[1]
G. Canclini, ‘Theatre and Performance in the Age of Global Communications, 1950-Present’, in Theatre Histories: An Introduction, London: Routledge, 2006, pp. 409–424.
[2]
G. Canckini, ‘Theatre and Performance in the Age of Global Communications, 1950-Present’, in Theatre Histories: An Introduction, New York: Routledge, 2010, pp. 409–424 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203879177
[3]
G. J. Williams, ‘Interculturalism, Hybridity, Tourism: The Performing World on New Terms’, in Theatre Histories: An Introduction, London: Routledge, 2006, pp. 485–519.
[4]
G. J. Williams, ‘Interculturalism, Hybridity, Tourism: The Performing World on New Terms’, in Theatre Histories: An Introduction, New York: Routledge, 2010, pp. 485–519 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203879177
[5]
M. Carlson, ‘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, Tübingen: Narr, 1990, pp. 49–56 [Online]. Available: https://contentstore.cla.co.uk/secure/link?id=98f7675d-83cc-e811-80cd-005056af4099
[6]
S. Murray and J. Keefe, ‘Bodies and Cultures’, in Physical Theatres: A Critical Introduction, New York: Routledge, 2007, pp. 185–203.
[7]
S. Murray and J. Keefe, ‘Bodies and Cultures’, in Physical Theatres: A Critical Introduction, London: Routledge, 2007, pp. 185–203 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203012826
[8]
P. Pavis, ‘Culture and Mise en Scene’, in Theatre at the Crossroads of Culture, London: Routledge, 1992, pp. 1–23.
[9]
P. Pavis, ‘Culture and Mise en Scene’, in Theatre at the Crossroads of Culture, London: Routledge, 1992, pp. 1–23 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203359334
[10]
E. Barba, ‘The Dilated Body’, in The Dilated Body, Followed by the Gospel According to Oxyrhincus, R. Fowler, Ed. Rome: Zeami Libri, 1985, pp. 11–32.
[11]
J. Lo and H. Gilbert, ‘Toward a Topography of Cross-Cultural Theatre Praxis’, TDR/The Drama Review, vol. 46, no. 3, pp. 31–53, 2002.
[12]
C. T. Nascimento, ‘Tenuous Boundaries: Intra- and Intercultural Embodiments’, in Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge, vol. 9, New York, NY: Routledge, 2009, pp. 53–76.
[13]
C. T. Nascimento, ‘Tenuous Boundaries: Intra- and Intercultural Embodiments’, in Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge, London: Routledge, 2009, pp. 53–76 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203891957
[14]
A. Thorpe, ‘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, vol. 9, no. 1, pp. 81–98, 2018, doi: 10.1080/19443927.2017.1386231.
[15]
A. Appadurai, ‘Disjuncture and Difference in the Global Cultural Economy’, in Modernity at Large: Cultural Dimensions of Globalization, Minneapolis: University of Minnesota Press, 1996.
[16]
A. Appadurai, ‘Disjuncture and Difference in the Global Cultural Economy’, in Modernity at Large: Cultural Dimensions of Globalization, vol. v. 1, Minneapolis, Minn: University of Minnesota Press, 1996 [Online]. Available: http://hdl.handle.net/2027/heb.06472
[17]
J. Graham-Jones, ‘Editorial Comment: Theorizing Globalization Through Theatre’, Theatre Journal, vol. 57, no. 3, pp. viii–xvi, 2005, doi: 10.1353/tj.2005.0106.
[18]
P. Lonergan, Theatre and Globalization: Irish Drama in the Celtic Tiger Era. Basingstoke: Palgrave Macmillan, 2009.
[19]
D. Rebellato and M. Ravenhill, Theatre & Globalization. Basingstoke: Palgrave Macmillan, 2009.
[20]
R. Drain, ‘Part V: The Global Dimension’, in Twentieth-Century Theatre: A Sourcebook, London: Routledge, 1995.
[21]
E. Fischer-Lichte, J. Riley, and M. Gissenwehrer, The Dramatic Touch of Difference: Theatre, Own and Foreign, vol. Bd.2. Tübingen: Narr, 1990.
[22]
E. Fischer-Lichte, T. Jost, and S. I. Jain, Eds., The Politics of Interweaving Performance Cultures: Beyond Postcolonialism, vol. 33. New York: Routledge, 2014.
[23]
E. Fischer-Lichte, T. Jost, and S. I. Jain, Eds., The Politics of Interweaving Performance Cultures Beyond Postcolonialism, vol. 33. New York: Routledge, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1596887
[24]
H. Gilbert and J. Lo, Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia. New York: Palgrave Macmillan, 2007.
[25]
H. Gilbert and J. Lo, Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia. Houndmills: Palgrave Macmillan, 2008.
[26]
J. Holledge and J. Tompkins, Women’s Intercultural Performance. London: Routledge, 2000.
[27]
R. P. Knowles, Theatre & Interculturalism. Basingstoke: Palgrave Macmillan, 2010.
[28]
C. Latrell, ‘After Appropriation’, TDR (Cambridge, Mass.), vol. 44, no. 4, 2000 [Online]. Available: 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
[29]
B. Marranca and G. Dasgupta, Interculturalism and Performance: Writings for PAJ. New York: PAJ, 1991.
[30]
J. Martin, The Intercultural Performance Handbook. London: Routledge, 2004.
[31]
D. Meyer-Dinkgrafe, ‘Approaches to Acting in the Intercultural Paradigm’, in Approaches to Acting: Past and Present, London: Continuum, 2001, pp. 137–158 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=742985
[32]
P. Pavis, The Intercultural Performance Reader. London: Routledge, 1996.
[33]
M. Shevtsova, ‘Interculturalism, Aestheticism, Orientalism: Starting From Peter Brook’s Mahabharata’, Theatre Research International, vol. 22, no. 02, pp. 98–104, 1997, doi: 10.1017/S0307883300020502.
[34]
I. Watson, ‘The Dynamics of Barter’, in Negotiating Cultures: Eugenio Barba and the Intercultural Debate, Manchester: Manchester University Press, 2002.
[35]
I. Watson, Performer Training: Developments Across Cultures, vol. v. 38. Australia: Harwood Academic, 2001.
[36]
K. J. Wetmore, S. Liu, and E. B. Mee, Modern Asian Theatre and Performance 1900-2000. London: Bloomsbury Methuen Drama, 2014.
[37]
K. J. Wetmore, S. Liu, and E. B. Mee, Modern Asian Theatre and Performance 1900-2000. London: Bloomsbury Methuen Drama, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1645651
[38]
N. Arnold, ‘The Barter Concept and Practices of Eugenio Barba’s Odin Theatre: Cultural Exchange or Cultural Colonialism?’, The European Legacy, vol. 1, no. 3, pp. 1207–1212, 1996, doi: 10.1080/10848779608579551.
[39]
E. Barba and R. Fowler, The Paper Canoe: A Guide to Theatre Anthropology. London: Routledge, 1995.
[40]
E. Barba, The Paper Canoe: A Guide to Theatre Anthropology. London: Routledge, 1994 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179536
[41]
E. Barba and N. Savarese, A Dictionary of Theatre Anthropology: The Secret Art of the Performer, 2nd ed. London: Routledge, 2006.
[42]
E. Barba and N. Savarese, A Dictionary of Theatre Anthropology: The Secret Art of the Performer, 2nd ed. London: Routledge, 2006 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668433
[43]
L. Rafolt, ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, no. 4, pp. 95–121, 2015, doi: 10.11649/ch.2015.00610.11649/ch.2015.006.
[44]
I. Watson, Towards a Third Theatre: Eugenio Barba and the Odin Teatret. London: Routledge, 1993.
[45]
I. Watson, ‘Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’’, in Twentieth Century Actor Training, New York: Routledge, 2000.
[46]
I. Watson, ‘Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’’, in Twentieth Century Actor Training, London: Routledge, 2000 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=33513
[47]
I. Watson, ‘The Dynamics of Barter’, in Negotiating Cultures: Eugenio Barba and the Intercultural Debate, Manchester: Manchester University Press, 2002.
[48]
B. Brecht, W. Sauerländer, and B. Brecht, He Who Says Yes. London: Bloomsbury, 2014.
[49]
B. Brecht, W. Sauerländer, and B. Brecht, He Who Says No. London: Bloomsbury, 2014 [Online]. Available: http://dx.doi.org/
[50]
B. Brecht, J. Stern, T. Stern, W. H. Auden, and H. Rorrison, The Caucasian Chalk Circle. London: Methuen, 1984.
[51]
B. Brecht, J. Stern, T. Stern, W. H. Auden, and H. Rorrison, ‘The Caucasian Chalk Circle’, 1984, doi: 10.5040/9781408162965.00000022.
[52]
B. Brecht, ‘Alienation Effects in Chinese Acting’, in Brecht on Theatre: The Development of an Aesthetic, London: Methuen, 1964.
[53]
S. Onderdelinden, ‘Brecht and Asia’, in Theatre Intercontinental: Forms, Functions, Correspondences, vol. 1, Amsterdam: Rodofi, 1993.
[54]
R. Guangrun, ‘Brecht’s Influence in China: A Chinese Perspective’, Modern Drama, vol. 42, no. 2, pp. 247–252, 1999 [Online]. Available: 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
[55]
A. Tatlow and T.-W. Wong, Brecht and East Asian Theatre: The Proceedings of a Conference on Brecht in East Asian Theatre. [Hong Kong]: Hong Kong University Press, 1982.
[56]
M. Tian, The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre. Hong Kong: Hong Kong University Press, 2008.
[57]
R. Bharucha, Theatre and the World: Performance and the Politics of Culture, [Rev. ed.]. London: Routledge, 1993.
[58]
R. Bharucha, Theatre and the World: Performance and the Politics of Culture. London: Routledge, 1993 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179242
[59]
P. Brook, The Empty Space. Penguin, 1990.
[60]
P. Brook, ‘The Culture of Links’, in The Intercultural Performance Reader, London: Routledge, 1996.
[61]
P. Brook and J. Kalb, ‘The Mahabharata Twenty-Five Years Later’, PAJ: A Journal of Performance and Art, vol. 32, no. 3, pp. 63–71, 2010, doi: 10.1162/PAJJ_a_00009.
[62]
D. Moody, ‘Peter Brook’s Heart of Light: “Primitivism” and Intercultural Theatre’, New Theatre Quarterly, vol. 11, no. 41, pp. 33–39, 1995, doi: 10.1017/S0266464X0000885X.
[63]
G. Banu, ‘The Absent Presence’, in The Intercultural Performance Reader, London: Routledge, 1996.
[64]
J. Grotowski and E. Barba, Towards a Poor Theatre. London: Methuen, 1969.
[65]
J. Grotowski, ‘Around Theatre: The Orient – The Occident’, in The Intercultural Performance Reader, London: Routledge, 1996.
[66]
L. Rafolt, ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, no. 4, pp. 95–121, 2015, doi: 10.11649/ch.2015.00610.11649/ch.2015.006.
[67]
D. Richie, ‘Asian Theatre and Grotowski’, in The Grotowski Sourcebook, London: Routledge & Kegan Paul, 1997.
[68]
L. Wolford, ‘Grotowski’s Vision of the Actor: The Search for Contact’, in Twentieth Century Actor Training, New York: Routledge, 2000.
[69]
L. Wolford, ‘Grotowski’s Vision of the Actor: The Search for Contact’, in Twentieth Century Actor Training, London: Routledge, 2000 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=33513
[70]
R. Yarrow, ‘Animating the Intercultural: Revisiting Peter Brook’s Practice and the Somatics of Performance’, Indian Theatre Journal, vol. 1, no. 2, pp. 147–156, 2017, doi: 10.1386/itj.1.2.147_1.
[71]
R. Mitra, Akram Khan: Dancing New Interculturalism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.
[72]
Z. Norridge, ‘Dancing the Multicultural Conversation? Critical Responses to Akram Khan’s Work in the Context of Pluralist Poetics’, Forum for Modern Language Studies, vol. 46, no. 4, pp. 415–430, 2010, doi: 10.1093/fmls/cqq019.
[73]
A. Kiernander, Ariane Mnouchkine and the Théâtre du Soleil. Cambridge: Cambridge University Press, 1993.
[74]
J. G. Miller, Ariane Mnouchkine. New York: Routledge, 2007.
[75]
J. G. Miller, Ariane Mnouchkine. London: Routledge, 2007 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=308538
[76]
A. Mnouchkine, ‘The Theatre is Oriental’, in The Intercultural Performance Reader, London: Routledge, 1996.
[77]
B. Singleton, ‘Receiving Les Atrides Productively: Mnouchkine’s Intercultural Signs as Intertexts’, Theatre Research International, vol. 22, no. 1, pp. 19–23, 1997, doi: 10.1017/S030788330001590X.
[78]
E. Braun, Meyerhold: A Revolution in Theatre, 2nd ed., rev.Exp. London: Methuen, 1995.
[79]
V. E. Meierkhold and E. Braun, Meyerhold on Theatre, Rev. ed. London: Methuen Drama, 1998.
[80]
J. Pitches, Vsevolod Meyerhold. London: Routledge, 2003.
[81]
M. Tian, ‘Meyerhold Meets Mei Lanfang: Staging the Grotesque and the Beautiful’, Comparative Drama, vol. 33, no. 2, pp. 234–269, 1999, doi: 10.1353/cdr.1999.0039.
[82]
M. Tian, ‘Authenticity and Usability, or "Welding the Unweldable”: Meyerhold’s Refraction of Japanese Theatre’, Asian Theatre Journal, vol. 33, no. 2, pp. 310–346, 2016, doi: 10.1353/atj.2016.0033.
[83]
P. Barnes, ‘Working With Yukio Ninagawa’, New Theatre Quarterly, vol. 8, no. 32, pp. 389–391, 1992, doi: 10.1017/S0266464X00007181.
[84]
T. A. Borlik, ‘A Season in Intercultural Limbo: Ninagawa Yukio’s Doctor Faustus, Theatre Cocoon, Tokyo’, Shakespeare Quarterly, vol. 62, no. 3, pp. 444–456, 2011, doi: 10.1353/shq.2011.0063.
[85]
Y. Im, ‘The Pitfalls of Intercultural Discourse: The Case of Yukio Ninagaawa’, Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship, vol. 22, no. 4, pp. 7–30, 2004 [Online]. Available: 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
[86]
P. Trivedi and R. Minami, Re-playing Shakespeare in Asia, vol. 2. New York: Routledge, 2010.
[87]
P. Trivedi and R. Minami, Re-playing Shakespeare in Asia, vol. v. 2. New York: Routledge, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=465399
[88]
R. Bharucha, ‘Foreign Asia / Foreign Shakespeare: Dissenting Notes on New Asian Interculturality, Postcoloniality, and Recolonization’, Theatre Journal, vol. 56, no. 1, pp. 1–28, 2004, doi: 10.1353/tj.2004.0004.
[89]
H. Grehan, ‘Theatre Works’ Desdemona: Fusing Technology and Tradition’, TDR/The Drama Review, vol. 45, no. 3, pp. 113–125, 2001, doi: 10.1162/10542040152587141.
[90]
Y. L. Lan, ‘Ong Keng Sen’s Desdemona, Ugliness, and the Intercultural Performative’, Theatre Journal, vol. 56, no. 2, pp. 251–273, 2004, doi: 10.1353/tj.2004.0065.
[91]
O. K. Sen, ‘Encounters’, TDR/The Drama Review, vol. 45, no. 3, pp. 126–133, 2001, doi: 10.1162/10542040152587150.
[92]
O. K. Sen, ‘The New Chinoiserie’, Theater, vol. 37, no. 1, pp. 55–68, 2007, doi: 10.1215/01610775-2006-010.
[93]
W. Peterson, ‘Consuming the Asian Other in Singapore: Interculturalism in Theatreworks’ Desdemona’, Theatre Research International, vol. 28, no. 1, pp. 79–95, 2003, doi: 10.1017/S0307883303000166.
[94]
A. Holmberg, The Theatre of Robert Wilson. Cambridge: Cambridge University Press, 1996.
[95]
B. Marranca, R. Foreman, R. Wilson, and L. Breuer, Theatre of Images, New ed. Baltimore: Johns Hopkins University Press, 1996.
[96]
C. Weiler, ‘Japanese Traces in Robert Wilson’s Productions’, in The Intercultural Performance Reader, London: Routledge, 1996.
[97]
L. Rafolt, ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, no. 4, pp. 95–121, 2015, doi: 10.11649/ch.2015.00610.11649/ch.2015.006.
[98]
P. B. Zarrilli, Psychophysical Acting: An Intercultural Approach After Stanislavski. London: Routledge, 2009.
[99]
P. B. Zarrilli and P. Hulton, Psychophysical Acting: An Intercultural Approach After Stanislavski. London: Routledge, 2009 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1047000
[100]
L. C. Arlington, The Chinese Drama: From the Earliest Times Until Today. Shanghai: Kelly and Walsh, 1930.
[101]
A. B. Bonds, Beijing Opera Costumes: The Visual Communication of Character and Culture. Honolulu: University of Hawai’i Press, 2008.
[102]
K. Brusák, ‘Signs in the Chinese Theater’, in Semiotics of Art: Prague School Contributions, Cambridge, Mass: MIT, 1976.
[103]
D. Chang, J. D. Mitchell, and R. Yeu, ‘How the Chinese Actor Trains: Interviews with Two Peking Opera Performers.’, Educational Theatre Journal, vol. 26, pp. 183–91, 1974 [Online]. Available: 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
[104]
F. C. Fei, Chinese Theories of Theater and Performance From Confucius to the Present. Ann Arbor, Mich: University of Michigan Press, 1999.
[105]
F. C. Fei and W. H. Sun, ‘Othello and Beijing Opera: Appropriation as a Two-Way Street’, TDR/The Drama Review, vol. 50, no. 1, pp. 120–133, 2006, doi: 10.1162/dram.2006.50.1.120.
[106]
J. I. Crump and W. P. Malm, Chinese and Japanese Music-Dramas, vol. no. 19. Ann Arbor: Center for Chinese Studies, University of Michigan, 1975.
[107]
W. Dolby, A History of Chinese Drama. London: Elek, 1976.
[108]
I. Duchesne, ‘The Chinese Opera Star: Roles and Identity’, in Boundaries in China, London: Reaktion, 1994 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=475105
[109]
M. Evans, ‘"Brand China” on the World Stage: Jingju, the Olympics, and Globalization’, TDR/The Drama Review, vol. 56, no. 2, pp. 113–130, 2012, doi: 10.1162/DRAM_a_00170.
[110]
J. Goldstein, Drama Kings: Players and Publics in the Re-Creation of Peking Opera, 1870-1937. Berkeley: University of California Press, 2007.
[111]
E. Halson, Peking Opera: A Short Guide. Hong Kong: Oxford University Press, 1966.
[112]
T. C. Hsu, The Chinese Conception of the Theatre. Seattle: University of Washington Press, 1985.
[113]
D. P.-W. Lei, Alternative Chinese Opera in the Age of Globalization: Performing Zero. Basingstoke: Palgrave Macmillan, 2011.
[114]
R. Li, The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong: Hong Kong University Press, 2010.
[115]
R. Li, The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong: Hong Kong University Press, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677455
[116]
S. L. Li, Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press, 2006.
[117]
S. Li, Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press, 2003 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677456
[118]
Q. Ma, Women in Traditional Chinese Theater: The Heroine’s Play. Lanham, Md: University Press of America, 2005.
[119]
C. Mackerras, The Rise of the Peking Opera, 1770-1870: Social Aspects of the Theatre in Manchu China. Oxford: Clarendon Press, 1972.
[120]
C. Mackerras, Chinese Theater: From Its Origins to the Present Day. Honolulu: University of Hawaii Press, 1983.
[121]
T. Min, ‘Male Dan: The Paradox of Sex, Acting, and Perception in Traditional Chinese Theatre’, Asian Theatre Journal, vol. 17, no. 1, pp. 78–97, 2000, doi: 10.1353/atj.2000.0007.
[122]
M. Tian, The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre. Hong Kong: Hong Kong University Press, 2008.
[123]
P. S. Plowright, Mediums, Puppets, and the Human Actor in the Theatres of the East, vol. v. 4. Lewiston, N.Y.: E. Mellen Press, 2002.
[124]
J. Riley, Chinese Theatre and the Actor in Performance. Cambridge: Cambridge University Press, 1997.
[125]
A. C. Scott, The Classical Theatre of China. Allen & Unwin, 1957.
[126]
A. C. Scott, Traditional Chinese Plays: Volume 1. Univ.Wisconsin P., 1970.
[127]
A. C. Scott, Traditional Chinese Plays: Volume 2. Madison: University of Wisconsin Press, 1969.
[128]
A. C. Scott, Traditional Chinese Plays: Volume 3. Madison: University of Wisconsin Press, 1975.
[129]
A. C. Scott, Actors Are Madmen: Notebook of a Theatregoer in China. Madison, Wis: University of Wisconsin Press, 1982.
[130]
G. Shen, ‘Chinese Chuanqi Opera in English: Directing The West Wing With Modern Music’, Asian Theatre Journal, vol. 29, no. 1, pp. 183–205, 2012, doi: 10.1353/atj.2012.0016.
[131]
H. Sun and W. Sun, ‘Performing Arts and Cultural Identity in the Era of Interculturalism’, TDR/The Drama Review, vol. 53, no. 2, pp. 7–11, 2009, doi: 10.1162/dram.2009.53.2.7.
[132]
A. Thorpe, The Role of the Chou (‘Clown’) in Traditional Chinese Drama: Comedy, Criticism, and Cosmology on the Chinese Stage. Lewiston: Edwin Mellen Press, 2007.
[133]
A. Thorpe, ‘Transforming Tradition: Performances of Jingju (“Beijing Opera”) in the Uk’, Theatre Research International, vol. 36, no. 1, pp. 33–46, 2011, doi: 10.1017/S0307883310000702.
[134]
A. Thorpe, ‘Style, Experimentation and Jingju (Beijing Opera) as a Decentred Multiplicity’, Studies in Theatre and Performance, vol. 31, no. 3, pp. 275–291, 2011, doi: 10.1386/stp.31.3.275_1.
[135]
E. Wichmann, Listening to Theatre: The Aural Dimension of Beijing Opera. Honolulu: University of Hawaii Press, 1991.
[136]
E. Wichmann, ‘Tradition and Innovation in Contemporary Beijing Opera Performance’, TDR (1988-), vol. 34, no. 1, pp. 146–178, 1990, doi: 10.2307/1146013.
[137]
E. Wichmann-Walczak, ‘"Reform” at the Shanghai Jingju Company and Its Impact on Creative Authority and Repertory’, TDR/The Drama Review, vol. 44, no. 4, pp. 96–119, 2000, doi: 10.1162/10542040051058500.
[138]
E. Wichmann-Walczak, ‘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, 2005.
[139]
H. Yan, ‘Theatricality in Classical Chinese Drama’, in Theatricality, Cambridge: Cambridge University Press, 2003.
[140]
C. S. L. Zung, 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, 1937.
[141]
D. Albright, ‘Pound, Yeats, and the Noh Theater’, Iowa Review, vol. 15, no. 2, pp. 34–50, 1985 [Online]. Available: 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
[142]
M. P. Alter, ‘Bertolt Brecht and the Noh Drama’, Modern Drama, vol. 11, pp. 122–131, 1968 [Online]. Available: 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
[143]
M. Anno and J. Halebsky, ‘Innovation in Nō: Matsui Akira Continues a Tradition of Change’, Asian Theatre Journal, vol. 31, no. 1, pp. 126–152, 2014, doi: 10.1353/atj.2014.0028.
[144]
‘Acting Techniques of the Noh Classical Theatre of Japan’. Instructional Media Center, Michigan State University, Ann Arbor, 1980.
[145]
J. Arcari, ‘Treasuring the Secret Within: Grotowski and the Flower’, Theatre, Dance and Performance Training, vol. 1, no. 1, pp. 4–21, 2010, doi: 10.1080/19443920903432452.
[146]
M. Bethe, Dance in the No Theater: 1. Cornell Univ East Asia Program East Asia Series, 1982.
[147]
M. Bethe and K. Brazell, ‘The Practice of Noh Theatre’, in By Means of Performance: Intercultural Studies of Theatre and Ritual, Cambridge: Cambridge University Press, 1990.
[148]
K. Brazell and J. T. Araki, Traditional Japanese Theater: An Anthology of Plays. New York: Columbia University Press, 1998.
[149]
J. R. Brandon, Nô and Kyôgen in the Contemporary World. Honolulu, Hawaii: University of Hawai’i Press, 1997.
[150]
M. Coldiron, Trance and Transformation of the Actor in Japanese Noh and Balinese Masked Dance-Drama, vol. v. 30. Lewiston, NY: E. Mellen, 2004.
[151]
D. Maruoka and T. Yoshikoshi, Noh. Osaka: Hoikusha, 1969.
[152]
E. Ernst, ‘The Influence of Japanese Theatrical Style on Western Theatre’, Educational Theatre Journal, vol. 21, no. 2, pp. 127–138, 1969, doi: 10.2307/3205628.
[153]
D. Griffiths, The Training of Noh Actors and the Dove, vol. v.2. Harwood Academic Publrs, 1998.
[154]
T. B. Hare, Zeami’s Style: The Noh Plays of Zeami Motokiyo. Stanford, California: Stanford University Press, 1986.
[155]
A. Horie-Webber, Japanese Theatre and the West, vol. v.6, pts.1–2. London: Harwood, 1994.
[156]
E. Ikegami, The Taming of the Samurai: Honorific Individualism and the Making of Modern Japan. Cambridge, Mass: Harvard University Press, 1995.
[157]
T. Immoos and F. Mayer, Japanese Theatre. New York: Rizzoli, 1977.
[158]
D. Keene, No; and, Bunraku: Two Forms of Japanese Theatre. New York: Columbia University Press, 1990.
[159]
K. Konparu, The Noh Theater: Principles and Perspectives. New York: Weatherhill/Tankosha, 1983.
[160]
S. L. Leiter and B. Ortolani, Zeami and the No Theatre in the World. New York: Center for Advanced Studies in Theatre Arts, 1998.
[161]
M. Sugawara and B. Sabin, Lives of Master Swordsmen. Toky: The East Publications, 1996.
[162]
A. Matsui, D. Hughes, and R. Emmert, ‘Inside Noh: 1-2’. BBC Radio Off-air, S.l., 1991.
[163]
K. I. McDonald, Japanese Classical Theater in Films. Rutherford: Fairleigh Dickinson University Press, 1993.
[164]
B. Ortolani, The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Rev. ed. Princeton, N.J.: Princeton University Press, 1995.
[165]
S. F. Quinn, Developing Zeami: The Noh Actor’s Attunement in Practice. Honolulu, Hawaii: University of Hawaii Press, 2005.
[166]
S. Scholz-Cionca and S. L. Leiter, Japanese Theatre and the International Stage, vol. v. 12. Leiden: Brill, 2001.
[167]
M. Sekine and C. Murray, Yeats and the Noh: A Comparative Study, vol. 38. Gerrards Cross: Smythe, 1990.
[168]
M. J. Smethurst, The Artistry of Aeschylus and Zeami: A Comparative Study of Greek Tragedy and Nō. Princeton, N.J.: Princeton University Press, 1988.
[169]
A. Thorpe, ‘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, vol. 5, no. 3, pp. 321–333, 2014, doi: 10.1080/19443927.2014.940113.
[170]
T. Nogami, Japanese Noh Plays: How to See Them, vol. 2. Tokyo: Board of Tourist Industry, Japanese Government Railways, 1934.
[171]
R. Tyler, Japanese No dramas. London: Penguin, 1992.
[172]
N. Umewaka, ‘The Inner World of The No’, Contemporary Theatre Review, vol. 1, no. 2, pp. 29–38, 1994, doi: 10.1080/10486809408568262.
[173]
H. P. Varley, Japanese Culture, 4th Edition. Honolulu: University of Hawaiʻi Press, 2000.
[174]
R. Yamanaka, ‘Expressive Style in Noh: Monologue, Memory and Movement’, in Expressions of the Invisible: A Comparative Study of Noh and Other Theatrical Traditions, vol. 3, Tokyo: The Nogami Memorial Noh theatre Research Institure of Hosei University, 2015.
[175]
M. Zeami, On the Art of the No Drama: The Major Treatises of Zeami. Princeton, N.J.: Princeton University Press, 1984.
[176]
T. B. Hare and M. Zeami, Zeami: Performance Notes. New York: Columbia University Press, 2008.