR/The Drama Review, 46(3), 31–53.
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Ma, Q. (2005). Women in Traditional Chinese Theater: The Heroine’s Play. University Press of America.
Mackerras, C. (1972). The Rise of the Peking Opera, 1770-1870: Social Aspects of the Theatre in Manchu China. Clarendon Press.
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Marranca, B., Foreman, R., Wilson, R., & Breuer, L. (1996). Theatre of Images (New ed). Johns Hopkins University Press.
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Meyer-Dinkgrafe, D. (2001). Approaches to Acting in the Intercultural Paradigm. In Approaches to Acting: Past and Present (pp. 137–158). Continuum. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=742985
Miller, J. G. (2007a). Ariane Mnouchkine. Routledge.
Miller, J. G. (2007b). Ariane Mnouchkine. Routledge. 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), 78–97. https://doi.org/10.1353/atj.2000.0007
Mitra, R. (2015). Akram Khan: Dancing New Interculturalism. Palgrave Macmillan.
Mnouchkine, A. (1996). The Theatre is Oriental. In The Intercultural Performance Reader. Routledge.
Moody, D. (1995). Peter Brook’s Heart of Light: ‘Primitivism’ and Intercultural Theatre. New Theatre Quarterly, 11(41), 33–39. https://doi.org/10.1017/S0266464X0000885X
Murray, S., & Keefe, J. (2007a). Bodies and Cultures. In Physical Theatres: A Critical Introduction (pp. 185–203). Routledge.
Murray, S., & Keefe, J. (2007b). Bodies and Cultures. In Physical Theatres: A Critical Introduction (pp. 185–203). Routledge. 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 (Vol. 9, pp. 53–76). Routledge.
Nascimento, C. T. (2009b). Tenuous Boundaries: Intra- and Intercultural Embodiments. In Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge (pp. 53–76). Routledge. 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 (Vol. 2). Board of Tourist Industry, Japanese Government Railways.
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Pavis, P. (1996). The Intercultural Performance Reader. Routledge.
Peterson, W. (2003). Consuming the Asian Other in Singapore: Interculturalism in Theatreworks’ Desdemona. Theatre Research International, 28(1), 79–95. https://doi.org/10.1017/S0307883303000166
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Rafolt, L. (2015a). Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli. Colloquia Humanistica, 4, 95–121. 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, 95–121. 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, 95–121. https://doi.org/10.11649/ch.2015.00610.11649/ch.2015.006
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Shen, G. (2012). Chinese Chuanqi Opera in English: Directing The West Wing With Modern Music. Asian Theatre Journal, 29(1), 183–205. 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), 98–104. https://doi.org/10.1017/S0307883300020502
Singleton, B. (1997). Receiving Les Atrides Productively: Mnouchkine’s Intercultural Signs as Intertexts. Theatre Research International, 22(1), 19–23. 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 University Press.
Sugawara, M., & Sabin, B. (1996). Lives of Master Swordsmen. The East Publications.
Sun, H., & Sun, W. (2009). Performing Arts and Cultural Identity in the Era of Interculturalism. TDR/The Drama Review, 53(2), 7–11. https://doi.org/10.1162/dram.2009.53.2.7
Tatlow, A., & Wong, T.-W. (1982). Brecht and East Asian Theatre: The Proceedings of a Conference on Brecht in East Asian Theatre. 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. Edwin Mellen Press.
Thorpe, A. (2011a). Style, Experimentation and Jingju (Beijing Opera) as a Decentred Multiplicity. Studies in Theatre and Performance, 31(3), 275–291. 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), 33–46. 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), 321–333. 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), 81–98. 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), 234–269. 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 University Press.
Tian, M. (2008b). The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre. 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), 310–346. https://doi.org/10.1353/atj.2016.0033
Trivedi, P., & Minami, R. (2010a). Re-playing Shakespeare in Asia (Vol. 2). Routledge.
Trivedi, P., & Minami, R. (2010b). Re-playing Shakespeare in Asia: Vol. v. 2. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=465399
Tyler, R. (1992). Japanese No dramas. Penguin.
Umewaka, N. (1994). The Inner World of The No. Contemporary Theatre Review, 1(2), 29–38. https://doi.org/10.1080/10486809408568262
Varley, H. P. (2000). Japanese Culture (4th Edition). University of Hawaiʻi Press.
Watson, I. (1993). Towards a Third Theatre: Eugenio Barba and the Odin Teatret. Routledge.
Watson, I. (2000a). Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’. In Twentieth Century Actor Training. Routledge.
Watson, I. (2000b). Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’. In Twentieth Century Actor Training. Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=33513
Watson, I. (2001). Performer Training: Developments Across Cultures: Vol. v. 38. Harwood Academic.
Watson, I. (2002a). The Dynamics of Barter. In Negotiating Cultures: Eugenio Barba and the Intercultural Debate. Manchester University Press.
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Wetmore, K. J., Liu, S., & Mee, E. B. (2014b). Modern Asian Theatre and Performance 1900-2000. Bloomsbury Methuen Drama. 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), 146–178. https://doi.org/10.2307/1146013
Wichmann, E. (1991). Listening to Theatre: The Aural Dimension of Beijing Opera. 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), 96–119. 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. RoutledgeCurzon.
Williams, G. J. (2006). Interculturalism, Hybridity, Tourism: The Performing World on New Terms. In Theatre Histories: An Introduction (pp. 485–519). Routledge.
Williams, G. J. (2010). Interculturalism, Hybridity, Tourism: The Performing World on New Terms. In Theatre Histories: An Introduction (pp. 485–519). Routledge. 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. Routledge.
Wolford, L. (2000b). Grotowski’s Vision of the Actor: The Search for Contact. In Twentieth Century Actor Training. Routledge. 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 (Vol. 3). The Nogami Memorial Noh theatre Research Institure of Hosei University.
Yan, H. (2003). Theatricality in Classical Chinese Drama. In Theatricality. Cambridge University Press.
Yarrow, R. (2017). Animating the Intercultural: Revisiting Peter Brook’s Practice and the Somatics of Performance. Indian Theatre Journal, 1(2), 147–156. https://doi.org/10.1386/itj.1.2.147_1
Zarrilli, P. B. (2009). Psychophysical Acting: An Intercultural Approach After Stanislavski. Routledge.
Zarrilli, P. B., & Hulton, P. (2009). Psychophysical Acting: An Intercultural Approach After Stanislavski. Routledge. 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 (Y. Masakazu & J. T. Rimer, Eds.). 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. Kelly and Walsh.