Skip to main content Accessibility help
×
Hostname: page-component-cc8bf7c57-7lvjp Total loading time: 0 Render date: 2024-12-11T14:23:58.518Z Has data issue: false hasContentIssue false

Further Reading

Published online by Cambridge University Press:  14 March 2024

Jen Harvie
Affiliation:
Queen Mary University of London
Dan Rebellato
Affiliation:
Royal Holloway, University of London
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Further Reading

Abram, Nicola, Black British Women’s Theatre: Intersectionality, Archives, Aesthetics, Cham, Palgrave Macmillan, 2020.CrossRefGoogle Scholar
Adams, David, Stage Welsh: Nation, Nationalism and Theatre: The Search for Cultural Identity, Llandysul, Gomer, 1996.Google Scholar
Alston, Adam, Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation, Basingstoke, Palgrave Macmillan, 2016.CrossRefGoogle Scholar
Anon, ‘Act Now! Modernising London’s West End theatre’, London, Theatre Trust Report, 2003.Google Scholar
Ansorge, Peter, Disrupting the Spectacle: Five Years of Experimental and Fringe Theatre in Britain, London, Pitman, 1975.Google Scholar
Arts Council England (ACE), Eclipse Report: Developing Strategies to Combat Racism in Theatre: A One-day Working Conference Held on Two Consecutive Days at Nottingham Playhouse: 12 and 13 June 2001, n.p., ACE, n.d.Google Scholar
Arts Council England (ACE), Equality, Diversity and the Creative Case: A Data Report 2015–16, London, ACE, 2016.Google Scholar
Arts Council England (ACE), Equality, Diversity and the Creative Case: A Data Report, 2016–2017, London, ACE, 2018.Google Scholar
Arts Council England (ACE), Let’s Create: Strategy 2020–2030, London, ACE, 2021.Google Scholar
Arts Council England (ACE), Navigating Difference: Cultural Diversity and Audience Development, London, ACE, 2006.Google Scholar
Arts Council of Great Britain (ACGB), First Annual Report, 1945–6, London, ACGB, 1946.Google Scholar
Arts Council of Great Britain (ACGB), The Glory of the Garden: The Development of the Arts in England – A Strategy for a Decade, London, ACGB, 1984.Google Scholar
Arts Council of Great Britain (ACGB), Housing the Arts in Great Britain; Part 1: London, Scotland, Wales, London, Arts Council of Great Britain, 1959.Google Scholar
Arts Council of Great Britain (ACGB), Housing the Arts in Great Britain; Part II: The Needs of the English Provinces, London, Arts Council of Great Britain, 1961.Google Scholar
Arts Council of Great Britain (ACGB), Plans for an Arts Centre, London, Lund Humphries, 1945.Google Scholar
Aston, Elaine, and Harris, Geraldine, A Good Night out for the Girls: Popular Feminisms in Contemporary Theatre and Performance, London, Palgrave Macmillan, 2013.Google Scholar
Baumol, William Jack, and Bowen, William, ‘Audiences: Some Fact-Sheet Data’ in Burns, Elizabeth and Burns, Tom (eds.), Sociology of Literature and Drama, Harmondsworth, Penguin, 1973, 445470.Google Scholar
Baumol, William Jack, and Bowen, William, Performing Arts: The Economic Dilemma – A Study of Problems Common to Theater, Opera, Music and Dance, New York, Twentieth Century Fund, 1966.Google Scholar
Belfiore, Eleonora, and Bennett, Oliver, The Social Impact of the Arts: An Intellectual History, Houndmills, Palgrave Macmillan, 2008.Google Scholar
Bewes, Timothy, and Gilbert, Jeremy (eds.), Cultural Capitalism: Politics after New Labour, London, Lawrence & Wishart, 2000.Google Scholar
Biggin, Rose, Immersive Theatre and Audience Experience: Space, Game and Story in the Work of Punchdrunk, Basingstoke, Palgrave Macmillan, 2017.Google Scholar
Bissell, Laura, and Weir, Lucy (eds.), Performance in a Pandemic, Abingdon, Routledge, 2021.CrossRefGoogle Scholar
Bolton, Jacqueline, ‘Capitalizing (on) New Writing: New Play Development in the 1990s’, Studies in Theatre and Performance, 32.2 (2012), 209225.Google Scholar
Bolton, Jacqueline, Demarcating Dramaturgy: Mapping Theory onto Practice, PhD thesis, University of Leeds, 2011.Google Scholar
BOP Consulting and Graham Devlin Associates, Arts Council England: Analysis of Theatre in England: Final Report by BOP Consulting and Graham Devlin Associates, London, BOP Consulting, 2016.Google Scholar
Bourne, Stephen, Deep Are the Roots: Trailblazers Who Changed Black British Theatre, Cheltenham, The History Press, 2022.Google Scholar
British Theatre Consortium, Writ Large: New Writing on the English Stage 2003–2009, London, Arts Council England, 2010.Google Scholar
Brown, Ian, History as Theatrical Metaphor: History, Myth and National Identities in Modern Scottish Drama, London, Palgrave Macmillan, 2019.Google Scholar
Brown, Ian, ‘More to Come: Forty Years of the Scottish Society of Playwrights’, Edinburgh Review, no. 137 (2013), 90–99.Google Scholar
Brown, Mark, Modernism and Scottish Theatre since 1969: A Revolution on Stage, London, Palgrave Macmillan, 2019.Google Scholar
Brown, Wendy, Undoing the Demos: Neoliberalism’s Stealth Revolution, New York, Zone Books, 2015.CrossRefGoogle Scholar
Bull, John (ed.), British Theatre Companies 1965–1979, London, Bloomsbury, 2017.CrossRefGoogle Scholar
Bull, John Stage Right: Crisis and Recovery in British Contemporary Mainstream Theatre, Basingstoke, Macmillan Press, 1994.Google Scholar
Burt, Philippa, ‘Punishing the Outsiders: Theatre Workshop and the Arts Council’, Theatre, Dance and Performance Training, 5.2 (2014), 119130.CrossRefGoogle Scholar
Campbell, Alyson, and Farrier, Stephen (eds.), Queer Dramaturgies: International Perspectives on Where Performance Leads Queer, London, Palgrave Macmillan, 2015.Google Scholar
Chambers, Colin, Black and Asian Theatre in Britain: A History, London, Routledge, 2011.Google Scholar
Chambers, Colin, The Story of Unity Theatre, London, Lawrence & Wishart, 1989.Google Scholar
Chambers, Colin (ed.), Peggy to Her Playwrights: The Letters of Margaret Ramsay, Play Agent, London, Oberon Books, 2018.Google Scholar
Cochrane, Claire, Twentieth-Century British Theatre: Industry, Art and Empire, Cambridge, Cambridge University Press, 2011.Google Scholar
Collins, Alan, and Hand, Chris, ‘Making a Crisis out of a Drama: Should We Continue Public Financial Support for the British Theatre?’, Economic Issues, 3.2 (1998), 1929.Google Scholar
Committee of Enquiry into Professional Theatre in England, Chair, Sir Kenneth Cork, Theatre IS for All: Report of the Enquiry into Professional Theatre in England [The Cork Report], London, ACGB, 1986.Google Scholar
Cook, Judith, Directors’ Theatre: Sixteen Leading Theatre Directors on the State of Theatre in Britain Today, London, Hodder & Stoughton, 1989.Google Scholar
Costa, Maddy, ‘A Book Group for Theatre’ in Svich, Caridad (ed.), Innovation in Five Acts: Strategies for Theatre and Performance, New York, Theatre Communications Group, 2015, 210214.Google Scholar
Coveney, Michael, and Dazeley, Paul, London Theatres, London, Frances Lincoln, 2017.Google Scholar
Craig, Sandy (ed.), Dreams and Deconstructions: Alternative Theatre in Britain, Ambergate, Amber Lane, 1980.Google Scholar
Daboo, Jerri, ‘The Arts Britain Still Ignores?’, Studies in Theatre and Performance, 38.1 (2018), 38.Google Scholar
Daboo, Jerri, Staging British South Asian Culture: Bollywood and Bhangra in British Theatre, Abingdon, Routledge, 2017.Google Scholar
Davies, Andrew, Other Theatres: The Development of Alternative and Experimental Theatre in Britain, London, Macmillan, 1987.Google Scholar
Delgado, Maria M., and Rebellato, Dan (eds.), Contemporary European Theatre Directors, Abingdon: Routledge, 2020.Google Scholar
Derbyshire, Harry, ‘The Culture of New Writing’, Contemporary Theatre Review, 18.1 (2008), 131134.Google Scholar
Devine, Harriet (ed.), Looking Back: Playwrights at the Royal Court, 1956–2006, Faber & Faber, 2006.Google Scholar
Dorney, Kate, and Merkin, Ros (eds.), The Glory of the Garden: English Regional Theatre and the Arts Council 1984–2009, Newcastle, Cambridge Scholars Publishing, 2010.Google Scholar
Earl, John, British Theatres and Music Halls, Princes Risborough, Shire Publications, 2005.Google Scholar
Earl, John, and Sell, Michael (eds.), The Theatres Trust Guide to British Theatres 1750–1950: A Gazetteer, London, A & C Black, 2000.Google Scholar
Edgar, David, ‘Ten Years of Political Theatre, 1968–78’, Theatre Quarterly, 8.32 (1979), 2533.Google Scholar
Edgar, David (ed.), State of Play: Playwrights on Playwriting, London, Faber & Faber, 1999.Google Scholar
Elsom, John, Post-War British Theatre, London, Henley and Boston, Routledge & Kegan Paul, 1976.Google Scholar
Elsom, Paul, Stephen Joseph: Theatre Pioneer and Provocateur, London, Bloomsbury, 2014.CrossRefGoogle Scholar
Evans, Graeme, Cultural Planning: An Urban Renaissance? London, Routledge, 2001.Google Scholar
Fair, Alistair, Modern Playhouses: An Architectural History of Britain’s New Theatres, 1945–1985, Oxford, Oxford University Press, 2018.CrossRefGoogle Scholar
Federation of Theatre Unions, Theatre Ownership in Britain: A Report Prepared for the Federation of Theatre Unions, London, South London Press, 1953.Google Scholar
Findlay, Bill, A History of Scottish Theatre, Edinburgh, Polygon 1998.Google Scholar
Fisher, Tony, Theatre and Governance in Britain, 1500–1900: Democracy, Disorder and the State, Cambridge, Cambridge University Press, 2017.Google Scholar
Foley, Imelda, Girls in the Big Picture, Belfast, Blackstaff Press, 2003.Google Scholar
Forsyth, Alison, and Megson, Chris (eds.), Get Real: Documentary Theatre Past and Present, Basingstoke, Palgrave, 2009.Google Scholar
Freeman, Sandra, Putting Your Daughters on the Stage: Lesbian Theatre from the 1970s to the 1990s, London, Cassell, 1997.Google Scholar
Freeman, Sara, ‘Towards a Genealogy and Taxonomy of British Alternative Theatre’, New Theatre Quarterly, 22.4 (2006), 364378.Google Scholar
Freshwater, Helen, Theatre Censorship in Britain: Silencing, Censure and Suppression, Basingstoke, Palgrave Macmillan, 2009.CrossRefGoogle Scholar
Friedman, Sam, O’Brien, Dave, and Laurison, Daniel, ‘“Like Skydiving without a Parachute”: How Class Origin Shapes Occupational Trajectories in British Acting’, Sociology, 51.5 (2017), 9921010.Google Scholar
Frieze, James (ed.), Reframing Immersive Theatre: The Politics and Pragmatics of Participatory Performance, Basingstoke, Palgrave Macmillan, 2016.Google Scholar
Fuchs, Barbara (ed.), Theater of Lockdown: Digital and Distanced Performance in a Time of Pandemic, London, Methuen Drama, 2021.Google Scholar
Gale, Maggie B., West End Women: Women and the London Stage 1918–1962, London, Routledge, 1996.CrossRefGoogle Scholar
Garson, Cyrielle, Beyond Documentary Realism: Aesthetic Transgressions in British Verbatim Theatre, Contemporary Drama in English Studies, Berlin, Walter de Gruyter, 2021.Google Scholar
Gilroy, Paul, There Ain’t No Black in the Union Jack: the Cultural Politics of Race and Nation, Abingdon and New York, Routledge, 2002 [1987].Google Scholar
Glow, Hilary, ‘Cultural Leadership and Audience Engagement: A Case Study of the Theatre Royal Stratford East’ in Caust, Jo (ed.), Arts Leadership: International Case Studies, Melbourne, Victoria, Tilde University Press, 2012, 131143.Google Scholar
Goddard, Lynette, Staging Black Feminisms: Identity, Politics, Performance, Basingstoke, Palgrave Macmillan, 2007.Google Scholar
Godiwala, Dimple (ed.), Alternatives within the Mainstream: Black British and Asian Theatre, Cambridge, Cambridge Scholars Press, 2006.Google Scholar
Godiwala, Dimple Alternatives within the Mainstream II: Queer Theatres in Post-War Britain, Newcastle, Cambridge Scholars Publishing, 2008.Google Scholar
Gooch, Steve, All Together Now: An Alternative View of Theatre and the Community, London, Methuen, 1984.Google Scholar
Goodman, Lizbeth, Contemporary Feminist Theatres: To Each Her Own, London, Routledge, 1993.Google Scholar
Gray, Clive, The Politics of the Arts in Britain, Basingstoke, Macmillan, 2000.Google Scholar
Greer, Stephen, Contemporary British Queer Performance, London, Palgrave Macmillan, 2012.CrossRefGoogle Scholar
Greer, Stephen, ‘Funding Resilience: Market Rationalism and the UK’s “Mixed Economy” for the Arts’, Cultural Trends, 30.3 (2021), 222240.Google Scholar
Griffin, Gabriele, Contemporary Black and Asian Women Playwrights in Britain, Cambridge, Cambridge University Press, 2003.Google Scholar
Hall, Stuart, ‘Assembling the 1980s: The Deluge – and After’ in Bailey, David A., Baucom, Ian, and Boyce, Sonia (eds.), Shades of Black: Assembling Black Arts in 1980s Britain, Durham, NC and London, Duke University Press, 2005.Google Scholar
Hammond, Jonathan, ‘A Potted History of the Fringe’, Theatre Quarterly, 3.12 (1973), 3746.Google Scholar
Hammond, Will, and Stewart, Dan (eds.), Verbatim Verbatim, London, Oberon, 2008.Google Scholar
Hanna, Gillian (ed.), Monstrous Regiment: Four Plays and a Collective Celebration, London, Nick Hern Books, 1991.Google Scholar
Harpin, Anna, and Nicholson, Helen (eds.), Performance and Participation, Basingstoke, Palgrave Macmillan, 2016.Google Scholar
Harvie, Jen, Fair Play: Art, Performance and Neoliberalism, Basingstoke, Palgrave Macmillan, 2013.Google Scholar
Harvie, Jen, ‘Funding, Philanthropy, Structural Inequality and Decline in England’s Theatre Ecology’, Cultural Trends, 24.1 (2015), 5661.Google Scholar
Harvie, Jen, Staging the UK, Manchester, Manchester University Press, 2005.Google Scholar
Harvie, Jen, and Lavender, Andy (eds.), Making Contemporary Theatre: International Rehearsal Processes, Manchester, Manchester University Press, 2010.Google Scholar
Heddon, Deirdre, and Johnson, Dominic (eds.), It’s All Allowed: The Performances of Adrian Howells, London/Bristol, Live Art Development Agency/Intellect, 2016.Google Scholar
Heim, Caroline, Audience as Performer, London and New York, Routledge, 2016.Google Scholar
Hewison, Robert, In Anger: Culture in the Cold War 1945–60, revised ed., London, Methuen, 1988.Google Scholar
Hewison, Robert, Cultural Capital: The Rise and Fall of Creative Britain, London, Verso, 2014.Google Scholar
Hewison, Robert, Culture and Consensus: England, Art and Politics since 1940, revised ed., London, Methuen, 1997.Google Scholar
Hingorani, Dominic, British Asian Theatre: Dramaturgy, Process and Performance, Basingstoke, Palgrave Macmillan, 2010.Google Scholar
Holdsworth, Nadine, English Theatre and Social Abjection: A Divided Nation, Basingstoke, Palgrave Macmillan, 2020.Google Scholar
Holdsworth, Nadine, Joan Littlewood’s Theatre, Cambridge, Cambridge University Press, 2011.Google Scholar
Holdsworth, Nadine, ‘“They’d Have Pissed on My Grave”: The Arts Council and Theatre Workshop’, New Theatre Quarterly, 51.1 (1999), 316.Google Scholar
Hollis, Patricia, Jennie Lee: A Life, Oxford, Oxford University Press, 1997.Google Scholar
Inchley, Maggie, Voice and New Writing, 1997–2007: Articulating the Demos, Basingstoke, Palgrave, 2015.CrossRefGoogle Scholar
Itzin, Catherine, Stages in the Revolution: Political Theatre in Britain since 1968, London, Methuen, 1980.Google Scholar
Itzin, Catherine, Trussler, Simon, and Julian, Michel, ‘Alternative Theatre: An Editorial Dialectic’, Theatre Quarterly, 5 (1975), 315.Google Scholar
Johnson, David Vivian, Talawa Theatre Company: A Theatrical History and the Brewster Era, London, Bloomsbury, Methuen Drama, 2021.Google Scholar
de Jongh, Nicholas, Not in Front of the Audience: Homosexuality on Stage, London, Routledge, 1992.CrossRefGoogle Scholar
Kaye, Nick, ‘Live Art: Definition and Documentation’, Contemporary Theatre Review, 2.2 (1994), 17.Google Scholar
Keidan, Lois, and Mitchell, C. J. (eds.), Programme Notes: Case Studies for Locating Experimental Theatre, London, Live Art Development Agency and Oberon Books (1st ed. 2007, co-edited by Lois Keidan and Daniel Brine); 2nd revised and expanded ed., 2013.Google Scholar
Kennedy, Dennis, ‘The Director, the Spectator and the Eiffel Tower’, Theatre Research International, 30.1 (2005), 3648.Google Scholar
Kershaw, Baz, ‘Discouraging Democracy: British Theatre and Economics, 1979–1999’, Theatre Journal, 51.3 (1999), 267283.Google Scholar
Kershaw, Baz, The Radical in Performance: Between Brecht and Baudrillard, London and New York, Routledge, 1999.Google Scholar
Kershaw, Baz (ed.), The Cambridge History of British Theatre, Volume III: Since 1985, Cambridge, Cambridge University Press, 2004.Google Scholar
Keynes, John Maynard, ‘The Arts Council: Its Policy and Hopes’, Listener 34 (12 July 1945); rpt. in The Arts Council of Great Britain First Annual Report 1945, London, CGB [1946], 2023.Google Scholar
Khan, Naseem, The Arts Britain Ignores: The Arts of Ethnic Minorities in Britain, London, Arts Council of Great Britain, Calouste Gulbenkian Foundation, and Community Relations Commission, 1976.Google Scholar
Knowles, Ric, Reading the Material Theatre, Cambridge, Cambridge University Press, 2004.Google Scholar
Lacey, Stephen, British Realist Theatre: The New Wave in its Context, 1956–1965, Abingdon, Routledge, 1995.Google Scholar
Leach, Robert, ‘The Short, Astonishing History of the National Theatre of Scotland’, New Theatre Quarterly, 23.2 (2007), 171183.Google Scholar
Leach, Robert, An Illustrated History of British Theatre and Performance: Vol 2 – From the Industrial Revolution to the Digital Age, Abingdon, Routledge, 2019.Google Scholar
Lewis, Lisa, Performing Wales: People, Memory and Place, Cardiff, University of Wales Press, 2018.Google Scholar
Ley, Graham, and Dadswell, Sarah (eds.), Critical Essays on British South Asian Theatre, Exeter, University of Exeter Press, 2012.Google Scholar
Lonergan, Patrick, Theatre & Social Media, Basingstoke, Palgrave Macmillan, 2015.Google Scholar
Luckhurst, Mary, Dramaturgy: A Revolution in Theatre, Cambridge, Cambridge University Press, 2006.Google Scholar
Machon, Josephine, Immersive Theatres: Intimacy and Immediacy in Contemporary Performance, Basingstoke, Palgrave Macmillan, 2013.Google Scholar
Mackintosh, Iain, and Sell, Michael (eds.), Curtains!!! or A New Life for Old Theatres, Eastbourne, John Offord (Publications), 1982.Google Scholar
Mander, Raymond, and Mitchenson, Joe, The Theatres of London, London, Rupert Hart-Davis, 1961.Google Scholar
Marshall, Norman, The Other Theatre, London, John Lehmann, 1947.Google Scholar
Masura, Nadja, Digital Theatre: The Making and Meaning of Live Mediated Performance, US & UK 1990–2020, Basingstoke, Palgrave Macmillan, 2022.Google Scholar
McDonald, Jan, ‘Theatre in Scotland’ in Kershaw, Baz (ed.), The Cambridge History of British Theatre, Volume 3: Since 1895, Cambridge, Cambridge University Press, 2004, 195227.Google Scholar
McGrath, John, The Cheviot, the Stag and the Black, Black Oil, London, Eyre Methuen, 1981.Google Scholar
McGrath, John, A Good Night Out: Popular Theatre – Audience, Class and Form, London, Methuen, 1981.Google Scholar
McGrath, John, ‘The Theory and Practice of Political Theatre’, Theatre Quarterly, 9 (1979), 4354.Google Scholar
McKinnie, Michael, Theatre in Market Economies, Theatre and Performance Theory Series, Cambridge, Cambridge University Press, 2021.Google Scholar
Minihan, Janet, The Nationalization of Culture: The Development of State Subsidies to the Arts in Great Britain, London, Hamish Hamilton, 1977.Google Scholar
Monks, Aoife, ‘Human Remains: Acting, Objects, and Belief in Performance’, Theatre Journal, 64.3 (2012), 355371.Google Scholar
Muñoz, José Esteban, Cruising Utopia: The Then and There of Queer Futurity, New York, New York University Press, 2009.Google Scholar
National Theatre, Black Plays Archive, 2021, www.blackplaysarchive.org.uk/ [accessed 28 February 2023].Google Scholar
Neelands, Jonothan, Belfiore, Eleonora, Firth, Catriona et al., Enriching Britain: Culture, Creativity and Growth: The 2015 Report by the Warwick Commission on the Future of Cultural Value, Warwick, The University of Warwick, 2015.Google Scholar
Nicholson, Helen, Holdsworth, Nadine, and Milling, Jane, The Ecologies of Amateur Theatre, Basingstoke, Palgrave Macmillan, 2018.Google Scholar
Paxton, Naomi, Stage Rights! The Actresses’ Franchise League, Activism and Politics 1908–58, Manchester, Manchester University Press, 2018.Google Scholar
Peacock, D. Keith, Thatcher’s Theatre, London and Westport, CT, Greenwood Publishing, 1999.Google Scholar
Pearson, Mike, Site-Specific Performance, Basingstoke, Palgrave Macmillan, 2010.Google Scholar
Pearson, Mike, and Shanks, Michael, Theatre/Archaeology, London and New York, Routledge, 2001.Google Scholar
Peter Boyden Associates, Roles and Functions of the English Regional Producing Theatres: Final Report, May 2000, London, ACE/Peter Boyden Associates, 2000.Google Scholar
Phelan, Mark, ‘Class Politics and Performance in Troubles Drama: History Isn’t Over Yet’ in Pierse, Michael (ed.), A History of Irish Working-Class Writing, Cambridge, Cambridge University Press, 2018, 348363.Google Scholar
Pick, John (ed.), Playwrights: A Species Still Endangered? – a Report, London, Theatre Writers Union, 1987.Google Scholar
Pick, John State and the Arts, Eastbourne, John Offord Publications, 1980.Google Scholar
Policy for the Arts: The First Steps, A, Cmnd 2601, London, HMSO, 1965.Google Scholar
Potter, Lois, Othello, Shakespeare in Performance Series, Manchester, Manchester University Press, 2002.Google Scholar
Radosavljević, Duška (ed.), The Contemporary Ensemble: Interviews with Theatre-Makers, Oxon, Routledge, 2013.CrossRefGoogle Scholar
Rebellato, Dan, 1956 and All That: The Making of Modern British Drama, London, Routledge, 1999.Google Scholar
Rebellato, Dan, Theatre & Globalization, Basingstoke, Palgrave Macmillan, 2009.Google Scholar
Rees, Roland, Fringe First: Pioneers of Fringe Theatre on Record, London, Oberon, 1992.Google Scholar
Reid, Trish, ‘“From Scenes Like These Old Scotia’s Grandeur Springs”: The New National Theatre of Scotland’, Contemporary Theatre Review, 17.2 (2007), 192201.Google Scholar
Reid, Trish, Theatre & Scotland, Basingstoke, Palgrave Macmillan, 2013.Google Scholar
Roach, Joseph, The Player’s Passion: Studies in the Science of Acting, Ann Arbor, University of Michigan Press, 1993.Google Scholar
Roms, Heike, ‘Performing Polis: Theatre, Nationness and Civic Identity in Postdevolution Wales’, Studies in Theatre and Performance, 24.3 (2004), 177192.Google Scholar
Roms, Heike, and Edwards, Rebecca, ‘Towards a Prehistory of Live Art in the UK’, Contemporary Theatre Review, 22.1 (2012), 1731.Google Scholar
Rosenthal, Daniel, The National Theatre Story, London, Oberon, 2013.Google Scholar
Rowell, George, and Jackson, Anthony, The Repertory Movement: A History of Regional Theatre in Britain, Cambridge, Cambridge University Press, 1984.Google Scholar
Russell, Dave, Looking North: England and the National Imagination, Manchester, Manchester University Press, 2004.Google Scholar
Sanderson, Michael, From Irving to Olivier: A Social History of the Acting Profession 1880 to 1983, London, The Athlone Press, 1984.Google Scholar
Saunders, Graham, and Bull, John (eds.), British Theatre Companies: 1980–1994, London and New York, Bloomsbury Methuen Drama, 2015.Google Scholar
Schmidt, Bryan, and Werry, Margaret, ‘Immersion and the Spectator’, Theatre Journal, 66.3 (2014), 467479.Google Scholar
Sedgman, Kirsty, Locating the Audience: How People Found Value in National Theatre Wales, Bristol, Intellect, 2016.Google Scholar
Seidler, Victor J., Making Sense of Brexit: Democracy, Europe and Uncertain Futures, Bristol, Policy Press, 2018.Google Scholar
Shellard, Dominic, British Theatre Since the War, New Haven, CT, Yale University Press, 1999.Google Scholar
Shellard, Dominic, Economic Impact Study of UK Theatre, London, Arts Council England, 2004.Google Scholar
Shepherd, Simon, The Cambridge Introduction to Modern British Theatre, Cambridge, Cambridge University Press, 2009.Google Scholar
Shepherd, Simon, Direction, Basingstoke, Palgrave Macmillan, 2012.Google Scholar
Sierz, Aleks, Good Nights Out: A History of Popular British Theatre since the Second World War, London, Methuen Drama, 2020.Google Scholar
Sierz, Aleks, In-Yer-Face Theatre: British Drama Today, London, Faber & Faber, 2001.Google Scholar
Sinclair, Andrew, Arts and Cultures: The History of the 50 Years of the Arts Council of Great Britain, London, Sinclair-Stevenson, 1995.Google Scholar
Sinfield, Alan, Literature, Politics and Culture in Postwar Britain, London, Continuum, 2004 [The Athlone Press, 1997].Google Scholar
Sinfield, Alan, Out on Stage: Lesbian and Gay Theatre in the Twentieth Century, New Haven, CT, Yale University Press, 1999.Google Scholar
Smith, Chris, Creative Britain, London, Faber & Faber, 1998.Google Scholar
Stark, Peter, Gordon, Christopher, and Powell, David, Rebalancing Our Cultural Capital: A Contribution to the Debate on National Policy for the Arts and Culture in England [The RoCC Report], 31 October 2013.Google Scholar
Stevenson, Randall, and Wallace, Gavin (eds.), Scottish Theatre since the Seventies, Edinburgh, Edinburgh University Press, 1996.Google Scholar
Stuart-Fisher, Amanda, Performing the Testimonial: Rethinking Verbatim Dramaturgies, Manchester, Manchester University Press, 2020.Google Scholar
Svich, Caridad (ed.), Toward a Future Theatre: Conversations during a Pandemic, London, Methuen Drama, 2022.Google Scholar
Theatres Trust Act, 1976, www.legislation.gov.uk/ukpga/1976/27/body/enacted [accessed 28 February 2023].Google Scholar
Tomlin, Liz, Political Dramaturgies and Theatre Spectatorship: Provocations for Change, London, Methuen Drama, 2019.Google Scholar
Tomlin, Liz (ed.), British Theatre Companies 1995–2014, London, Bloomsbury Methuen Drama, 2015.Google Scholar
Tompkins, Joanne, Theatre’s Heterotopias: Performance and the Cultural Politics of Space, Basingstoke, Palgrave Macmillan, 2014.Google Scholar
Travers, Tony, The Wyndham Report: The Economic Impact of London?s West End Theatre, London, The Society of London Theatre, 1998.Google Scholar
Trussler, Simon, The Cambridge Illustrated History of British Theatre, Cambridge, Cambridge University Press, 1994.Google Scholar
Trussler, Simon (ed.), New Theatre Voices of the Seventies: Sixteen Interviews from Theatre Quarterly 1970–1980, London, Methuen, 1981.Google Scholar
Turnbull, Olivia, Bringing Down the House: The Crisis in Britain’s Regional Theatres, Bristol, Intellect, 2008.Google Scholar
Turnbull, Olivia Unfinished Histories: Recording the History of Alternative Theatre, www.unfinishedhistories.com/ [accessed 28 February 2023].Google Scholar
Upchurch, Anna Rosser, The Origins of the Arts Council Movement: Philanthropy and Policy, Basingstoke, Palgrave Macmillan, 2016.Google Scholar
Virno, Paolo, A Grammar of the Multitude, Cambridge, MA, Semiotexte, 2004.Google Scholar
Wandor, Michelene, Carry on Understudies: Theatre and Sexual Politics, 2nd ed., London, Methuen, 1986.Google Scholar
Westling, Carina E. I., Immersion and Participation in Punchdrunk’s Theatrical Worlds, London, Methuen Drama, 2020.CrossRefGoogle Scholar
Wickstrom, Mauyra, ‘Commodities, Mimesis, and The Lion King: Retail Theatre for the 1990s’, Theatre Journal, 51 (1999), 285298.Google Scholar
Williams, Raymond, Marxism and Literature, Oxford, Oxford University Press, 1977.Google Scholar
Woddis, Jane, Acting on Cultural Policy: Arts Practitioners, Policy-Making and Civil Society, Basingstoke, Palgrave Macmillan, 2022.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Further Reading
  • Edited by Jen Harvie, Queen Mary University of London, Dan Rebellato, Royal Holloway, University of London
  • Book: The Cambridge Companion to British Theatre since 1945
  • Online publication: 14 March 2024
  • Chapter DOI: https://doi.org/10.1017/9781108377850.019
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Further Reading
  • Edited by Jen Harvie, Queen Mary University of London, Dan Rebellato, Royal Holloway, University of London
  • Book: The Cambridge Companion to British Theatre since 1945
  • Online publication: 14 March 2024
  • Chapter DOI: https://doi.org/10.1017/9781108377850.019
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Further Reading
  • Edited by Jen Harvie, Queen Mary University of London, Dan Rebellato, Royal Holloway, University of London
  • Book: The Cambridge Companion to British Theatre since 1945
  • Online publication: 14 March 2024
  • Chapter DOI: https://doi.org/10.1017/9781108377850.019
Available formats
×