1.
Canclini, G.: Theatre and Performance in the Age of Global Communications, 1950-Present. In: Theatre Histories: An Introduction. pp. 409–424. Routledge, London (2006).
2.
Canckini, G.: Theatre and Performance in the Age of Global Communications, 1950-Present. In: Theatre Histories: An Introduction. pp. 409–424. Routledge, New York (2010).
3.
Williams, G.J.: Interculturalism, Hybridity, Tourism: The Performing World on New Terms. In: Theatre Histories: An Introduction. pp. 485–519. Routledge, London (2006).
4.
Williams, G.J.: Interculturalism, Hybridity, Tourism: The Performing World on New Terms. In: Theatre Histories: An Introduction. pp. 485–519. Routledge, New York (2010).
5.
Carlson, M.: 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. pp. 49–56. Narr, Tübingen (1990).
6.
Murray, S., Keefe, J.: Bodies and Cultures. In: Physical Theatres: A Critical Introduction. pp. 185–203. Routledge, New York (2007).
7.
Murray, S., Keefe, J.: Bodies and Cultures. In: Physical Theatres: A Critical Introduction. pp. 185–203. Routledge, London (2007).
8.
Pavis, P.: Culture and Mise en Scene. In: Theatre at the Crossroads of Culture. pp. 1–23. Routledge, London (1992).
9.
Pavis, P.: Culture and Mise en Scene. In: Theatre at the Crossroads of Culture. pp. 1–23. Routledge, London (1992).
10.
Barba, E.: The Dilated Body. In: Fowler, R. (ed.) The Dilated Body, Followed by the Gospel According to Oxyrhincus. pp. 11–32. Zeami Libri, Rome (1985).
11.
Lo, J., Gilbert, H.: Toward a Topography of Cross-Cultural Theatre Praxis. TDR/The Drama Review. 46, 31–53 (2002).
12.
Nascimento, C.T.: Tenuous Boundaries: Intra- and Intercultural Embodiments. In: Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge. pp. 53–76. Routledge, New York, NY (2009).
13.
Nascimento, C.T.: Tenuous Boundaries: Intra- and Intercultural Embodiments. In: Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge. pp. 53–76. Routledge, London (2009).
14.
Thorpe, A.: 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, 81–98 (2018). https://doi.org/10.1080/19443927.2017.1386231.
15.
Appadurai, A.: Disjuncture and Difference in the Global Cultural Economy. In: Modernity at Large: Cultural Dimensions of Globalization. University of Minnesota Press, Minneapolis (1996).
16.
Appadurai, A.: Disjuncture and Difference in the Global Cultural Economy. In: Modernity at Large: Cultural Dimensions of Globalization. University of Minnesota Press, Minneapolis, Minn (1996).
17.
Graham-Jones, J.: Editorial Comment: Theorizing Globalization Through Theatre. Theatre Journal. 57, viii–xvi (2005). https://doi.org/10.1353/tj.2005.0106.
18.
Lonergan, P.: Theatre and Globalization: Irish Drama in the Celtic Tiger Era. Palgrave Macmillan, Basingstoke (2009).
19.
Rebellato, D., Ravenhill, M.: Theatre & Globalization. Palgrave Macmillan, Basingstoke (2009).
20.
Drain, R.: Part V: The Global Dimension. In: Twentieth-Century Theatre: A Sourcebook. Routledge, London (1995).
21.
Fischer-Lichte, E., Riley, J., Gissenwehrer, M.: The Dramatic Touch of Difference: Theatre, Own and Foreign. Narr, Tübingen (1990).
22.
Fischer-Lichte, E., Jost, T., Jain, S.I. eds: The Politics of Interweaving Performance Cultures: Beyond Postcolonialism. Routledge, New York (2014).
23.
Fischer-Lichte, E., Jost, T., Jain, S.I. eds: The Politics of Interweaving Performance Cultures Beyond Postcolonialism. Routledge, New York (2014).
24.
Gilbert, H., Lo, J.: Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia. Palgrave Macmillan, New York (2007).
25.
Gilbert, H., Lo, J.: Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia. Palgrave Macmillan, Houndmills (2008).
26.
Holledge, J., Tompkins, J.: Women’s Intercultural Performance. Routledge, London (2000).
27.
Knowles, R.P.: Theatre & Interculturalism. Palgrave Macmillan, Basingstoke (2010).
28.
Latrell, C.: After Appropriation. TDR (Cambridge, Mass.). 44, (2000).
29.
Marranca, B., Dasgupta, G.: Interculturalism and Performance: Writings for PAJ. PAJ, New York (1991).
30.
Martin, J.: The Intercultural Performance Handbook. Routledge, London (2004).
31.
Meyer-Dinkgrafe, D.: Approaches to Acting in the Intercultural Paradigm. In: Approaches to Acting: Past and Present. pp. 137–158. Continuum, London (2001).
32.
Pavis, P.: The Intercultural Performance Reader. Routledge, London (1996).
33.
Shevtsova, M.: Interculturalism, Aestheticism, Orientalism: Starting From Peter Brook’s Mahabharata. Theatre Research International. 22, 98–104 (1997). https://doi.org/10.1017/S0307883300020502.
34.
Watson, I.: The Dynamics of Barter. In: Negotiating Cultures: Eugenio Barba and the Intercultural Debate. Manchester University Press, Manchester (2002).
35.
Watson, I.: Performer Training: Developments Across Cultures. Harwood Academic, Australia (2001).
36.
Wetmore, K.J., Liu, S., Mee, E.B.: Modern Asian Theatre and Performance 1900-2000. Bloomsbury Methuen Drama, London (2014).
37.
Wetmore, K.J., Liu, S., Mee, E.B.: Modern Asian Theatre and Performance 1900-2000. Bloomsbury Methuen Drama, London (2014).
38.
Arnold, N.: The Barter Concept and Practices of Eugenio Barba’s Odin Theatre: Cultural Exchange or Cultural Colonialism? The European Legacy. 1, 1207–1212 (1996). https://doi.org/10.1080/10848779608579551.
39.
Barba, E., Fowler, R.: The Paper Canoe: A Guide to Theatre Anthropology. Routledge, London (1995).
40.
Barba, E.: The Paper Canoe: A Guide to Theatre Anthropology. Routledge, London (1994).
41.
Barba, E., Savarese, N.: A Dictionary of Theatre Anthropology: The Secret Art of the Performer. Routledge, London (2006).
42.
Barba, E., Savarese, N.: A Dictionary of Theatre Anthropology: The Secret Art of the Performer. Routledge, London (2006).
43.
Rafolt, L.: Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli. Colloquia Humanistica. 95–121 (2015). https://doi.org/10.11649/ch.2015.00610.11649/ch.2015.006.
44.
Watson, I.: Towards a Third Theatre: Eugenio Barba and the Odin Teatret. Routledge, London (1993).
45.
Watson, I.: Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’. In: Twentieth Century Actor Training. Routledge, New York (2000).
46.
Watson, I.: Training With Eugenio Barba: Acting Principles, the Pre- Expressive and ‘Personal Temperature’. In: Twentieth Century Actor Training. Routledge, London (2000).
47.
Watson, I.: The Dynamics of Barter. In: Negotiating Cultures: Eugenio Barba and the Intercultural Debate. Manchester University Press, Manchester (2002).
48.
Brecht, B., Sauerländer, W., Brecht, B.: He Who Says Yes. Bloomsbury, London (2014). https://doi.org/10.5040/9781408163160.00000034.
49.
Brecht, B., Sauerländer, W., Brecht, B.: He Who Says No. Bloomsbury, London (2014). https://doi.org/10.5040/9781408163160.00000040.
50.
Brecht, B., Stern, J., Stern, T., Auden, W.H., Rorrison, H.: The Caucasian Chalk Circle. Methuen, London (1984).
51.
Brecht, B., Stern, J., Stern, T., Auden, W.H., Rorrison, H.: The Caucasian Chalk Circle. (1984). https://doi.org/10.5040/9781408162965.00000022.
52.
Brecht, B.: Alienation Effects in Chinese Acting. In: Brecht on Theatre: The Development of an Aesthetic. Methuen, London (1964).
53.
Onderdelinden, S.: Brecht and Asia. In: Theatre Intercontinental: Forms, Functions, Correspondences. Rodofi, Amsterdam (1993).
54.
Guangrun, R.: Brecht’s Influence in China: A Chinese Perspective. Modern Drama. 42, 247–252 (1999).
55.
Tatlow, A., Wong, T.-W.: Brecht and East Asian Theatre: The Proceedings of a Conference on Brecht in East Asian Theatre. Hong Kong University Press, [Hong Kong] (1982).
56.
Tian, M.: The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre. Hong Kong University Press, Hong Kong (2008).
57.
Bharucha, R.: Theatre and the World: Performance and the Politics of Culture. Routledge, London (1993).
58.
Bharucha, R.: Theatre and the World: Performance and the Politics of Culture. Routledge, London (1993).
59.
Brook, P.: The Empty Space. , Penguin (1990).
60.
Brook, P.: The Culture of Links. In: The Intercultural Performance Reader. Routledge, London (1996).
61.
Brook, P., Kalb, J.: The Mahabharata Twenty-Five Years Later. PAJ: A Journal of Performance and Art. 32, 63–71 (2010). https://doi.org/10.1162/PAJJ_a_00009.
62.
Moody, D.: Peter Brook’s Heart of Light: ‘Primitivism’ and Intercultural Theatre. New Theatre Quarterly. 11, 33–39 (1995). https://doi.org/10.1017/S0266464X0000885X.
63.
Banu, G.: The Absent Presence. In: The Intercultural Performance Reader. Routledge, London (1996).
64.
Grotowski, J., Barba, E.: Towards a Poor Theatre. Methuen, London (1969).
65.
Grotowski, J.: Around Theatre: The Orient – The Occident. In: The Intercultural Performance Reader. Routledge, London (1996).
66.
Rafolt, L.: Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli. Colloquia Humanistica. 95–121 (2015). https://doi.org/10.11649/ch.2015.00610.11649/ch.2015.006.
67.
Richie, D.: Asian Theatre and Grotowski. In: The Grotowski Sourcebook. Routledge & Kegan Paul, London (1997).
68.
Wolford, L.: Grotowski’s Vision of the Actor: The Search for Contact. In: Twentieth Century Actor Training. Routledge, New York (2000).
69.
Wolford, L.: Grotowski’s Vision of the Actor: The Search for Contact. In: Twentieth Century Actor Training. Routledge, London (2000).
70.
Yarrow, R.: Animating the Intercultural: Revisiting Peter Brook’s Practice and the Somatics of Performance. Indian Theatre Journal. 1, 147–156 (2017). https://doi.org/10.1386/itj.1.2.147_1.
71.
Mitra, R.: Akram Khan: Dancing New Interculturalism. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire (2015).
72.
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, 415–430 (2010). https://doi.org/10.1093/fmls/cqq019.
73.
Kiernander, A.: Ariane Mnouchkine and the Théâtre du Soleil. Cambridge University Press, Cambridge (1993).
74.
Miller, J.G.: Ariane Mnouchkine. Routledge, New York (2007).
75.
Miller, J.G.: Ariane Mnouchkine. Routledge, London (2007).
76.
Mnouchkine, A.: The Theatre is Oriental. In: The Intercultural Performance Reader. Routledge, London (1996).
77.
Singleton, B.: Receiving Les Atrides Productively: Mnouchkine’s Intercultural Signs as Intertexts. Theatre Research International. 22, 19–23 (1997). https://doi.org/10.1017/S030788330001590X.
78.
Braun, E.: Meyerhold: A Revolution in Theatre. Methuen, London (1995).
79.
Meierkhold, V.E., Braun, E.: Meyerhold on Theatre. Methuen Drama, London (1998).
80.
Pitches, J.: Vsevolod Meyerhold. Routledge, London (2003).
81.
Tian, M.: Meyerhold Meets Mei Lanfang: Staging the Grotesque and the Beautiful. Comparative Drama. 33, 234–269 (1999). https://doi.org/10.1353/cdr.1999.0039.
82.
Tian, M.: Authenticity and Usability, or "Welding the Unweldable”: Meyerhold’s Refraction of Japanese Theatre. Asian Theatre Journal. 33, 310–346 (2016). https://doi.org/10.1353/atj.2016.0033.
83.
Barnes, P.: Working With Yukio Ninagawa. New Theatre Quarterly. 8, 389–391 (1992). https://doi.org/10.1017/S0266464X00007181.
84.
Borlik, T.A.: A Season in Intercultural Limbo: Ninagawa Yukio’s Doctor Faustus, Theatre Cocoon, Tokyo. Shakespeare Quarterly. 62, 444–456 (2011). https://doi.org/10.1353/shq.2011.0063.
85.
Im, Y.: The Pitfalls of Intercultural Discourse: The Case of Yukio Ninagaawa. Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship. 22, 7–30 (2004).
86.
Trivedi, P., Minami, R.: Re-playing Shakespeare in Asia. Routledge, New York (2010).
87.
Trivedi, P., Minami, R.: Re-playing Shakespeare in Asia. Routledge, New York (2010).
88.
Bharucha, R.: Foreign Asia / Foreign Shakespeare: Dissenting Notes on New Asian Interculturality, Postcoloniality, and Recolonization. Theatre Journal. 56, 1–28 (2004). https://doi.org/10.1353/tj.2004.0004.
89.
Grehan, H.: Theatre Works’ Desdemona: Fusing Technology and Tradition. TDR/The Drama Review. 45, 113–125 (2001). https://doi.org/10.1162/10542040152587141.
90.
Lan, Y.L.: Ong Keng Sen’s Desdemona, Ugliness, and the Intercultural Performative. Theatre Journal. 56, 251–273 (2004). https://doi.org/10.1353/tj.2004.0065.
91.
Sen, O.K.: Encounters. TDR/The Drama Review. 45, 126–133 (2001). https://doi.org/10.1162/10542040152587150.
92.
Sen, O.K.: The New Chinoiserie. Theater. 37, 55–68 (2007). https://doi.org/10.1215/01610775-2006-010.
93.
Peterson, W.: Consuming the Asian Other in Singapore: Interculturalism in Theatreworks’ Desdemona. Theatre Research International. 28, 79–95 (2003). https://doi.org/10.1017/S0307883303000166.
94.
Holmberg, A.: The Theatre of Robert Wilson. Cambridge University Press, Cambridge (1996).
95.
Marranca, B., Foreman, R., Wilson, R., Breuer, L.: Theatre of Images. Johns Hopkins University Press, Baltimore (1996).
96.
Weiler, C.: Japanese Traces in Robert Wilson’s Productions. In: The Intercultural Performance Reader. Routledge, London (1996).
97.
Rafolt, L.: Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli. Colloquia Humanistica. 95–121 (2015). https://doi.org/10.11649/ch.2015.00610.11649/ch.2015.006.
98.
Zarrilli, P.B.: Psychophysical Acting: An Intercultural Approach After Stanislavski. Routledge, London (2009).
99.
Zarrilli, P.B., Hulton, P.: Psychophysical Acting: An Intercultural Approach After Stanislavski. Routledge, London (2009).
100.
Arlington, L.C.: The Chinese Drama: From the Earliest Times Until Today. Kelly and Walsh, Shanghai (1930).
101.
Bonds, A.B.: Beijing Opera Costumes: The Visual Communication of Character and Culture. University of Hawai’i Press, Honolulu (2008).
102.
Brusák, K.: Signs in the Chinese Theater. In: Semiotics of Art: Prague School Contributions. MIT, Cambridge, Mass (1976).
103.
Chang, D., Mitchell, J.D., Yeu, R.: How the Chinese Actor Trains: Interviews with Two Peking Opera Performers. Educational Theatre Journal. 26, 183–91 (1974).
104.
Fei, F.C.: Chinese Theories of Theater and Performance From Confucius to the Present. University of Michigan Press, Ann Arbor, Mich (1999).
105.
Fei, F.C., Sun, W.H.: Othello and Beijing Opera: Appropriation as a Two-Way Street. TDR/The Drama Review. 50, 120–133 (2006). https://doi.org/10.1162/dram.2006.50.1.120.
106.
Crump, J.I., Malm, W.P.: Chinese and Japanese Music-Dramas. Center for Chinese Studies, University of Michigan, Ann Arbor (1975).
107.
Dolby, W.: A History of Chinese Drama. Elek, London (1976).
108.
Duchesne, I.: The Chinese Opera Star: Roles and Identity. In: Boundaries in China. Reaktion, London (1994).
109.
Evans, M.: "Brand China” on the World Stage: Jingju, the Olympics, and Globalization. TDR/The Drama Review. 56, 113–130 (2012). https://doi.org/10.1162/DRAM_a_00170.
110.
Goldstein, J.: Drama Kings: Players and Publics in the Re-Creation of Peking Opera, 1870-1937. University of California Press, Berkeley (2007).
111.
Halson, E.: Peking Opera: A Short Guide. Oxford University Press, Hong Kong (1966).
112.
Hsu, T.C.: The Chinese Conception of the Theatre. University of Washington Press, Seattle (1985).
113.
Lei, D.P.-W.: Alternative Chinese Opera in the Age of Globalization: Performing Zero. Palgrave Macmillan, Basingstoke (2011).
114.
Li, R.: The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong University Press, Hong Kong (2010).
115.
Li, R.: The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong University Press, Hong Kong (2010).
116.
Li, S.L.: Cross-Dressing in Chinese Opera. Hong Kong University Press, Hong Kong (2006).
117.
Li, S.: Cross-Dressing in Chinese Opera. Hong Kong University Press, Hong Kong (2003).
118.
Ma, Q.: Women in Traditional Chinese Theater: The Heroine’s Play. University Press of America, Lanham, Md (2005).
119.
Mackerras, C.: The Rise of the Peking Opera, 1770-1870: Social Aspects of the Theatre in Manchu China. Clarendon Press, Oxford (1972).
120.
Mackerras, C.: Chinese Theater: From Its Origins to the Present Day. University of Hawaii Press, Honolulu (1983).
121.
Min, T.: Male Dan: The Paradox of Sex, Acting, and Perception in Traditional Chinese Theatre. Asian Theatre Journal. 17, 78–97 (2000). https://doi.org/10.1353/atj.2000.0007.
122.
Tian, M.: The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre. Hong Kong University Press, Hong Kong (2008).
123.
Plowright, P.S.: Mediums, Puppets, and the Human Actor in the Theatres of the East. E. Mellen Press, Lewiston, N.Y. (2002).
124.
Riley, J.: Chinese Theatre and the Actor in Performance. Cambridge University Press, Cambridge (1997).
125.
Scott, A.C.: The Classical Theatre of China. Allen & Unwin (1957).
126.
Scott, A.C.: Traditional Chinese Plays: Volume 1. Univ.Wisconsin P. (1970).
127.
Scott, A.C.: Traditional Chinese Plays: Volume 2. University of Wisconsin Press, Madison (1969).
128.
Scott, A.C.: Traditional Chinese Plays: Volume 3. University of Wisconsin Press, Madison (1975).
129.
Scott, A.C.: Actors Are Madmen: Notebook of a Theatregoer in China. University of Wisconsin Press, Madison, Wis (1982).
130.
Shen, G.: Chinese Chuanqi Opera in English: Directing The West Wing With Modern Music. Asian Theatre Journal. 29, 183–205 (2012). https://doi.org/10.1353/atj.2012.0016.
131.
Sun, H., Sun, W.: Performing Arts and Cultural Identity in the Era of Interculturalism. TDR/The Drama Review. 53, 7–11 (2009). https://doi.org/10.1162/dram.2009.53.2.7.
132.
Thorpe, A.: The Role of the Chou (‘Clown’) in Traditional Chinese Drama: Comedy, Criticism, and Cosmology on the Chinese Stage. Edwin Mellen Press, Lewiston (2007).
133.
Thorpe, A.: Transforming Tradition: Performances of Jingju (‘Beijing Opera’) in the Uk. Theatre Research International. 36, 33–46 (2011). https://doi.org/10.1017/S0307883310000702.
134.
Thorpe, A.: Style, Experimentation and Jingju (Beijing Opera) as a Decentred Multiplicity. Studies in Theatre and Performance. 31, 275–291 (2011). https://doi.org/10.1386/stp.31.3.275_1.
135.
Wichmann, E.: Listening to Theatre: The Aural Dimension of Beijing Opera. University of Hawaii Press, Honolulu (1991).
136.
Wichmann, E.: Tradition and Innovation in Contemporary Beijing Opera Performance. TDR (1988-). 34, 146–178 (1990). https://doi.org/10.2307/1146013.
137.
Wichmann-Walczak, E.: "Reform” at the Shanghai Jingju Company and Its Impact on Creative Authority and Repertory. TDR/The Drama Review. 44, 96–119 (2000). https://doi.org/10.1162/10542040051058500.
138.
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, London (2005).
139.
Yan, H.: Theatricality in Classical Chinese Drama. In: Theatricality. Cambridge University Press, Cambridge (2003).
140.
Zung, C.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, Shanghai (1937).
141.
Albright, D.: Pound, Yeats, and the Noh Theater. Iowa Review. 15, 34–50 (1985).
142.
Alter, M.P.: Bertolt Brecht and the Noh Drama. Modern Drama. 11, 122–131 (1968).
143.
Anno, M., Halebsky, J.: Innovation in Nō: Matsui Akira Continues a Tradition of Change. Asian Theatre Journal. 31, 126–152 (2014). https://doi.org/10.1353/atj.2014.0028.
144.
Acting Techniques of the Noh Classical Theatre of Japan, (1980).
145.
Arcari, J.: Treasuring the Secret Within: Grotowski and the Flower. Theatre, Dance and Performance Training. 1, 4–21 (2010). https://doi.org/10.1080/19443920903432452.
146.
Bethe, M.: Dance in the No Theater: 1. Cornell Univ East Asia Program East Asia Series (1982).
147.
Bethe, M., Brazell, K.: The Practice of Noh Theatre. In: By Means of Performance: Intercultural Studies of Theatre and Ritual. Cambridge University Press, Cambridge (1990).
148.
Brazell, K., Araki, J.T.: Traditional Japanese Theater: An Anthology of Plays. Columbia University Press, New York (1998).
149.
Brandon, J.R.: Nô and Kyôgen in the Contemporary World. University of Hawai’i Press, Honolulu, Hawaii (1997).
150.
Coldiron, M.: Trance and Transformation of the Actor in Japanese Noh and Balinese Masked Dance-Drama. E. Mellen, Lewiston, NY (2004).
151.
Maruoka, D., Yoshikoshi, T.: Noh. Hoikusha, Osaka (1969).
152.
Ernst, E.: The Influence of Japanese Theatrical Style on Western Theatre. Educational Theatre Journal. 21, 127–138 (1969). https://doi.org/10.2307/3205628.
153.
Griffiths, D.: The Training of Noh Actors and the Dove. Harwood Academic Publrs (1998).
154.
Hare, T.B.: Zeami’s Style: The Noh Plays of Zeami Motokiyo. Stanford University Press, Stanford, California (1986).
155.
Horie-Webber, A.: Japanese Theatre and the West. Harwood, London (1994).
156.
Ikegami, E.: The Taming of the Samurai: Honorific Individualism and the Making of Modern Japan. Harvard University Press, Cambridge, Mass (1995).
157.
Immoos, T., Mayer, F.: Japanese Theatre. Rizzoli, New York (1977).
158.
Keene, D.: No; and, Bunraku: Two Forms of Japanese Theatre. Columbia University Press, New York (1990).
159.
Konparu, K.: The Noh Theater: Principles and Perspectives. Weatherhill/Tankosha, New York (1983).
160.
Leiter, S.L., Ortolani, B.: Zeami and the No Theatre in the World. Center for Advanced Studies in Theatre Arts, New York (1998).
161.
Sugawara, M., Sabin, B.: Lives of Master Swordsmen. The East Publications, Toky (1996).
162.
Matsui, A., Hughes, D., Emmert, R.: Inside Noh: 1-2, (1991).
163.
McDonald, K.I.: Japanese Classical Theater in Films. Fairleigh Dickinson University Press, Rutherford (1993).
164.
Ortolani, B.: The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism. Princeton University Press, Princeton, N.J. (1995).
165.
Quinn, S.F.: Developing Zeami: The Noh Actor’s Attunement in Practice. University of Hawaii Press, Honolulu, Hawaii (2005).
166.
Scholz-Cionca, S., Leiter, S.L.: Japanese Theatre and the International Stage. Brill, Leiden (2001).
167.
Sekine, M., Murray, C.: Yeats and the Noh: A Comparative Study. Smythe, Gerrards Cross (1990).
168.
Smethurst, M.J.: The Artistry of Aeschylus and Zeami: A Comparative Study of Greek Tragedy and Nō. Princeton University Press, Princeton, N.J. (1988).
169.
Thorpe, A.: 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, 321–333 (2014). https://doi.org/10.1080/19443927.2014.940113.
170.
Nogami, T.: Japanese Noh Plays: How to See Them. Board of Tourist Industry, Japanese Government Railways, Tokyo (1934).
171.
Tyler, R.: Japanese No dramas. Penguin, London (1992).
172.
Umewaka, N.: The Inner World of The No. Contemporary Theatre Review. 1, 29–38 (1994). https://doi.org/10.1080/10486809408568262.
173.
Varley, H.P.: Japanese Culture. University of Hawaiʻi Press, Honolulu (2000).
174.
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, Tokyo (2015).
175.
Zeami, M.: On the Art of the No Drama: The Major Treatises of Zeami. Princeton University Press, Princeton, N.J. (1984).
176.
Hare, T.B., Zeami, M.: Zeami: Performance Notes. Columbia University Press, New York (2008).