Acting Techniques of the Noh Classical Theatre of Japan, Instructional Media Center, Michigan State University, 1980
Albright, Daniel, ‘Pound, Yeats, and the Noh Theater’, Iowa Review, 15.2 (1985), pp. 34–50 <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, Maria P., ‘Bertolt Brecht and the Noh Drama’, Modern Drama, 11 (1968), pp. 122–31 <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, Mariko, and Judy Halebsky, ‘Innovation in Nō: Matsui Akira Continues a Tradition of Change’, Asian Theatre Journal, 31.1 (2014), pp. 126–52, doi:10.1353/atj.2014.0028
Appadurai, Arjun, ‘Disjuncture and Difference in the Global Cultural Economy’, in Modernity at Large: Cultural Dimensions of Globalization (University of Minnesota Press, 1996), v. 1 <http://hdl.handle.net/2027/heb.06472>
——, ‘Disjuncture and Difference in the Global Cultural Economy’, in Modernity at Large: Cultural Dimensions of Globalization (University of Minnesota Press, 1996)
Arcari, Jason, ‘Treasuring the Secret Within: Grotowski and the Flower’, Theatre, Dance and Performance Training, 1.1 (2010), pp. 4–21, doi:10.1080/19443920903432452
Arlington, L. C., The Chinese Drama: From the Earliest Times Until Today (Kelly and Walsh, 1930)
Arnold, Nicholas, ‘The Barter Concept and Practices of Eugenio Barba’s Odin Theatre: Cultural Exchange or Cultural Colonialism?’, The European Legacy, 1.3 (1996), pp. 1207–12, doi:10.1080/10848779608579551
Banu, Georges, ‘The Absent Presence’, in The Intercultural Performance Reader (Routledge, 1996)
Barba, Eugenio, ‘The Dilated Body’, in The Dilated Body, Followed by the Gospel According to Oxyrhincus, ed. by Richard Fowler (Zeami Libri, 1985), pp. 11–32
——, The Paper Canoe: A Guide to Theatre Anthropology (Routledge, 1994) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179536>
——, and Richard Fowler, The Paper Canoe: A Guide to Theatre Anthropology (Routledge, 1995)
——, and Nicola Savarese, A Dictionary of Theatre Anthropology: The Secret Art of the Performer, 2nd ed (Routledge, 2006)
——, and Nicola Savarese, A Dictionary of Theatre Anthropology: The Secret Art of the Performer, 2nd ed (Routledge, 2006) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668433>
Barnes, Peter, ‘Working With Yukio Ninagawa’, New Theatre Quarterly, 8.32 (1992), pp. 389–91, doi:10.1017/S0266464X00007181
Bethe, M., and K. Brazell, ‘The Practice of Noh Theatre’, in By Means of Performance: Intercultural Studies of Theatre and Ritual (Cambridge University Press, 1990)
Bethe, Monica, Dance in the No Theater: 1 (Cornell Univ East Asia Program East Asia Series, 1982)
Bharucha, Rustom, ‘Foreign Asia / Foreign Shakespeare: Dissenting Notes on New Asian Interculturality, Postcoloniality, and Recolonization’, Theatre Journal, 56.1 (2004), pp. 1–28, doi:10.1353/tj.2004.0004
——, Theatre and the World: Performance and the Politics of Culture, [Rev. ed.] (Routledge, 1993)
——, Theatre and the World: Performance and the Politics of Culture (Routledge, 1993) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179242>
Bonds, Alexandra B., Beijing Opera Costumes: The Visual Communication of Character and Culture (University of Hawai’i Press, 2008)
Borlik, Todd A., ‘A Season in Intercultural Limbo: Ninagawa Yukio’s Doctor Faustus, Theatre Cocoon, Tokyo’, Shakespeare Quarterly, 62.3 (2011), pp. 444–56, doi:10.1353/shq.2011.0063
Brandon, James R., Nô and Kyôgen in the Contemporary World (University of Hawai’i Press, 1997)
Braun, Edward, Meyerhold: A Revolution in Theatre, 2nd ed., rev.exp (Methuen, 1995)
Brazell, Karen, and James T. Araki, Traditional Japanese Theater: An Anthology of Plays (Columbia University Press, 1998)
Brecht, Bertolt, ‘Alienation Effects in Chinese Acting’, in Brecht on Theatre: The Development of an Aesthetic (Methuen, 1964)
——, and others, The Caucasian Chalk Circle, (London), published online 1984, electronic resource, doi:10.5040/9781408162965.00000022
——, and others, The Caucasian Chalk Circle (Methuen, 1984)
——, Wolfgang Sauerländer, and Bertolt Brecht, He Who Says No (Bloomsbury, 2014), doi:10.5040/9781408163160.00000040
——, Wolfgang Sauerländer, and Bertolt Brecht, He Who Says Yes (Bloomsbury, 2014), doi:10.5040/9781408163160.00000034
Brook, Peter, ‘The Culture of Links’, in The Intercultural Performance Reader (Routledge, 1996)
——, The Empty Space (Penguin, 1990)
——, and Jonathan Kalb, ‘The Mahabharata Twenty-Five Years Later’, PAJ: A Journal of Performance and Art, 32.3 (2010), pp. 63–71, doi:10.1162/PAJJ_a_00009
Brusák, K., ‘Signs in the Chinese Theater’, in Semiotics of Art: Prague School Contributions (MIT, 1976)
Canckini, Garcia, ‘Theatre and Performance in the Age of Global Communications, 1950-Present’, in Theatre Histories: An Introduction (Routledge, 2010), pp. 409–24 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203879177>
Canclini, Garcia, ‘Theatre and Performance in the Age of Global Communications, 1950-Present’, in Theatre Histories: An Introduction (Routledge, 2006), pp. 409–24
Carlson, Marvin, ‘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 (Narr, 1990), Bd.2, pp. 49–56 <https://contentstore.cla.co.uk/secure/link?id=98f7675d-83cc-e811-80cd-005056af4099>
Chang, Donald, John D. Mitchell, and Roger Yeu, ‘How the Chinese Actor Trains: Interviews with Two Peking Opera Performers.’, Educational Theatre Journal, 26 (1974), pp. 183–91 <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, Margaret, Trance and Transformation of the Actor in Japanese Noh and Balinese Masked Dance-Drama (E. Mellen, 2004), v. 30
Crump, J. I., and William P. Malm, Chinese and Japanese Music-Dramas (Center for Chinese Studies, University of Michigan, 1975), no. 19
Dolby, William, A History of Chinese Drama (Elek, 1976)
Drain, Richard, ‘Part V: The Global Dimension’, in Twentieth-Century Theatre: A Sourcebook (Routledge, 1995)
Duchesne, I., ‘The Chinese Opera Star: Roles and Identity’, in Boundaries in China (Reaktion, 1994) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=475105>
Ernst, Earle, ‘The Influence of Japanese Theatrical Style on Western Theatre’, Educational Theatre Journal, 21.2 (1969), pp. 127–38, doi:10.2307/3205628
Evans, Megan, ‘"Brand China” on the World Stage: Jingju, the Olympics, and Globalization’, TDR/The Drama Review, 56.2 (2012), pp. 113–30, doi:10.1162/DRAM_a_00170
Fei, Faye Chunfang, Chinese Theories of Theater and Performance From Confucius to the Present (University of Michigan Press, 1999)
——, and William Huizhu Sun, ‘Othello and Beijing Opera: Appropriation as a Two-Way Street’, TDR/The Drama Review, 50.1 (2006), pp. 120–33, doi:10.1162/dram.2006.50.1.120
Fischer-Lichte, Erika, Torsten Jost, and Saskya Iris Jain (eds), The Politics of Interweaving Performance Cultures: Beyond Postcolonialism (Routledge, 2014), xxxiii
——, Torsten Jost, and Saskya Iris Jain (eds), The Politics of Interweaving Performance Cultures Beyond Postcolonialism (Routledge, 2014), xxxiii <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1596887>
——, Josephine Riley, and Michael Gissenwehrer, The Dramatic Touch of Difference: Theatre, Own and Foreign (Narr, 1990), ii
Gilbert, Helen, and Jacqueline Lo, Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia (Palgrave Macmillan, 2007)
——, and Jacqueline Lo, Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia (Palgrave Macmillan, 2008)
Goldstein, Joshua, Drama Kings: Players and Publics in the Re-Creation of Peking Opera, 1870-1937 (University of California Press, 2007)
Graham-Jones, Jean, ‘Editorial Comment: Theorizing Globalization Through Theatre’, Theatre Journal, 57.3 (2005), pp. viii–xvi, doi:10.1353/tj.2005.0106
Grehan, Helena, ‘Theatre Works’ Desdemona: Fusing Technology and Tradition’, TDR/The Drama Review, 45.3 (2001), pp. 113–25, doi:10.1162/10542040152587141
Griffiths, David, The Training of Noh Actors and the Dove (Harwood Academic Publrs, 1998), v.2
Grotowski, Jerzy, ‘Around Theatre: The Orient – The Occident’, in The Intercultural Performance Reader (Routledge, 1996)
——, and Eugenio Barba, Towards a Poor Theatre (Methuen, 1969)
Guangrun, Rong, ‘Brecht’s Influence in China: A Chinese Perspective’, Modern Drama, 42.2 (1999), pp. 247–52 <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, Elizabeth, Peking Opera: A Short Guide (Oxford University Press, 1966)
Hare, Thomas Blenman, Zeami’s Style: The Noh Plays of Zeami Motokiyo (Stanford University Press, 1986)
——, and M. Zeami, Zeami: Performance Notes (Columbia University Press, 2008)
Holledge, Julie, and Joanne Tompkins, Women’s Intercultural Performance (Routledge, 2000)
Holmberg, Arthur, The Theatre of Robert Wilson (Cambridge University Press, 1996)
Horie-Webber, Ann, Japanese Theatre and the West (Harwood, 1994), v.6, pts.1–2
Hsu, T. C., The Chinese Conception of the Theatre (University of Washington Press, 1985)
Ikegami, Eiko, The Taming of the Samurai: Honorific Individualism and the Making of Modern Japan (Harvard University Press, 1995)
Im, Yeeyon, ‘The Pitfalls of Intercultural Discourse: The Case of Yukio Ninagaawa’, Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship, 22.4 (2004), pp. 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>
Immoos, Thomas, and Fred Mayer, Japanese Theatre (Rizzoli, 1977)
Keene, Donald, No; and, Bunraku: Two Forms of Japanese Theatre (Columbia University Press, 1990)
Kiernander, Adrian, Ariane Mnouchkine and the Théâtre Du Soleil (Cambridge University Press, 1993)
Knowles, Richard Paul, Theatre & Interculturalism (Palgrave Macmillan, 2010)
Konparu, Kunio, The Noh Theater: Principles and Perspectives (Weatherhill/Tankosha, 1983)
Lan, Yong Li, ‘Ong Keng Sen’s Desdemona, Ugliness, and the Intercultural Performative’, Theatre Journal, 56.2 (2004), pp. 251–73, doi:10.1353/tj.2004.0065
Latrell, Craig, ‘After Appropriation’, TDR (Cambridge, Mass.), 44.4 (2000) <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, Daphne Pi-Wei, Alternative Chinese Opera in the Age of Globalization: Performing Zero (Palgrave Macmillan, 2011)
Leiter, Samuel L., and Benito Ortolani, Zeami and the No Theatre in the World (Center for Advanced Studies in Theatre Arts, 1998)
Li, Ruru, The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World (Hong Kong University Press, 2010)
——, The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World (Hong Kong University Press, 2010) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677455>
Li, Siu Leung, Cross-Dressing in Chinese Opera (Hong Kong University Press, 2006)
Li, Siuleung, Cross-Dressing in Chinese Opera (Hong Kong University Press, 2003) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=677456>
Lo, Jacqueline, and Helen Gilbert, ‘Toward a Topography of Cross-Cultural Theatre Praxis’, TDR/The Drama Review, 46.3 (2002), pp. 31–53
Lonergan, Patrick, Theatre and Globalization: Irish Drama in the Celtic Tiger Era (Palgrave Macmillan, 2009)
Ma, Qian, Women in Traditional Chinese Theater: The Heroine’s Play (University Press of America, 2005)
Mackerras, Colin, Chinese Theater: From Its Origins to the Present Day (University of Hawaii Press, 1983)
——, The Rise of the Peking Opera, 1770-1870: Social Aspects of the Theatre in Manchu China (Clarendon Press, 1972)
Marranca, Bonnie, and others, Theatre of Images, New ed (Johns Hopkins University Press, 1996)
——, and Gautam Dasgupta, Interculturalism and Performance: Writings for PAJ (PAJ, 1991)
Martin, John, The Intercultural Performance Handbook (Routledge, 2004)
Maruoka, Daiji, and Tatsuo Yoshikoshi, Noh (Hoikusha, 1969)
Matsui, Akira, David Hughes, and Richard Emmert, Inside Noh: 1-2, BBC Radio Off-air, 1991
McDonald, Keiko I., Japanese Classical Theater in Films (Fairleigh Dickinson University Press, 1993)
Meierkhold, Vsevolod Emilevich, and Edward Braun, Meyerhold on Theatre, Rev. ed (Methuen Drama, 1998)
Meyer-Dinkgrafe, Daniel, ‘Approaches to Acting in the Intercultural Paradigm’, in Approaches to Acting: Past and Present (Continuum, 2001), pp. 137–58
Miller, Judith Graves, Ariane Mnouchkine (Routledge, 2007)
——, Ariane Mnouchkine (Routledge, 2007) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=308538>
Min, Tian, ‘Male Dan: The Paradox of Sex, Acting, and Perception in Traditional Chinese Theatre’, Asian Theatre Journal, 17.1 (2000), pp. 78–97, doi:10.1353/atj.2000.0007
Mitra, Royona, Akram Khan: Dancing New Interculturalism (Palgrave Macmillan, 2015)
Mnouchkine, Ariane, ‘The Theatre Is Oriental’, in The Intercultural Performance Reader (Routledge, 1996)
Moody, David, ‘Peter Brook’s Heart of Light: “Primitivism” and Intercultural Theatre’, New Theatre Quarterly, 11.41 (1995), pp. 33–39, doi:10.1017/S0266464X0000885X
Murray, Simon, and John Keefe, ‘Bodies and Cultures’, in Physical Theatres: A Critical Introduction (Routledge, 2007), pp. 185–203
——, and John Keefe, ‘Bodies and Cultures’, in Physical Theatres: A Critical Introduction (Routledge, 2007), pp. 185–203 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203012826>
Nascimento, Claudia Tatinge, ‘Tenuous Boundaries: Intra- and Intercultural Embodiments’, in Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge (Routledge, 2009), ix, pp. 53–76
——, ‘Tenuous Boundaries: Intra- and Intercultural Embodiments’, in Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge (Routledge, 2009), pp. 53–76 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203891957>
Nogami, Toyoichirō, Japanese Noh Plays: How to See Them (Board of Tourist Industry, Japanese Government Railways, 1934), ii
Norridge, Z., ‘Dancing the Multicultural Conversation? Critical Responses to Akram Khan’s Work in the Context of Pluralist Poetics’, Forum for Modern Language Studies, 46.4 (2010), pp. 415–30, doi:10.1093/fmls/cqq019
Onderdelinden, Siaak, ‘Brecht and Asia’, in Theatre Intercontinental: Forms, Functions, Correspondences (Rodofi, 1993), i
Ortolani, Benito, The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Rev. ed (Princeton University Press, 1995)
Pavis, Patrice, ‘Culture and Mise En Scene’, in Theatre at the Crossroads of Culture (Routledge, 1992), pp. 1–23
——, ‘Culture and Mise En Scene’, in Theatre at the Crossroads of Culture (Routledge, 1992), pp. 1–23 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203359334>
——, The Intercultural Performance Reader (Routledge, 1996)
Peterson, William, ‘Consuming the Asian Other in Singapore: Interculturalism in Theatreworks’ Desdemona’, Theatre Research International, 28.1 (2003), pp. 79–95, doi:10.1017/S0307883303000166
Pitches, Jonathan, Vsevolod Meyerhold (Routledge, 2003)
Plowright, Poh Sim, Mediums, Puppets, and the Human Actor in the Theatres of the East (E. Mellen Press, 2002), v. 4
Quinn, Shelley Fenno, Developing Zeami: The Noh Actor’s Attunement in Practice (University of Hawaii Press, 2005)
Rafolt, Leo, ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, no. 4 (2015), pp. 95–121, doi:10.11649/ch.2015.00610.11649/ch.2015.006
——, ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, no. 4 (2015), pp. 95–121, doi:10.11649/ch.2015.00610.11649/ch.2015.006
——, ‘Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli’, Colloquia Humanistica, no. 4 (2015), pp. 95–121, doi:10.11649/ch.2015.00610.11649/ch.2015.006
Rebellato, Dan, and Mark Ravenhill, Theatre & Globalization (Palgrave Macmillan, 2009)
Richie, Donald, ‘Asian Theatre and Grotowski’, in The Grotowski Sourcebook (Routledge & Kegan Paul, 1997)
Riley, Jo, Chinese Theatre and the Actor in Performance (Cambridge University Press, 1997)
Scholz-Cionca, Stanca, and Samuel L Leiter, Japanese Theatre and the International Stage (Brill, 2001), v. 12
Scott, A. C., Actors Are Madmen: Notebook of a Theatregoer in China (University of Wisconsin Press, 1982)
Scott, Adolphe Clarence, The Classical Theatre of China (Allen & Unwin, 1957)
——, Traditional Chinese Plays: Volume 1 (Univ.Wisconsin P., 1970)
——, Traditional Chinese Plays: Volume 2 (University of Wisconsin Press, 1969)
——, Traditional Chinese Plays: Volume 3 (University of Wisconsin Press, 1975)
Sekine, Masara, and Christopher Murray, Yeats and the Noh: A Comparative Study (Smythe, 1990), xxxviii
Sen, O. K., ‘The New Chinoiserie’, Theater, 37.1 (2007), pp. 55–68, doi:10.1215/01610775-2006-010
Sen, Ong Keng, ‘Encounters’, TDR/The Drama Review, 45.3 (2001), pp. 126–33, doi:10.1162/10542040152587150
Shen, Grant, ‘Chinese Chuanqi Opera in English: Directing The West Wing With Modern Music’, Asian Theatre Journal, 29.1 (2012), pp. 183–205, doi:10.1353/atj.2012.0016
Shevtsova, Maria, ‘Interculturalism, Aestheticism, Orientalism: Starting From Peter Brook’s Mahabharata’, Theatre Research International, 22.02 (1997), pp. 98–104, doi:10.1017/S0307883300020502
Singleton, Brian, ‘Receiving Les Atrides Productively: Mnouchkine’s Intercultural Signs as Intertexts’, Theatre Research International, 22.1 (1997), pp. 19–23, doi:10.1017/S030788330001590X
Smethurst, Mae J, The Artistry of Aeschylus and Zeami: A Comparative Study of Greek Tragedy and Nō (Princeton University Press, 1988)
Sugawara, Makoto, and Burritt Sabin, Lives of Master Swordsmen (The East Publications, 1996)
Sun, Huizhu, and William Sun, ‘Performing Arts and Cultural Identity in the Era of Interculturalism’, TDR/The Drama Review, 53.2 (2009), pp. 7–11, doi:10.1162/dram.2009.53.2.7
Tatlow, Antony, and Tak-Wai Wong, Brecht and East Asian Theatre: The Proceedings of a Conference on Brecht in East Asian Theatre (Hong Kong University Press, 1982)
Thorpe, Ashley, ‘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 (2014), pp. 321–33, doi:10.1080/19443927.2014.940113
——, ‘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 (2018), pp. 81–98, doi:10.1080/19443927.2017.1386231
——, ‘Style, Experimentation and Jingju (Beijing Opera) as a Decentred Multiplicity’, Studies in Theatre and Performance, 31.3 (2011), pp. 275–91, doi:10.1386/stp.31.3.275_1
——, The Role of the Chou (‘Clown’) in Traditional Chinese Drama: Comedy, Criticism, and Cosmology on the Chinese Stage (Edwin Mellen Press, 2007)
——, ‘Transforming Tradition: Performances of Jingju (“Beijing Opera”) in the Uk’, Theatre Research International, 36.1 (2011), pp. 33–46, doi:10.1017/S0307883310000702
Tian, Min, ‘Authenticity and Usability, or "Welding the Unweldable”: Meyerhold’s Refraction of Japanese Theatre’, Asian Theatre Journal, 33.2 (2016), pp. 310–46, doi:10.1353/atj.2016.0033
——, ‘Meyerhold Meets Mei Lanfang: Staging the Grotesque and the Beautiful’, Comparative Drama, 33.2 (1999), pp. 234–69, doi:10.1353/cdr.1999.0039
——, The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre (Hong Kong University Press, 2008)
——, The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre (Hong Kong University Press, 2008)
Trivedi, Poonam, and Ryuta Minami, Re-Playing Shakespeare in Asia (Routledge, 2010), ii
——, and Ryuta Minami, Re-Playing Shakespeare in Asia (Routledge, 2010), v. 2 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=465399>
Tyler, Royall, Japanese No Dramas (Penguin, 1992)
Umewaka, Naohiko, ‘The Inner World of The No’, Contemporary Theatre Review, 1.2 (1994), pp. 29–38, doi:10.1080/10486809408568262
Varley, H. Paul, Japanese Culture, 4th Edition (University of Hawaiʻi Press, 2000)
Watson, Ian, Performer Training: Developments Across Cultures (Harwood Academic, 2001), xxxviii
——, ‘The Dynamics of Barter’, in Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002)
——, ‘The Dynamics of Barter’, in Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002)
——, Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993)
——, ‘Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’’, in Twentieth Century Actor Training (Routledge, 2000)
——, ‘Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’’, in Twentieth Century Actor Training (Routledge, 2000) <http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=33513>
Weiler, Christel, ‘Japanese Traces in Robert Wilson’s Productions’, in The Intercultural Performance Reader (Routledge, 1996)
Wetmore, Kevin J., Siyuan Liu, and Erin B. Mee, Modern Asian Theatre and Performance 1900-2000 (Bloomsbury Methuen Drama, 2014)
——, Siyuan Liu, and Erin B. Mee, Modern Asian Theatre and Performance 1900-2000 (Bloomsbury Methuen Drama, 2014) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1645651>
Wichmann, Elizabeth, Listening to Theatre: The Aural Dimension of Beijing Opera (University of Hawaii Press, 1991)
——, ‘Tradition and Innovation in Contemporary Beijing Opera Performance’, TDR (1988-), 34.1 (1990), pp. 146–78, doi:10.2307/1146013
Wichmann-Walczak, E., ‘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, 2005)
Wichmann-Walczak, Elizabeth, ‘"Reform” at the Shanghai Jingju Company and Its Impact on Creative Authority and Repertory’, TDR/The Drama Review, 44.4 (2000), pp. 96–119, doi:10.1162/10542040051058500
Williams, Gary Jay, ‘Interculturalism, Hybridity, Tourism: The Performing World on New Terms’, in Theatre Histories: An Introduction (Routledge, 2006), pp. 485–519
——, ‘Interculturalism, Hybridity, Tourism: The Performing World on New Terms’, in Theatre Histories: An Introduction (Routledge, 2010), pp. 485–519 <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203879177>
Wolford, Lisa, ‘Grotowski’s Vision of the Actor: The Search for Contact’, in Twentieth Century Actor Training (Routledge, 2000)
——, ‘Grotowski’s Vision of the Actor: The Search for Contact’, in Twentieth Century Actor Training (Routledge, 2000) <http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=33513>
Yamanaka, R., ‘Expressive Style in Noh: Monologue, Memory and Movement’, in Expressions of the Invisible: A Comparative Study of Noh and Other Theatrical Traditions (The Nogami Memorial Noh theatre Research Institure of Hosei University, 2015), iii
Yan, H., ‘Theatricality in Classical Chinese Drama’, in Theatricality (Cambridge University Press, 2003)
Yarrow, Ralph, ‘Animating the Intercultural: Revisiting Peter Brook’s Practice and the Somatics of Performance’, Indian Theatre Journal, 1.2 (2017), pp. 147–56, doi:10.1386/itj.1.2.147_1
Zarrilli, Phillip B., Psychophysical Acting: An Intercultural Approach After Stanislavski (Routledge, 2009)
——, and Peter Hulton, Psychophysical Acting: An Intercultural Approach After Stanislavski (Routledge, 2009) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1047000>
Zeami, M., On the Art of the No Drama: The Major Treatises of Zeami, ed. by Yamazaki Masakazu and J. Thomas Rimer (Princeton University Press, 1984)
Zung, Cecilia S. L., Secrets of the Chinese Drama: A Complete Explanatory Guide to Actions and Symbols as Seen in the Performance of Chinese Dramas (Kelly and Walsh, 1937)
