Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-4rdpn Total loading time: 0 Render date: 2024-11-17T16:36:32.244Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  28 March 2008

Baz Kershaw
Affiliation:
University of Warwick
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: 2004

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

Adams, David, Stage Welsh. Nation, Nationalism and Theatre: The Search for Cultural Identity, Llandysul: Gomer, 1996.Google Scholar
Agate, James, A Short View of the English Stage, 1900–1926, London: Herbert Jenkins, 1926.Google Scholar
Aitcheson, J. W. and Carter, H., A Geography of the Welsh Language 1961–1991, Cardiff: University of Wales Press, 1994.Google Scholar
Aitcheson, J. W. and Carter, H., The Welsh Language 1961–1981: An Interpretive Atlas, Cardiff: University of Wales Press, 1985.Google Scholar
Anderson, Benedict, Imagined Communities: Reflections on the Origin and Spread of Nationalism, London: Verso, 1983; rev. edn 1991.Google Scholar
Anderson, Lindsay, ‘Vital theatre’, Encore 4, 2 (Nov.–Dec. 1957).Google Scholar
Anderson, William C., ‘“Diana of Dobson’s’: the shopgirl’s characteristics and conditions’, in Macarthur, Mary R. (ed.), The Woman Worker 2 (12 June 1908).Google Scholar
Andrews, Kay and Jacobs, John, Punishing the Poor, Poverty under Thatcher, London: Macmillan, 1990.Google Scholar
Ansorge, Peter, Disrupting the Spectacle: Five Years of Experimental and Fringe Theatre in Britain, London: Pitman, 1975.Google Scholar
Ansorge, Peter, From Liverpool to Los Angeles: On Writing for Theatre, Film and Television, London: Faber & Faber, 1997.Google Scholar
Archer, William, The Old Drama and the New, London: William Heinemann, 1923.Google Scholar
Archer, William, The Theatrical World of 1893–1897, 5 vols., London: Walter Scott, 1894–8.Google Scholar
Archer, William and Barker, Harley Granville, A National Theatre: Scheme and Estimates, London: Duckworth, 1907.Google Scholar
Arden, John and , Margaretta D’ArcyThe Business of Good Government: A Christmas Play, London: Methuen, 1963.Google Scholar
,Arts Council of England, The Boyden Report, London: Arts Council of England, 1999.
,Arts Council of England, A Living Theatre-Delivering the National Policy for Theatre in England, London: Arts Council of England, 2001.
,Arts Council of England, ‘The next stage: Arts Council sets out new vision for theatre’, London: Arts Council of England (press release, 28 May 2000).
,Arts Council of England, 51st Annual Report and Accounts 1996–97, London: Arts Council of England, 1997.
,Arts Council of England, ‘£100 million more for the arts’, Arts Council News (August 2000).
,Arts Council of Great Britain, Ends and Means: 18th Annual Report, London: Arts Council of Great Britain, 1963.
,Arts Council of Great Britain, The Glory of the Garden: The Development of the Arts in England, London: Arts Council of Great Britain, 1984.
,Arts Council of Great Britain, Housing the Arts in Great Britain: Parts I and II, London: Arts Council of Great Britain, 1959/1961.
,Arts Council of Great Britain, Key Year: 21 st Annual Report, London: Arts Council of Great Britain, 1965–6.
,Arts Council of Great Britain, State of Play: 19th Annual Report, London: Arts Council of Great Britain, 1963–4.
,Arts Council of Great Britain, A Year of Achievement: 33 rd Annual Report and Accounts 1977/78, London: Arts Council of Great Britain, 1978.
,Arts Council of Great Britain, 43rd Annual Report and Accounts, London: Arts Council of Great Britain, 1988.
,Arts Council of Wales, The Arts in Wales: Priorities into Practice 7, 2 (July 1984).
,Arts Council of Wales, The Drama Strategy for Wales, Cardiff: Arts Council of Wales, 1999.
Asche, Oscar, Oscar Asche, his Life, by Himself, London: Hurst & Blockett, 1929.Google Scholar
Ashley, David, History without a Subject: The Postmodern Condition, Oxford: Westview Press, 1997.Google Scholar
Ashwell, Lena, Myself a Player, London: Michael Joseph, 1936.Google Scholar
Aston, Elaine, Feminist Theatre Practice, London: Routledge, 1999.Google Scholar
Attenborough, Richard, Arts and Disabled People: Report of a Committee of Inquiry under the Chairmanship of Sir Richard Attenborough, London: Bedford Square Press, 1985.Google Scholar
Auden, W. H. and Isherwood, Christopher, The Dog Beneath the Skin: Or, Where is Francis?, London: Faber & Faber, 1935.Google Scholar
Auslander, Philip, FromActing to Performance: Essaysin Modernism and Post modernism, London: Routledge, 1997.CrossRefGoogle Scholar
Auslander, Philip, Liveness: Performance in a Mediatised Culture, London: Routledge, 1999.Google Scholar
Ayckbourn, Alan, How the Other Half Loves, London: Samuel French, 1972.Google Scholar
Ayckbourn, Alan, Relatively Speaking, London: Evans, 1968.Google Scholar
Bablet, Denis, The Theatre of Edward Gordon Craig, trans. Woodward, Daphne, London: William Heinemann, 1966.Google Scholar
Bailey, Peter, Popular Culture and Performance in the Victorian City, Cambridge University Press, 1998.Google Scholar
Bailey, Peter (ed.), Music Hall: The Business of Pleasure, Milton Keynes: Open University Press, 1986.Google Scholar
Balfour, Michael (ed.), Theatre and War 1933–1945: Performance in Extremis, Oxford: Berghahn, 2001.Google Scholar
Banham, Martin (ed.), The Cambridge Guide to Theatre, updated edn, Cambridge University Press, 1995.Google Scholar
Bannister, Winifred, James Bridie and his Theatre, London: Rockcliff 1955.Google Scholar
Barbor, H. R., The Theatre: An Art and an Industry, London: Labour Publishing, 1924.Google Scholar
Barker, Clive, ‘From fringe to alternative theatre’, Zeitschrift fur Anglistick und Amerikanistick 26, 1 (1978).Google Scholar
Barker, Clive and Maggie Gale, B. (eds.), British Theatre Between the Wars, 1918–1939, Cambridge University Press, 2000.Google Scholar
Barker, Howard, Arguments for a Theatre, 2nd edn, Manchester University Press, 1993.Google Scholar
Barker, Howard, The Bite of the Night, London: John Calder, 1988.Google Scholar
Barnes, Philip, A Companion to Post–War British Theatre, London: Croom Helm, 1986.Google Scholar
Barthes, Roland, A Lover’s Discourse: fragments, trans. Howard, Richard, London: Jonathan Cape, 1979.Google Scholar
Barthes, Roland, S/Z, trans. Miller, Richard, Oxford: Blackwell, 1990.Google Scholar
Bason, Fred, Gallery Unreserved, London: John Heritage, 1931.Google Scholar
Bate, Jonathan and Jackson, Russell (eds.), Shakespeare: An Illustrated Stage History, Oxford University Press, 1996.Google Scholar
Baudrillard, Jean, Simulacra and Simulation, trans. Glaser, Sheila Faria, Ann Arbor: University of Michigan Press, 1994.Google Scholar
Beauman, Sally, The Royal Shakespeare Company, Oxford University Press, 1982.Google Scholar
Beerbohm, Max, Around Theatres, 1924, London: Rupert Hart–Davis, 1953; reprinted, New York: Simon & Schuster, 1954.Google Scholar
Beerbohm, Max, Last Theatres, 1904–1910, New York: Taplinger, 1970.Google Scholar
Bell, Sam Hanna, The Theatre in Ulster, Totowa, N.J.: Rowan & Littlefield, 1972.Google Scholar
Benhabib, Seyla, ‘Epistemologies of postmodernism: a rejoinder to Jean–François Lyotard’, New German Critique 33 (1984).Google Scholar
Benjamin, Walter, Illuminations, trans. Zohn, Harry, London: Fontana, 1992.Google Scholar
Bennett, Arnold, Cupid and Commonsense, London: Frank Palmer, 1909.Google Scholar
Bignell, Jonathan, Lacy, Stephen and Macmurraugh-Kavanagh, Madelaine (eds.), British Television Drama – Past, Present and Future, New York: Palgrave, 2000.Google Scholar
Billingham, Peter, Theatres of Conscience 1939–1953: A Study of Four Touring British Community Theatres, London: Routledge Harwood, 2002.Google Scholar
Bond, Edward, ‘A discussion with Edward Bond’, Gambit 17 (1970).Google Scholar
Bond, Edward, ‘Interview with Edward Bond’, Gambit 17 (1970).Google Scholar
Boon, Richard, Brenton: The Playwright, London: Methuen, 1991.Google Scholar
Booth, Michael R. and Kaplan, Joel H. (eds.), The Edwardian Theatre: Essays on Performance and the Stage, Cambridge University Press, 1996.Google Scholar
Bourchier, Arthur, Art and Culture in Relation to Socialism, London: ILP, 1926.Google Scholar
Bourdieu, Pierre, Distinction: A Social Critique of the Judgement of Taste, trans. Nice, Richard, London: Routledge & Kegan Paul, 1984.Google Scholar
Brandane, John, The Glen is Mine, London: Constable, 1939.Google Scholar
Brandt, George (ed.), British Television Drama in the 1980s, Cambridge University Press, 1993.Google Scholar
Branson, Noreen, Britain in the Nineteen Twenties, London: Weidenfeld & Nicolson, 1975.Google Scholar
Branson, Noreen and Heinemann, Margot, Britain in the Nineteen Thirties, London: Weidenfeld & Nicolson, 1971.Google Scholar
Bratton, J. S. (ed.), Music Hall: Performance and Style, Milton Keynes: Open University Press, 1986.Google Scholar
Bratton, J. S., Cave, Richard Allen, Heidi, Breandan GregoryHolder, J. and Pickering, Michael, Acts of Supremacy: The British Empire and the Stage, 1790–1930, Manchester University Press, 1991.Google Scholar
Braun, Edward, The Director and the Stage, London: Methuen, 1982.CrossRefGoogle Scholar
Brenton, Howard, Hot Irons: Diaries, Essays, Journalism, London: Nick Hern Books, 1995.Google Scholar
Brenton, Howard, The Romans in Britain, London: Methuen, 1980.Google Scholar
Brenton, Howard, Sore Throats, London: Methuen, 1979.Google Scholar
Bridges–Adams, William, Looking at a Play, London: Phoenix House, 1947.Google Scholar
Brookfield, Charles H. E., ‘On Plays and Play-Writing’, National Review, 345 (November 1911).Google Scholar
Brown, Muriel and Madge, Nicola, Despite the Welfare State, London: William Heinemann, 1982.Google Scholar
Browne, Henzie and Browne, E. Martin, Pilgrim Story: The Pilgrim Players, 1939–1943, London: Frederick Muller, 1945.Google Scholar
Bull, John, New British Political Dramatists, London: Macmillan, 1984.CrossRefGoogle Scholar
Bull, John, Stage Right: Crisis and Recovery in Mainstream British Theatre, London: Macmillan, 1994.CrossRefGoogle Scholar
Burns, Tom and Burns, Elizabeth (eds.), The Sociology of Literature and Drama, Harmonds-worth: Penguin, 1973.Google Scholar
Butler, Nicholas, John Martin-Harvey: The Biography of an Actor Manager, Wivenhoe: Nicholas Butler, 1997.Google Scholar
Cameron, Alasdair, Twentieth-Century Scottish Theatre: A Study Guide, Department of Scottish Literature, University of Glasgow, 1988.Google Scholar
Carey, John, The Intellectuals and the Masses, London: Faber & Faber, 1992.Google Scholar
Carson, L. (ed.), The Stage Yearbook 1928, London: The Stage, 1928.Google Scholar
Cartwright, Jim, Road, London: Methuen, 1990.Google Scholar
Case, Sue-Ellen, Split Britches: Lesbian Practice/Feminist Performance, London: Routledge, 1996.Google Scholar
,CAST (Cartoon Archetypal Slogan Theatre), Confessions of a Socialist, London: Pluto Press, 1979.
Chambers, Colin, Other Spaces: New Theatre and the RSC, London: Eyre Methuen, 1980.Google Scholar
Chambers, Colin, The Story of Unity Theatre, London: Lawrence & Wishart, 1989.Google Scholar
Chambers, Colin and Prior, Mike, Playwrights’ Progress: Patterns in Post-War British Drama, Oxford: Amber Lane, 1987.Google Scholar
Chapman, Claire and Schweitzer, Pam (eds.), Theatre in Education Directory, London: Theatre Quarterly Publications, 1975.Google Scholar
Chapman, Mave and Chapman, Ben, The Pierrots of the Yorkshire Coast, Beverley: Hutton Press, 1988.Google Scholar
Cheeseman, Peter, ‘A community theatre-in-the-round’, Theatre Quarterly 1, 1 (Jan.-March 1971).Google Scholar
Cheeseman, Peter, ‘Introduction’, in The Knotty, London: Methuen, 1970.Google Scholar
Child, Harold, A Poor Player: The Story of a Failure, Cambridge University Press, 1939.Google Scholar
Chisholm, Cecil, Repertory: An Outline of the Modern Theatre Movement, London: Peter Davies, 1934.Google Scholar
Chothia, Jean, English Drama of the Early Modern Period 1890–1940, Harlow: Longman, 1996.Google Scholar
Churchill, Caryl, Plays: One, London: Methuen, 1985.Google Scholar
Cima, Gay Gibson, Performing Women: Female Characters, Male Playwrights and the Modern Stage, Ithaca: Cornell University Press, 1993.Google Scholar
Citizens’ Theatre Company: A Conspectus to Mark the Citizens’ 21st Anniversary, Glasgow: Citizens’ Theatre Ltd, 1964.
Clarke, Jon and Heinemann, Margot, Culture and Crisis in Britain in the 1930s, London: Lawrence & Wishart, 1970.Google Scholar
Cochrane, Claire, Shakespeare at the Birmingham Repertory Theatre 1913–1929, London: Society for Theatre Research, 1993.Google Scholar
Cockrell, Dale, Demons of Disorder: Early Blackface Minstrels and their World, Cambridge University Press, 1997.Google Scholar
Cohen, Ruth and Tarpey, MaryroseSingle Payments, the Disappearing Safety Net (Poverty Pamphlet 74), London: CPAG Ltd, 1988.Google Scholar
Collins, L. J., Theatre at War 1914–18, London: Macmillan, 1998.CrossRefGoogle Scholar
Coppetiers, Frank, ‘Arnold Wesker’s Centre Forty-Two: a cultural revolution betrayed’, Theatre Quarterly, 5, 18 (June-Aug. 1975).Google Scholar
Cork, Kenneth Sir, Theatre IS for All: Report of the Enquiry into Professional Theatre in England, 1986, London: Arts Council of Great Britain, 1986.Google Scholar
Corner, John (ed.), Popular TV in Britain: Studies in Cultural History, London: British Film Institute, 1991.Google Scholar
Corrie, Joe, In Time o’ Strife, Edinburgh: 7: 84Theatre Company, 1982.Google Scholar
Cotes, P.George Robey, London: Cassell, 1972.Google Scholar
Coult, Tony and Kershaw, Baz (eds.), Engineers of the Imagination: The Welfare State Handbook, rev. edn, London: Methuen, 1990.Google Scholar
Coveney, Michael, ‘Pushing on to a national theatre’, Plays and Players, 21, 7 (April 1974).Google Scholar
Cox, R. Douglas, Stuart, C. Douglas and Martin, William, Theatrical, Variety & Fit-Up Directory, London: Whitton & Smith, 1904, 1905, etc.Google Scholar
Craig, Cairns, Out of History, Edinburgh: Polygon, 1996.Google Scholar
Craig, Edward Gordon, On the Art of the Theatre, London: William Heinemann, 1911.Google Scholar
Craig, Sandy (ed.), Dreams and Deconstructions: Alternative Theatre in Britain, Ambergate, Derbys.: Amber Lane, 1980.Google Scholar
Curtis, T. (ed.), Wales: The Imagined Nation, Bridgend: Poetry Wales Press, 1986.Google Scholar
Daldry, Stephen, ‘There is a new audience out there’, in Live 1: Food for the Soul -A New Generation of British Theatre Makers, ed. Tushingham, David, London: Methuen, 1994.Google Scholar
Dale, Antony, The Theatre Royal Brighton, Stocksfield: Oriel Press, 1980.Google Scholar
Daniel, John, ‘Baying for Blood’ (interview with Franco B.), Total Theatre, 9, 4 (winter 1997–8).Google Scholar
David, Bradby and Williams, David, Directors’ Theatre, London: Macmillan, 1988.Google Scholar
Davies, Andrew, Other Theatres: The Development of Alternative and Experimental Theatre in Britain, London: Macmillan, 1987.CrossRefGoogle Scholar
Davies, Cecil, The Adelphi Players: The Theatre of Persons, ed. Billingham, Peter, London: Routledge Harwood, 2002.Google Scholar
Davies, D. Jacob, ‘Llwyfannu Meini Gwagedd’, Y Gehinen (Haf 1954).Google Scholar
Davies, George, ‘Drama yr Ymylon’, Drama (Gwanwyn 1960).Google Scholar
Davies, Hazel Walford (ed.), State of Play, Llandysul: Gomer, 1998.Google Scholar
Davies, Janet, The Welsh Language, Cardiff: University of Wales Press, 1993.Google Scholar
Davies, John, A History of Wales, Harmondsworth: Penguin, 1994.Google Scholar
Davies, Walford, Saunders Lewis a Theatr Garthewin, Llandysul: Gomer, 1995.Google Scholar
Davis, Tracy C., The Economics of the British Stage, 1800–1914, Cambridge University Press, 2000.Google Scholar
Dean, Anthony (ed.), Street Arts: A User’s Guide, Winchester: King Alfred’s College Press/International Street Arts Network, 2003.Google Scholar
Dean, Basil, The Theatre at War, London: George Harrap, 1956.Google Scholar
Jongh, Nicholas, Not in Front of the Audience: Homosexuality on Stage, London: Routledge, 1992.Google Scholar
Jongh, Nicholas, Politics, Prudery and Perversions: The Censoring of the English Stage 1901–1968, London: Methuen, 2001.Google Scholar
Dellar, Pamela (ed.), Plays without Theatres: Recollections of the Compass Players, 1944–1952, Beverley, Yorks: Highgate Publications, 1989.Google Scholar
Devine, T. M. and Finlay, R. J. (eds.), Scotlandin the 20th Century, Edinburgh University Press, 1996.Google Scholar
Diamond, Elin (ed.), Performance and Cultural Politics, London: Routledge, 1996.Google Scholar
Dick, Eddie (ed.), From Limelight to Satellite, London: British Film Institute and Scottish Film Council, 1990.Google Scholar
Dickinson, Thomas H., The Changing Theatre in Europe, London: Putnam, n.d., c, 1937.Google Scholar
Donnachie, Ian and Whatley, Christopher (eds.), The Manufacture of Scottish History, Edinburgh: Polygon, 1992.Google Scholar
Donohue, Joseph, ‘What is the Edwardian theatre?’, in Booth, Michael R. and Kaplan, Joel H., eds., The Edwardian Theatre: Essays on Performance and the Stage, Cambridge University Press, 1996.Google Scholar
Downing, Dick, In our Neighbourhood: A Regional Theatre and its Local Community, York: Joseph Rowntree Foundation, 2001.Google Scholar
Dukes, Ashley, Drama, London: Williams & Northgate, 1926.Google Scholar
Dukes, Ashley, The World to Play With, Oxford University Press, 1928.Google Scholar
Maurier, Daphne, Gerald, A Portrait, London: Victor Gollancz, 1934.Google Scholar
Dunbar, Andrea, Rita, Sue and Bob Too, London: Methuen, 1988.Google Scholar
Duncan, Robert and McIvor, Arthur (eds.), Labour and Class Conflict on the Clyde 1900–1950, Edinburgh: John Donald, 1992.Google Scholar
Duvignaud, Jean, Le Sociologie du théâtre, Paris: Presses Universitaires de France, 1965.Google Scholar
Dyhouse, Carol, Feminism and the Family in England 1880–1939, Oxford: Blackwell, 1989.Google Scholar
Eagleton, Terry, ‘Nature and violence: the Prefaces of Edward Bond’, Critical Quarterly 26 (1994).Google Scholar
Edgar, David, ‘Public theatre in a private age’, British Theatre Institute: Special Report 1 (1984).Google Scholar
Edgar, David, The Second Time as Farce: Reflections on the Drama of Mean Times, London: Lawrence & Wishart, 1988.Google Scholar
Edgar, David (ed.), State of Play, London: Faber & Faber, 1999.Google Scholar
Edwards, Emyr, ‘Tristwch ein theatr’, Y Faner (Sept. 1986).Google Scholar
Edwards, Hywel Teifi, Codi’rLlen, Llandysul: Gomer, 1998.Google Scholar
Edwards, Hywel Teifi (ed.), A Guide to Welsh Literature c. 1800–1900, 5 vols., Cardiff: University of Wales Press, 2000.Google Scholar
Elder, Eleanor, Travelling Players: The Story of the Arts League of Service, London: Frederick Muller, 1939.Google Scholar
Elsom, John, Post–War British Theatre, rev. edn, London: Routledge & Kegan Paul, 1979.Google Scholar
Englebrecht, H. C. and Hanighen, F. C., Merchants of Death: A Study of the International Armament Industry, London: George Routledge, 1934.Google Scholar
Equity, , ‘Report on a survey of members’, London: Equity, 1999.Google Scholar
Ervine, John St, ‘British Drama League lecture’, Times (1 Jan. 1926).Google Scholar
Evans, Eric J. and Richards, Jeffrey, A Social History of Britain in Postcards 1870–1930, Harlow: Longman, 1980.Google Scholar
Ewing, K. D. and Gearty, C. A.Freedom under Thatcher: Civil Liberties in Modern Britain, Oxford University Press, 1990.Google Scholar
Eyre, Richard and Wright, Nicholas, Changing Stages: A View of British Theatre in the Twentieth Century, London: Bloomsbury, 2000.Google Scholar
Fawkes, Richard, Fighting for a Laugh: Entertaining the British and American Armed Forces 1939–1946, London: Macdonald & Jane’s, 1978.Google Scholar
,Federation of Scottish Theatre, Proposal for a National Theatre for Scotland, Edinburgh: Federation of Scottish Theatre Limited, 2000.
,Federation of Theatre Unions, ‘Theatre ownership in Britain – a report’, London: Federation of Theatre Unions, 1953.
Feist, Andrew and Hutchison, Robert (eds.), Cultural Trends 1990, London: Policy Studies Institute, 1990.Google Scholar
Ferguson, J. A., Campbell of Kilmohr, London: Gowans & Gray, 1915.Google Scholar
Filewood, Alan and Watt, David, Worker’s Playtime: Theatre and the Labour Movement Since 1970, Sydney: Currency Press, 2001.Google Scholar
Findlater, Richard, Banned! A Review of Theatrical Censorship in Britain, London: MacGibbon & Kee, 1967.Google Scholar
Findlater, Richard, The Unholy Trade, London: Victor Gollancz, 1952.Google Scholar
Findlay, Bill (ed.), A History of Scottish Theatre, Edinburgh: Polygon, 1998.Google Scholar
Forbes-Winslow, D., Daly’s, The Biography of a Theatre, London: W H. Allen, 1944.Google Scholar
Foucault, Michel, The Archaeology of Knowledge, trans. Smith, A. M. Sheridan, London: Tavistock, 1972.Google Scholar
Foucault, Michel, The History of Sexuality, An Introduction, trans. Hurley, Robert, Harmonds-worth: Penguin, 1979.Google Scholar
Foulkes, Richard (ed.), British Theatre in the 1890s: Essays on Drama and the Stage, Cambridge University Press, 1992.Google Scholar
Francis, J. O., ‘The deacon and the dramatist’, Welsh Outlook (June 1919).Google Scholar
Francombe, Ben, ‘Falling off a wall – degrees of change in British actor training’, Studies in Theatre and Performance 21, 3 (2001).Google Scholar
Freeman, Sandra, Putting your Daughters on the Stage: Lesbian Theatre from 1970s to 1990s, London: Cassell, 1997.Google Scholar
Fukuyama, Francis, ‘The end of History?National Interest (Summer 1989).Google Scholar
Fukuyama, Francis, The End of History and the Last Man, Harmondsworth: Penguin, 1992.Google Scholar
Fussell, Paul, The Great War and Modern Memory, Oxford University Press, 1975.Google Scholar
Gale, Maggie B., West End Women: Women on the London Stage 1918–1962, London: Routledge, 1996.CrossRefGoogle Scholar
Gale, Maggie B. and Gardner, Viv (eds.), Women, Theatre and Performance: New Histories, New Historiographies, Manchester University Press, 2000.Google Scholar
Gamble, Andrew, The Free Economy and the Strong State: the Politics of Thatcherism, 2nd edn, London: Macmillan, 1994.CrossRefGoogle Scholar
Gardner, Lyn, ‘Just sit down and shut up’, Guardian Saturday Review (14 Oct. 2000).Google Scholar
Gardner, Viv, ‘No flirting with philistinism: Shakespeare production at Miss Horniman’s Gaiety Theatre’, New Theatre Quarterly 14, 55 (Aug. 1998).CrossRefGoogle Scholar
Gardner, Viv (ed.), Sketches from the Actresses’ Franchise League, Nottingham: Nottingham Drama Texts, 1985.Google Scholar
Garner, Stanton B., Bodied Spaces: Phenomenology and Performance in Contemporary Drama, Ithaca: Cornell University Press, 1994.Google Scholar
Gee, Emma and Hayhow, Richard, ‘Community plays’, Mailout: Arts Work with People (Feb./March 1999).Google Scholar
Giddens, Anthony, Beyond Left and Right: The Future of Radical Politics, London: Polity, 1994.Google Scholar
Giesekam, Greg, ‘Review of The Politics of Alternative Theatre in Britain 1968–1990, by Maria DiCenzo’, Comparative Drama 33, 3 (fall 1999).CrossRefGoogle Scholar
Gifford, Douglas and McMillan, Dorothy (eds.), A History of Scottish Women’s Writing, Edinburgh University Press, 1997.Google Scholar
Gill, Maud, See the Players, London: Hutchinson, 1938.Google Scholar
Godfrey, Philip, Back Stage, London: George Harrap, 1933.Google Scholar
Gof, Brith, Brith Gof-A Welsh Theatre Company: 1981–85, Cardiff: Brith Gof, 1985.Google Scholar
Gof, Brith, Brith Gof-A Welsh Theatre Company: 1985–88, Cardiff: Brith Gof, 1988.Google Scholar
Gof, Brith, Brith Gof-y llyfr glas: 1988–95, Cardiff: Brith Gof, 1995.Google Scholar
Goldie, Grace Wyndham, The Liverpool Repertory Theatre 1911–1935, London: Hodder & Stoughton, 1935.Google Scholar
Gooch, Steve and Thomson, Paul, The Motor Show, London: Pluto Press, 1975.Google Scholar
Goodman, Lizbeth, Contemporary Feminist Theatres: To Each Her Own, London: Routledge, 1993.CrossRefGoogle Scholar
Goodman, Lizbeth and May, Jane, Feminist Stages, Amsterdam: Harwood Academic Press, 1996.Google Scholar
Goodwin, Tim, Britain’s Royal National Theatre: The First Twenty-Five Years, London: National Theatre with Nick Hern Books, 1988.Google Scholar
Goorney, Howard, The Theatre Workshop Story, London: Eyre Methuen, 1981.Google Scholar
Goorney, Howard and MacColl, Ewan (eds.), Agit–Prop to Theatre Workshop: Political Playscripts 1930–50, Manchester University Press, 1986.Google Scholar
Gottlieb, Vera, ‘Thatcher’s theatre-or, after Equus’, New Theatre Quarterly 4, 14 (May 1988).CrossRefGoogle Scholar
Gottlieb, Vera, ‘Theatre Today-the “new realism”’, Contemporary Theatre Review 13, 1 (Feb. 2003).Google Scholar
Gottlieb, Vera and Chambers, Colin (eds.), Theatre in a Cool Climate, Oxford: Amber Lane, 1999.Google Scholar
Granville Barker, Harley, ‘Preface’, in Laurence Housman’s Little Plays of St Francis, 2nd series, London: Sidgwick & Jackson, 1931.Google Scholar
Granville Barker, Harley, ‘Repertory theatres’, New Quarterly 2 (1909).Google Scholar
Gray, Terence, Dance-Drama: Experiments in the Art of the Theatre, Cambridge: Heffer & Sons, 1926.Google Scholar
,Great Britain Board of Education, Adult Education Committee, The Drama in Adult Education, London: HMSO, 1926.
Griffiths, Trevor, ‘Author’s preface’, in Through the Night, London: Faber & Faber, 1977.Google Scholar
Gruffydd, W. J., ‘Drama i Gymru’, Y Beirniad 1 (1911).Google Scholar
Guthrie, Tyrone, A Life in the Theatre, London: Hamish Hamilton, 1960.Google Scholar
Guttmann, Alan, Sports Spectators, New York: Columbia University Press, 1986.CrossRefGoogle Scholar
Hall, Stuart and Jacques, Martin (eds.), New Times: The Changing Face of Politics in the 1990s, London: Lawrence & Wishart, 1989.Google Scholar
Hamilton, Cicely, Diana ofDobson’s: A Romantic Comedy in Four Acts, New York: Samuel French, 1925.Google Scholar
Hamilton, Cicely, Life Errant, London: J. M. Dent, 1935.Google Scholar
Hamilton, Cicely, Marriage as a Trade, London: Chapman & Hall, 1909; rpt. London: Women’s Press, 1981.Google Scholar
Hamilton, Cicely and Baylis, Lilian, The Old Vic, London: Jonathan Cape, 1926.Google Scholar
Hammond, Jonathan, ‘A potted history of the fringe’, Theatre Quarterly 3, 12 (Oct.-Dec. 1973).Google Scholar
Hands, Terry, ‘Who has the vision to revive our future?’, Western Mail (14 Nov. 1998).Google Scholar
Hannan, Chris, Shining Souls, London: Nick Hern Books, 1996.Google Scholar
Harris, Geraldine, Staging Femininities, Manchester University Press, 1999.Google Scholar
Harrower, David, Kill the Old Torture their Young, London: Methuen, 1998.CrossRefGoogle Scholar
Harrower, David, Knives in Hens, London: Methuen, 1995.Google Scholar
Harrower, David and Greig, David, ‘Why a new Scotland must have a properly-funded theatre’, Scotsman (25 Nov. 1997).Google Scholar
Hartnoll, Phyllis (ed.), The Oxford Companion to the Theatre, 4th edn, Oxford University Press, 1983.Google Scholar
Harvie, Christopher, No Gods and Precious Few Heroes: Scotland 1914–1980, London: Edward Arnold, 1981.Google Scholar
Harvie, Christopher, Scotland and Nationalism, 3rd edn, London: Routledge, 1998.Google Scholar
Hawkes, Terence, Meaning by Shakespeare, London: Routledge, 1992.CrossRefGoogle Scholar
Hay, Malcolm and Roberts, Philip, ‘Interview with Howard Brenton’, Performing ArtsJournal, 3, 3 (1979).Google Scholar
Hayes, Mark, The New Right in Britain, London: Pluto Press, 1994.Google Scholar
Hayman, Ronald, British Theatre Since 1955: A Reassessment, Oxford University Press, 1979.Google Scholar
Hayman, Ronald, The Set-Up: An Anatomy of the English Theatre Today, London: Eyre Methuen, 1973.Google Scholar
Haynes, Jim, Thanks for Coming, London: Faber & Faber, 1984.Google Scholar
Hewison, Robert, Culture and Consensus: England, Art and Politics Since 1940, London: Methuen, 1997.Google Scholar
Hewison, Robert, Under Siege: Literary Life in London 1939–45, rev. edn, London: Methuen, 1988.Google Scholar
Hill, John, ‘Glasgow Unity Theatre: the search for a “Scottish People’s Theatre”’, New Edinburgh Review 40 (Feb. 1978).Google Scholar
Hill, John, ‘Towards a Scottish people’s theatre: the rise and fall of Glasgow Unity’, Theatre Quarterly 7, 27 (autumn 1977).Google Scholar
Hobsbawm, Eric, The Age of Empire, 1876–1914, London: Weidenfeld & Nicolson, 1987.Google Scholar
Hodgson, Terry (ed.), The Batsford Dictionary of Drama, London: Batsford, 1988.Google Scholar
Holderness, Graham (ed.), The Politics of Theatre and Drama, London: Macmillan, 1992.CrossRefGoogle Scholar
Hollege, Julie, Innocent Flowers: Women in the Edwardian Theatre, London: Virago, 1981.Google Scholar
Holroyd, Michael, Bernard Shaw, 4 vols., New York: Random House, 1988–92.Google Scholar
Homden, Carol, The Plays of David Hare, London: Routledge, 1996.Google Scholar
Honri, Peter, Working the Halls, London: Futura, 1976.Google Scholar
Howard, Diana, London Theatres and Music Halls, 1850–1950, London: Library Association, 1970.Google Scholar
Howard, Philip (ed.), Scotland Plays, London: Nick Hern Books, 1998.Google Scholar
Howard, Tony, ‘Theatre of urban renewal: the uncomfortable case of Covent Garden’, Theatre Quarterly 10, 38 (summer 1980).Google Scholar
Howard, Tony and Stokes, John (eds.), Acts of War: The Representation of Military Conflict on the British Stage and Television Since 1945, Aldershot: Scolar, 1996.Google Scholar
Howe, P. P., Dramatic Portraits, London: Martin Secker, 1913.Google Scholar
Howe, P. P., The Repertory Theatre: A Record and A Criticism, London: Martin Secker, 1910.Google Scholar
Hudson, Lynton, The Twentieth-Century Drama, London: George Harrap, 1946.Google Scholar
Huggett, Richard, Binkie Beaumont: Eminence Grise of the West End Theatre 1933 –1973, London: Hodder & Stoughton, 1989.Google Scholar
Humphreys, Emyr, The Taliesin Tradition, London: Black Raven Press, 1983.Google Scholar
Hunt, Albert, Arden: a Study of his Plays, London: Eyre Methuen, 1975.Google Scholar
Hunt, Hugh, KennethRichards, and Taylor, John Russell, The Revels History of Drama in English, vol. vii, 1880 to the Present Day, London: Methuen, 1978.Google Scholar
Hutchison, Robert, The Politics of the Arts Council, London: Sinclair Browne, 1982.Google Scholar
Hynes, Samuel, The Edwardian Turn of Mind, Princeton University Press, 1968.Google Scholar
Innes, Christopher, Edward Gordon Craig, Cambridge University Press, 1983; 2nd edn, Amsterdam: Harwood Academic Press, 1998.Google Scholar
Irving, G.Great Scot!, London: Leslie Frewin, 1968.Google Scholar
Itzin, Catherine (ed.), Alternative Theatre Handbook, London: Theatre Quarterly Publications, 1976.Google Scholar
Itzin, Catherine (ed.), British Alternative Theatre Directory, 1980, Eastbourne: John Offord, 1980.Google Scholar
Itzin, Catherine (ed.), British Alternative Theatre Directory, 1982, Eastbourne: John Offord, 1982.Google Scholar
Itzin, Catherine, Stages in the Revolution: Political Theatre in Britain Since 1968, London: Eyre Methuen, 1980.Google Scholar
Jellicoe, Ann, Community Plays: How To Put Them On, London: Methuen, 1987.Google Scholar
Jones, Alun R. and Thomas, Gwyn (eds.), Presenting Saunders Lewis, Cardiff: University of Wales Press, 1973.Google Scholar
Jones, D. Llwyd, ‘Drama Arwyddocaol’, Y Faner 23, 5 (1945).Google Scholar
Jones, David, ‘Community plays: two cultures’, Mailout: Arts Work with People (Aug./Sept. 1995).Google Scholar
Jones, Nerys Ann, ‘Golwg Newydd ar Flodeuwedd’, Taliesin 65 (1988).Google Scholar
Jones, R. Tudur, John Elias: Prince Amongst Preachers, Bridgend: Welsh Evangelical Society, 1975.Google Scholar
Jones, Tudur, Remaking the Labour Party: From Gaitskell to Blair, London: Routledge, 1996.Google Scholar
Kane, Sarah, Blasted with Phaedra’s Love, London: Methuen, 1996.Google Scholar
Kane, Sarah, Cleansed, London: Methuen, 1998.Google Scholar
Kane, Sarah, Crave, London: Methuen, 1998.Google Scholar
Kane, Whitford, Are We All Met?, London: Elkin Mathews & Marrot, 1931.Google Scholar
Kaplan, Joel H. and Stowell, Sheila, Theatre and Fashion: Oscar Wilde to the Suffragettes, Cambridge University Press, 1994.Google Scholar
Kaye, Nick (ed.), Art into Theatre: Performance Interviews and Documents, Amsterdam: Harwood Academic Press, 1996.Google Scholar
Kaye, Nick (ed.), ‘British Live Art: Essays and Documentation’, Contemporary Theatre Review 2, 2 (1994).CrossRefGoogle Scholar
Kaye, Nick, Postmodernism and Performance, London: Macmillan, 1994.CrossRefGoogle Scholar
Kaye, Nick, Site-Specific Art:Performance, Place and Documentation, London: Routledge, 2000.Google Scholar
Keat, Russell, Whiteley, Nigel and Abercrombie, Nicholas (eds.), The Authority of the Consumer, London: Routledge, 1994.CrossRefGoogle Scholar
Kelsall, Moultrie, The Twelve Seasons of the Edinburgh Gateway Company, 1953–1965, Edinburgh: St Giles Press, 1965.Google Scholar
Kennedy, Dennis, Granville Barker and the Dream of Theatre, Cambridge University Press, 1985.Google Scholar
Kennedy, Dennis, Looking at Shakespeare: A Visual History of Twentieth-Century Performance, 2nd edn, Cambridge University Press, 2001.Google Scholar
Kennedy, Dennis (ed.), The Oxford Encyclopedia of Theatre and Performance, Oxford University Press, 2003.Google Scholar
Kennedy, Dennis, ‘Sports and shows: spectators in contemporary culture’, Theatre Research International 26, 3 (2001).CrossRefGoogle Scholar
Kershaw, Baz, ‘Building an unstable pyramid: the fragmentation of British alternative theatre’, New Theatre Quarterly 9, 36 (Nov. 1993).CrossRefGoogle Scholar
Kershaw, Baz, ‘Discouraging democracy: British theatres and economics, 1979–1999’, Theatre Journal 51, 3 (Oct. 1999).CrossRefGoogle Scholar
Kershaw, Baz, ‘Dramas of the performative society: theatre at the end of its tether’, New Theatre Quarterly 17, 67 (Aug. 2001).CrossRefGoogle Scholar
Kershaw, Baz, The Politics of Performance: Radical Theatre as Cultural Intervention, London: Routledge, 1992.CrossRefGoogle Scholar
Kershaw, Baz, The Radical in Performance: Between Brecht and Baudrillard, London: Routledge, 1999.Google Scholar
Kilroy, Thomas, ‘Groundwork for an Irish theatre’, Studies: An Irish Quarterly Review of Letters, Philosophy and Science 48 (summer 1958).Google Scholar
King, Elspeth, The Hidden History of Glasgow Women: The New Factor, Edinburgh: Mainstream, 1993.Google Scholar
King, Robert, North Shields Theatres, Gateshead: Northumberland Press, 1948.Google Scholar
King, W. Davies, Henry Irving’s Waterloo: Theatrical Engagements with Arthur Conan Doyle, George Bernard Shaw, Ellen Terry, Edward Gordon Craig, Late-Victorian Culture, Assorted Ghosts, Old Men, War, and HISTORY, Berkeley: University of California Press, 1993.Google Scholar
Klein, Naomi, No Logo, London: Flamingo/HarperCollins, 2000.Google Scholar
Klein, Naomi, ‘The tyranny of the brands’, New Statesman> (24 Jan. 2000).Google Scholar
Knoblock, Edward, Round the Room: An Autobiography, London: Chapman & Hall, 1939.Google Scholar
Kracauer, S., The Mass Ornament, trans. Levin, Thomas Y., Cambridge, Mass.: Harvard University Press, 1995.Google Scholar
Kustow, Michael, Theatre@Risk, London: Methuen, 2000.Google Scholar
Lamb, Charles, Howard Barker’s Theatre of Seduction, Amsterdam: Harwood Academic Press, 1996.Google Scholar
Landstone, Charles, Off Stage: A Personal Record of the First Twelve Years of State-Sponsored Drama in Great Britain, London: Paul Elek, 1953.Google Scholar
Lash, Scott and Urry, John, The End of Organised Capitalism, Cambridge: Polity, 1987.Google Scholar
Lavender, Andy, ‘Theatrein crisis: conferencereport, December 1988’, New Theatre Quarterly 5, 19 (Aug. 1989).CrossRefGoogle Scholar
Lesser, Wendy, A Director Calls: Stephen Daldry and the Theatre, London: Faber & Faber, 1997.Google Scholar
Levitas, Ruth (ed.), The Ideology of the New Right, Cambridge: Polity Press, 1986.Google Scholar
Lewis, Mair Saunders, et al. (eds.), Letters to Margaret Gilcriest, Cardiff: University of Wales Press, 1933.Google Scholar
Lewis, Saunders, ‘By way of apology’, Dock Leaves 6 (1955).Google Scholar
Lewis, Saunders, Gymerwch Chi Sigaret?, Llandybie: Llyfrau’r Dryw, 1956.Google Scholar
Lewis, Saunders, ‘The present state of Welsh drama’, Welsh Outlook 6 (1919).Google Scholar
Lewis, Saunders, ‘Rhai Amhenon’, YLlwyfan 4, Media Gorfferat (June/July 1928).Google Scholar
Linklater, N. V., ‘The achievement in drama’, in The State and the Arts, ed. Pick, John, Eastbourne: John Offord, 1980.Google Scholar
Littlewood, Joan, Joan’s Book: Joan Littlewood’s Peculiar History As She Tells It, London: Methuen, 1994; London: Minerva, 1995.Google Scholar
Littlewood, Joan, ‘Plays for the people’, World Theatre 8, 4 (1960).Google Scholar
Lloyd, D. Tecwyn, ‘Daniel Owen ar y Llwyfan’, Llên Cymru 10 (1968–9).Google Scholar
Lloyd, Tecwyn D., ‘Gwir gychwyn busnes drama ‘ma’, Llyfan 8 (spring/summer 1973).Google Scholar
Lochhead, Liz, Mary Queen of Scots got her Head Chopped Off, Harmondsworth: Penguin, 1989.Google Scholar
Lott, Eric, Love and Theft: Blackface Minstrelsy and the American Working Class, Oxford University Press, 1993.Google Scholar
Loveman, Jack, Letter to the editor, Young Worker (9 Oct. 1926).
Lucas, Ian, Impertinent Decorum: Gay Theatrical Manoeuvres, London: Cassell, 1993.Google Scholar
Lucas, John (ed.), The 193 os. A Challenge to Orthodoxy, Brighton: Harvester Press, 1978.Google Scholar
MacCannell, Dean, Empty Meeting Grounds: The Tourist Papers, London: Routledge, 1992.CrossRefGoogle Scholar
MacColl, Ewan, Journeyman, London: Sidgwick & Jackson, 1990.Google Scholar
MacDonald, Robert David, ChinCilla, in A Decade’s Drama, Todmorden, Lancs: Woodhouse Books, 1980.Google Scholar
Mackintosh, Cameron, ‘No public subsidy, no West End’, in Arts Council of England: Annual Report 1995–96, London: Arts Council of England, 1996.Google Scholar
MacLennan, Elizabeth, The Moon Belongs to Everyone: Making Theatre with 7:84, London: Methuen, 1990.Google Scholar
Macleod, Joseph, The Actor’s Right to Act, London: Lawrence & Wishart, 1981.Google Scholar
Macqueen-Pope, Walter James, The Footlights Flickered, London: Jenkins, 1959.Google Scholar
Macqueen-Pope, Walter James, Gaiety: Theatre of Enchantment, London: W H. Allen, 1949.Google Scholar
Macqueen-Pope, Walter James, Shirt Fronts and Sables: A Story of the Days when Money could be Spent, London: Hale, 1953.Google Scholar
Maguire, Tom, ‘Under new management: the changing direction of 7:84 (Scotland)’, Theatre Research International 17, 2 (summer 1992).CrossRefGoogle Scholar
Mais, S. P. B., ‘A short view of the modern English stage’, Theatre World (Dec. 1926).Google Scholar
Maitland, S., Vesta Tilley, London: Virago, 1986.Google Scholar
Malleson, Miles, The Fanatics, London: Ernest Benn, 1924.Google Scholar
Malleson, Miles, The ILP Arts Guild: The ILP and its Dramatic Societies: What They Are and Might Become, London: ILP Publications, 1925.Google Scholar
Maltby, H. F., What Might Happen: A Piece of Extravagance in Three Acts, London: Stage Play Publishing Bureau, 1927.Google Scholar
Mander, Raymond and Mitchenson, Joe, The Lost Theatres of London, London: Rupert Hart-Davis, 1968; rev. edn, London: New English Library, 1976.Google Scholar
Mander, Raymond and Mitchenson, Joe, Musical Comedy: A Story in Pictures, London: Peter Davies, 1969.Google Scholar
Mander, Raymond and Mitchenson, Joe, The Theatres of London, 1st edn, London: Rupert Hart-Davis, 1961; 3rd edn, London: New English Library, 1975.Google Scholar
Marowitz, Charles, Confessions of a Counterfeit Critic: A London Theatre Notebook 1958–71, London: Eyre Methuen, 1973.Google Scholar
Marowitz, Charles and Trussler, Simon (eds.), Theatre at Work: Playwrights and Productions in the Modern British Theatre, London: Methuen, 1967.Google Scholar
Marshall, Norman, The Other Theatre, London: John Lehmann, 1947.Google Scholar
Marshalsay, Karen, ‘“The quest for a truly representative Scottish national drama”: the Scottish National Players’, Theatre Research International 17, 2 (summer 1992).CrossRefGoogle Scholar
Martin, Bernice, A Sociology of Contemporary Cultural Change, Oxford: Blackwell, 1981.Google Scholar
Marwick, Arthur, British Society Since 1945, Harmondsworth: Penguin, 1982.Google Scholar
Marwick, Arthur, The Sixties: Cultural Revolution in Britain, France, Italy and the Uniterd States, C. 1958–C. 1974, Oxford University Press, 1998.Google Scholar
Mason, Bim, Street Theatre and Other Outdoor Performance, London: Routledge, 1992.CrossRefGoogle Scholar
Mayer, David (ed.), Playing out the Empire: Ben Hur and other Toga Plays and Films, 1883–1908; A Critical Anthology, OxfordUniversity Press, 1994.Google Scholar
Mazer, Cary M., Shakespeare Refashioned: Elizabethan Plays on Edwardian Stages, Ann Arbor: UMI Research Press, 1981.Google Scholar
McArthur, Colin (ed.), Scotch Reels: Scotland in Cinema and Television, London: British Film Institute, 1982.Google Scholar
McCann, Paul, ‘The trouble starts with a million pound windfall’, Independent on Sunday: Focus (24 Aug. 1997).Google Scholar
McCarthy, Desmond, The Court Theatre, 1904–1907, London: Bullen, A. H., 1907; rpt. Weintraub, Stanley and Gables, Coral (eds.), Florida: University of Miami Press, 1966.Google Scholar
McCoola, Ros, Theatre in the Hills, Chapel-en-le-Frith: Caron Publications, 1984.Google Scholar
McCowen, Alec, Young Gemini, London: Elm Tree Books, 1979.Google Scholar
McCrone, David, Understanding Scotland: The Sociology of a Stateless Nation, London: Rout-ledge, 1992.CrossRefGoogle Scholar
McDonald, Jan, ‘The Citizens’ Theatre Glasgow, 1969–1979 – ahouse of illusion’, Maske und Kothurn 29 (1983).CrossRefGoogle Scholar
McGrath, John, The Bone Won’t Breath: on Theatre and Hope in Hard Times, London: Methuen, 1990.Google Scholar
McGrath, John, A Good Night Out- Popular Theatre: Audience, Class and Form, London: Eyre Methuen, 1981.Google Scholar
McLeish, Robert, The Gorbals Story, Edinburgh: 7:84 Publications, 1985.Google Scholar
McMillan, Joyce, The Traverse Theatre Story 1963–1988, London: Methuen, 1988.Google Scholar
Meisel, Martin, Shaw and the Nineteenth-Century Theater, Princeton University Press, 1963.Google Scholar
Mellor, Geoff J., They Made Us Laugh, Littleborough, Lancs: George Kelsall, 1982.Google Scholar
Mellor, Geoff J., Pom-Poms and Ruffles: the Story of Northern Seaside Entertainment, Clapham, Yorks: Dalesman, 1966.Google Scholar
Merkin, Ros (ed.), Popular Theatres?, Liverpool: John Moores University Press, 1996.Google Scholar
Michael, Coveney, The Citz: 21 Years of the Glasgow Citizens’ Theatre, London: Nick Hern Books, 1990.Google Scholar
Moore, Geoff, Moving Being: Two Decades of Theatre Ideas, Cardiff: Moving Being Ltd., n.d.
Morgan, Edward, John Elias: Life, Letters and Essays, Edinburgh: Banner of Truth Trust, 1973.Google Scholar
Morgan, Kenneth O., The People’s Peace: British History 1945–1990, Oxford University Press, 1992.Google Scholar
Morgan, Kenneth O., Rebirth of a Nation: Wales 1880–1980, Oxford University Press, 1981.Google Scholar
Morley Malcolm, , Margate and its Theatres, London: Museums Press, 1966.Google Scholar
Moussinac, Leon, The New Movement in the Theatre. A Survey of Recent Trends in Europe and America, London: Batsford, 1931.Google Scholar
Mowat, Charles L., Britain Between the Wars, 1918–1940, London: Methuen, 1955.Google Scholar
Murdoch, Helen, Travelling Hopefully. The Story of Molly Urquart, Edinburgh: Paul Harris, 1981.Google Scholar
Myerscough, John, The Economic Importance of the Arts in Glasgow, London: Policy Studies Institute, 1988.Google Scholar
Myerscough, John, Monitoring Glasgow 1990, Glasgow: Glasgow City Council, 1991.Google Scholar
Nairn, Tom, The Break-Up of Britain: Crisis and Neo-Nationalism, London: Verso, 1981.Google Scholar
Newton, H. Chance, Idols of the Halls, London: Heath Cranton, 1928; facsimile reprint 1975.Google Scholar
Nichols, Peter, A Piece of my Mind, London: Methuen, 1987.CrossRefGoogle Scholar
Nichols, Peter, A Day in the Death of Joe Egg, London: Faber & Faber, 1967.Google Scholar
Nicholson, Steve, British Theatre and the Red Peril: The Portrayal of Communism 1917–1945, Exeter University Press, 1999.Google Scholar
Nicholson, Steve, ‘Montagu Slater and the theatre of the thirties’, in Recharting the Thirties, ed. Quinn, Patrick J., London: Associated Universities Press, 1996.Google Scholar
Nicholson, Steve, ‘Unneccessary plays: European drama and the British censor in the 1920s’, Theatre Research International 20, 1 (1995).CrossRefGoogle Scholar
Nicoll, Allardyce, English Drama 1900–1930: The Beginning of the Modern Period, Cambridge University Press, 1973.Google Scholar
Noble, Peter, British Theatre, London: British Yearbooks, 1946.Google Scholar
Nowell-Smith, Simon (ed.), Edwardian England, 1901–1914, Oxford University Press, 1964.Google Scholar
Nuttall, Jeff, Performance Art, vol. II, Memoirs, London: John Calder, 1979.Google Scholar
Oddey Alison, , Devising Theatre: A Practical and Theoretical Handbook, London: Routledge, 1994.Google Scholar
Oliver, Paul (ed.), Black Music in Britain, Milton Keynes: Open University Press, 1990.Google Scholar
Orme, Michael [Grein, Alix A.], J. T Grein: The Story of a Pioneer, 1862–1935, London: J. Murray, 1936.Google Scholar
Osborne, John, A Better Class of Person: An Autobiography 1929–1956, London: Faber & Faber, 1982.Google Scholar
Osment, Philip (ed.), Gay Sweatshop: Four Plays and a Company, London: Methuen, 1989.Google Scholar
Overton, Grace, Drama in Education: Theory and Technique, New York and London: Century Co., 1926.Google Scholar
Owain, O. Llew., Hanes y Ddrama yng Nghymru 1850–1943, Lerpwl: cyhoeddwyd ar ran Cyngor yr Eisteddfod Genedlathol, 1948.Google Scholar
Owusu, Kwesi, The Struggle for Black Arts in Britain: What Can We Consider Better Than Freedom?, London: Comedia, 1986.Google Scholar
Packman, R. H., ‘Introduction’ in Leon Moussinac, The New Movement in the Theatre. A Survey of Recent Trends in Europe and America, London: Batsford, 1931.Google Scholar
Paffrath, J. D. and Stelarc, , Obsolete Body/Suspensions, Davis, Calif.: JD Publications, 1984.Google Scholar
Paget, Derek, ‘Oh What a Lovely War: the texts and their context’, New Theatre Quarterly 6, 23 (Aug. 1990).CrossRefGoogle Scholar
Paget, Derek, ‘Theatre Workshop, Moussinac, and the European connection’, New Theatre Quarterly 11, 43 (Aug. 1995).CrossRefGoogle Scholar
Painter, Susan, Edgar: The Playwright, London: Methuen, 1996.CrossRefGoogle Scholar
Palmer, John, The Future of the Theatre, London: G. Bell, 1913.Google Scholar
Panitch, Leo and Leys, Colin, The End of Parliamentary Socialism: From New Left to New Labour, London: Verso, 1997.Google Scholar
Parker, Derek and Parker, Julia, The Natural History of the Chorus Girl, London: Trinity Press, 1975.Google Scholar
Parker, Derek and Parker, Julia, The Story and the Song: A Survey of English Musical Plays, 1916–78, London: Chappell, 1979.Google Scholar
Peacock, D. Keith, Thatcher’s Theatre: British Theatre and Drama in the Eighties, London: Westport Press, 1999.Google Scholar
Pearson, Hesketh, The Last Actor-Managers, London: Methuen, 1950.Google Scholar
Pearson, Lynn, The People’s Palaces: Britain’s Seaside Pleasure Buildings 1876–1914, Buckingham: Barracuda, 1991.Google Scholar
Pearson, Meic, ‘Welsh heterotopias’, New Welsh Review 21 (1993).Google Scholar
Pellizzi, Camillo, The English Drama: The Last Great Phase, London: Macmillan, 1935.Google Scholar
Pertwee, Bill, Beside the Seaside, London: Collins & Brown, 1999.Google Scholar
Pertwee, Bill, Pertwee’s Promenades and Pierrots: One Hundred Years of Seaside Entertainment, Newton Abbot, Devon: Westbridge, 1979.Google Scholar
Peters, John, ‘Meet the wild bunch’, Sunday Times (11 July 1976).Google Scholar
Phelan, Peggy, Unmarked: The Politics of Performance, London: Routledge, 1993.CrossRefGoogle Scholar
Phillpotts, Eden and Phillpotts, Adelaide, Yellow Sands, London: Duckworth, 1926.Google Scholar
Pick, John (ed.), The State and the Arts, Eastbourne: John Offord, 1980.Google Scholar
Pick, John, West End: Mismanagement and Snobbery, Eastbourne: John Offord, 1983.Google Scholar
Pickering, Michael, ‘“Ajet ornament to society”: blackmusic in nineteenth-century Britain’, in Black Music in Britain, ed. Oliver, Paul, Milton Keynes: Open University Press, 1990.Google Scholar
Pickering, Michael, ‘White skin, black masks: “nigger” minstrelsy in Victorian England’, in Music Hall: Performance and Style, ed., Bratton, J. S., Milton Keynes: Open University Press, 1986.Google Scholar
Poggi, Valentina and Rose, Margaret (eds.), A Theatre that Matters: Twentieth-Century Scottish Drama and Theatre, Milan: Unicopli, 2001.Google Scholar
Pogson, Reg, Miss Horniman and the Gaiety Theatre, Manchester: Rockcliff Press, 1952.Google Scholar
Poole, Mike and John, Wyver, Powerplays: Trevor Griffiths in Television, London: British Film Institute, 1984.Google Scholar
Price, Cecil, The English Theatre in Wales in the Eighteenth and Early Nineteenth Centuries, Cardiff: University ofWales Press, 1948.Google Scholar
Price, Cecil, ‘Portable theatres in Wales’, National Library of Wales Journal 9 (summer 1955).Google Scholar
Price, Cecil, The Professional Theatre in Wales, University College of Swansea Press, 1984.Google Scholar
Price, Cecil, ‘Some Welsh theatres 1844–1870’, National Library of Wales Journal 12 (winter 1961).Google Scholar
Priestley, J. B., The Plays of J. B. Priestley, vol. III, London: William Heinemann, 1950.Google Scholar
Priestley, J. B., Theatre Outlook, London, Nicholson & Watson, 1947.Google Scholar
Quinn, Patrick (ed.), Recharting the Thirties, London: Associated Universities Press, 1996.Google Scholar
Quinn, Ruth-Blandina M., Public Policy and the Arts: A Comparative Study of Great Britain and Ireland, Aldershot: Ashgate, 1998.Google Scholar
Rabey David, , Howard Barker, a Study, London: Macmillan, 1989.Google Scholar
Ravenhill, Mark, Faust: Faust is Dead, London: Methuen, 1997.Google Scholar
Ravenhill, Mark, Handbag, London: Methuen, 1998.Google Scholar
Ravenhill, Mark, Shopping and Fucking, London: Methuen, 1996.Google Scholar
Read, Donald, England 1868–1914, London: Longman, 1979.Google Scholar
Read, Jack, Empires, Hippodromes and Palaces, London: Alderman Press, 1985.Google Scholar
Rebellato, Dan, 1956 and All That: The Making of Modern British Drama, London: Routledge, 1999.Google Scholar
Rees, W., (Gwilym, Hiraethog), ‘Helyntion hen deiliwr’, Y Tysta’rDydd (29 Dec. 1871 -2 Feb. 1877).Google Scholar
Rees, Roland, Fringe First: Pioneers of the Fringe on Record, London: Oberon Books, 1992.Google Scholar
Reinelt, Janelle, After Brecht: British Epic Theatre, Ann Arbor: University of Michigan Press, 1996.Google Scholar
Report from the Joint Select Committee of the House of Lords and the House of Commons on the Stage Plays (Censorship)’, in Reports from Committees, 1909 Parliamentary Papers, vol. 3, 214, London: HMSO, 1909.
Reynolds, Ernest, Modern English Drama: A Survey of the Theatre Since 1900, London: George Harrap, 1950.Google Scholar
Reynolds, Harry, Minstrel Memories: The Story of Burnt Cork Minstrelsy in Great Britain from 1836 to 1927, London: Alston Rivers, 1928.Google Scholar
Rice, Margery Spring, Working-Class Wives: Their Health and Conditions, 2nd edn, London: Virago, 1981.Google Scholar
Ritchie, Rob (ed.), The Joint Stock Book: The Making of a Theatre Collective, London: Methuen, 1987.Google Scholar
Roberts, Philip, The Royal Court Theatre and the Modern Stage, Cambridge University Press, 1999.CrossRefGoogle Scholar
Roms, Heike, ‘Tried and tested’, Planet (April-May 1999).Google Scholar
Rowell, George, Theatre in the Age of Irving, Oxford: Blackwell, 1981.Google Scholar
Rowell, George and Jackson, Anthony, The Repertory Movement: A History of Regional Theatre in Britain, Cambridge University Press, 1984.Google Scholar
Salmon, Eric (ed.), Granville Barker and his Correspondents, Detroit: Wayne State University Press, 1986.Google Scholar
Samuel, Raphael, MacColl, Ewan and Cosgrove, Stuart, Theatres of the Left, 1880–1935: Workers’ Theatre Movements in Britain and America, London: Routledge & Kegan Paul, 1985.Google Scholar
Sanderson, Michael, From Irving to Olivier: A Social History of the Acting Profession in England, 1880–1983, London: Athlone Press, 1985.Google Scholar
Sandison, G., Theatre Ownership in Britain, London: Federation of Theatre Unions, 1953.Google Scholar
Savill, Charmian C., ‘Dismantling the Wall’, Planet (Feb.-March 1990).Google Scholar
Schechner, Richard.A new paradigm for theatre in the academy’, Drama Review 36,4 (1992).CrossRefGoogle Scholar
Schneer, Jonathan, London 1900, The Imperial Metropolis, New Haven: Yale University Press, 1999.Google Scholar
,Scottish Arts Council/Ruth Wishart, Scottish Arts in the 21st Century: A Report on the Consultation Process, Edinburgh: Scottish Arts Council, 1999.
Scottish Executive, Scottish National Theatre: Report of the Independent Working Group (May 2001).
Scullion, Adrienne, ‘Self and nation: issues of identity in modern Scottish drama by women’, New Theatre Quarterly 17, 68 (Nov. 2001).CrossRefGoogle Scholar
Shank, Theodore (ed.), Contemporary British Theatre, updated edn, London: Macmillan, 1996.CrossRefGoogle Scholar
Shaw, Bernard, Bernard Shaw: The Drama Observed, 4 vols., ed. Dukore, Bernard F., University Park: Pennsylvania State University Press, 1993.Google Scholar
Shaw, Bernard, Collected Plays with their Prefaces, 7 vols., ed. Laurence, Dan H., London: Max Reinhardt, Bodley Head, 1971–4.Google Scholar
Shaw, Bernard, Letters to Granville Barker, ed. Purdom, C. B., London: Phoenix House, 1956.Google Scholar
Shaw, Bernard, Our Theatres in the Nineties, vol. II, London: Constable, 1931.Google Scholar
Shaw, Roy, The Arts and the People, London: Jonathan Cape, 1987.Google Scholar
Shellard, Dominic, British Theatre Since the War, New Haven: Yale University Press, 1999.Google Scholar
Shellard, Dominic (ed.), Theatre in the 1950s, Sheffield: Sheffield Academic Press, 2000.Google Scholar
Shepherd, Simon and Womack, Peter, English Drama: A Cultural History, Oxford: Blackwell, 1996.Google Scholar
Shiach, Morag, Discourse on Popular Culture: Class, Gender and History in Cultural Analysis, 1730 to the Present, London: Polity, 1989.Google Scholar
Shiubhalaigh, Maire Nic, The Splendid Years, Dublin: James Duffy, 1955.Google Scholar
Short, Ernest, Sixty Years of Theatre, London: Eyre & Spottiswoode, 1951.Google Scholar
Sidnell, Michael J., Dances of Death: The Group Theatre of London in the Thirties, London: Faber & Faber, 1984.Google Scholar
Sierz, Aleks, ‘“About Now” in Birmingham’, New Theatre Quarterly 13, 51 (Aug. 1997).CrossRefGoogle Scholar
Sierz, Aleks, ‘Cool Britannia? “In-yer-face” writing in the British theatre today’, New Theatre Quarterly 14, 56 (Nov. 1998).CrossRefGoogle Scholar
Sierz, Aleks, In-Yer-Face Theatre: British Drama Today, London: Faber & Faber, 2000.Google Scholar
Sinfield, Alan, Out on Stage: Lesbian and Gay Theatre in the Twentieth Century, New Haven: Yale University Press, 1999.Google Scholar
Slater, Montagu, ‘Stay down miner’, in The 1930s. A Challenge to Orthodoxy, ed. Lucas, John, Brighton: Harvester Press, 1978.Google Scholar
Smith, Anthony, Software for the Self: Culture and Technology, London: Faber & Faber, 1996.Google Scholar
Smith, Chris, Creative Britain, London: Faber & Faber, 1998.Google Scholar
Socrates, [pseud., anon.], An Oration Over the Dead Body of a Miner: With Apologies to the Shade of Shakespeare, London: Workers’ Publications, 1926.Google Scholar
Speaight, Robert, William Poel and the Elizabethan Revival, London: Society for Theatre Research, 1954.Google Scholar
Stephens, Meic (ed.), The Arts in Wales, Cardiff: Welsh Arts Council, 1979.Google Scholar
Stephens, Meic (ed.), The Welsh Language Today, Cardiff: University of Wales Press, 1973.Google Scholar
Sterne, Ashley and Bear, Archibald, The Comic History of the Co-Optimists, London: Herbert Jenkins, 1926.Google Scholar
Stevenson, John and Cook, Chris, Britain in the Depression: Society and Politics 1929–39, 2nd edn, London: Longman, 1994.Google Scholar
Stevenson, Randall and Wallace, Gavin (eds.), Scottish Theatre Since the Seventies, Edinburgh University Press, 1996.Google Scholar
Stewart, Ena Lamont, Men Should Weep, London: Samuel French, 1983.Google Scholar
Stokes, John, Resistible Theatres: Enterprise and Experiment in the Late Nineteenth Century, London: Paul Elek, 1972.Google Scholar
Stokes, John, Michael, Booth and Bassnett, Susan, Bernhardt, Terry, Duse: The Actress in her Time, Cambridge University Press, 1988.Google Scholar
Stoppard, Tom, The Real Thing, London: Faber & Faber, 1986.Google Scholar
Stourac, Richard and McCreery, KathleenTheatre as a Weapon: Workers’ Theatre in the Soviet Union, Germany and Britain, 1917–1934, London: Routledge & Kegan Paul, 1986.Google Scholar
Stowell, Sheila, A Stage of their Own: Feminist Playwrights of the Suffrage Era, Manchester University Press, 1992.CrossRefGoogle Scholar
Stuart, Aimée and Stuart, Philip, Nine Till Six, London: Samuel French, 1930.Google Scholar
,TAG (Theatre About Glasgow), ‘Making the Nation’ (press release) (17 March 1999).
Tagg, John, The Burden of Representation: Essays on Photographies and Histories, London: Macmillan, 1988.CrossRefGoogle Scholar
Taylor, Anne-Marie (ed.), Staging Wales: Welsh Theatre 1979–1997, Cardiff: University of Wales Press, 1997.Google Scholar
Taylor, John Russell, The Rise and Fall of the Well Made Play, London: Methuen, 1967.Google Scholar
Anon., The Mabinogion, trans. Jones, Gwyn and Jones, Thomas, London: Everyman, 1992.Google Scholar
,Theatre Workshop, Oh What a Lovely War, London: Methuen, 1967; rev edn, London: Methuen, 2000.
,Theatre Writers’ Union, Playwrights: A Species Still Endangered?, London: Theatre Writers’ Union, 1987.
Thomas, Dylan, Under Milk Wood, ed. Davies, Hazel Walford and Maud, Ralph, London: J. M. Dent, 1995.Google Scholar
Thomas, James, The Art of the Actor-Manager: Wilson Barrett and the Victorian Theatre, Ann Arbor: UMI Research Press, 1984.Google Scholar
Thompson, Paul, The Edwardians: The Remaking of British Society, 2nd edn, London: Routledge, 1992.Google Scholar
Tich, M. and Findlater, R., Little Tich: Giant of the Music Hall, London: Elm Tree Press, 1979.Google Scholar
,Time Out, ‘Guide to underground theatre’, Theatre Quarterly I, I (Jan.–March 1971).
Tomlinson, Richard, Disability, Theatre and Education, London: Souvenir Press, 1982.Google Scholar
Trewin, J. C, Drama 1946–50, London: Longmans, Green, 1951.Google Scholar
Trewin, J. C., The Theatre Since 1900, London: Andrew Dakers, 1951.Google Scholar
Trussler, Simon, The Cambridge Illustrated History of British Theatre, Cambridge University Press, 1994.Google Scholar
Trussler, Simon, ‘Political progress of a paralysed liberal: the community dramas of John Arden’, Drama Review 13, 4 (T44) (1969).CrossRefGoogle Scholar
Trussler, Simon (ed.), New Theatre Voices of the Seventies, London: Methuen, 1981.Google Scholar
Turner, Victor, Dramas, Fields and Metaphors, Ithaca: Cornell University Press, 1974.Google Scholar
Tushingham, David (ed.), Live 1: Food for the Soul-A New Generation of British Theatre Makers, London: Methuen, 1994.Google Scholar
Tushingham, David (ed.), Live 4: Freedom Machine, London: Nick Hern Books, 1996.Google Scholar
Tynan, Kenneth, Curtains, London: Longmans, Green, 1961.Google Scholar
Tynan, Kenneth, ‘The royal smut hound’, in Micheline Wandor, Look Back in Gender: Sexuality and the Family in Post-War British Drama, London: Methuen, 1987.Google Scholar
Tynan, Kenneth, Tynan Right and Left, London: Longman, 1967.Google Scholar
Tynan, Kenneth, A View of the English Stage, London: Davis-Poynter, 1975.Google Scholar
Ugwu, Catherine (ed.), Let’s Get It On: The Politics of Black Performance, London: Institute of Contemporary Art Publications, 1995.Google Scholar
Druten, John, ‘The sex play’, Theatre Arts Monthly (11 Jan. 1927).Google Scholar
Veitch, NormanThe People’s: Being a History of the People’s Theatre, Newcastle upon Tyne 1911–1939, Gateshead on Tyne: Northumberland Press, 1950.Google Scholar
Vernon, Frank, The Twentieth-Century Theatre, London: George Harrap, 1924.Google Scholar
Walker, Brian (ed.), Frank Matcham: Theatre Architect, Belfast: Blackstaff Press, 1980.Google Scholar
Walton, John and Walvin, James (eds.), Leisure in Britain 1780–1939, Manchester University Press, 1983.Google Scholar
Wandor, Michelene, Carry on Understudies: Theatre and Sexual Politics, 2nd edn, London: Routledge & Kegan Paul, 1986.Google Scholar
Wardle, Irving, The Theatres of George Devine, London: Eyre Methuen, 1978.Google Scholar
Wareing, Alfred, ‘The little theatre movement. Its genesis and its goal’, in The StageYearbook 1928, ed. Carson, L., London: The Stage, 1928.Google Scholar
Watson, Ian, Conversations with Alan Ayckbourn, London: Faber & Faber, 1988.Google Scholar
Wearing, J. P., The London Stage 1900–1909, 2 vols., Metuchen, N.J. and London: Scarecrow Press, 1981.Google Scholar
Wearing, J. P., The London Stage 1920–1929: A Calendar of Plays and Players, Metuchen, N.J. and London: Scarecrow Press, 1984.Google Scholar
Webster, Margaret, The Same Only Different: Five Generations of a Theatre Family, London: Victor Gollancz, 1969.Google Scholar
Whitaker, Wilfrid B., Victorian and Edwardian Shopworkers: The Struggle to Obtain Better Conditions and a Half-Holiday, Newton Abbot: David & Charles, 1973.Google Scholar
Whittaker, Thomas, Tom Stoppard, London: Macmillan, 1983.CrossRefGoogle Scholar
Whyte, Christopher (ed.), Gendering the Nation,Edinburgh University Press, 1995.Google Scholar
Willett, John (ed.), Brecht on Theatre: The Development of an Aesthetic, London: Methuen, 1964.Google Scholar
Willett, John, The Theatre of Erwin Piscator: Halfa Century of Politics in the Theatre, London: Methuen, 1986.Google Scholar
Williams, Euryn Ogwen, Byw yng Nghanol Chwyldro/Living in the Midst of a Revolution, Eisteddfod Genedlaethol, 1998.Google Scholar
Williams, Gwyn A., When Was Wales?, London: Black Raven Press, 1985.Google ScholarPubMed
Williams, Ioan, Capel a Chomin, Caerdydd: Gwasg Prifysgol Pantycelyn, 1991.Google Scholar
Williams, Ioan, Capel a Chomin Astudiaeth o ffugchwwedlau pedwar llenor’, Cardiff: University of Wales Press, 1989.Google Scholar
Williams, Ioan, A Straitened Stage: A Study of the Theatre of J. Saunders Lewis, Bridgend: Seren Books, Poetry of Wales Press, 1991.Google Scholar
Williams, J. Ellis., Inc yn fy Ngwaed, Llandybie: Llyfrau’r Dryw, Christopher Davies, 1963.Google Scholar
Williams, Kevin, Shadows and Substance, Llandysul: Gomer, 1997.Google Scholar
Williams, Raymond, Culture, London: Fontana, 1981.Google ScholarPubMed
Williams, Raymond, Culture and Society 1780–1950, Harmondsworth: Penguin, 1958.Google Scholar
Williams, Raymond, ‘Social environment and theatrical environment: the case of English naturalism’, in Problems in Materialism and Culture, London: Verso, 1980.Google Scholar
Williams, Raymond, Writing in Society, London: Verso, 1991.Google Scholar
Wilmut, Roger, Kindly Leave the Stage: The Story of Variety 1919–1960, London: Methuen, 1985.Google Scholar
Wilson, A. E., Edwardian Theatre, London: Arthur Barker, 1951.Google Scholar
Wilson, A. E., Playgoer’s Pilgrimage, London: Stanley, Paul & Co., 1938.Google Scholar
Woodfield, James, English Theatre in Transition, 1881–1914, London: Croom Helm, 1984.Google Scholar
Woodruff, Graham, ‘Community class and control: a view of community plays’, New Theatre Quarterly 5, 20 (Nov. 1989).CrossRefGoogle Scholar
Woolf, Virginia, The Captain’s Death Bed and other Essays, London: Hogarth Press, 1950.Google Scholar
Wright, D. G., Popular Radicalism: The Working-Class Experience 1780–1880, London: Longman, 1988.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@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.

  • Bibliography
  • Edited by Baz Kershaw, University of Warwick
  • Book: The Cambridge History of British Theatre
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521651325.025
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.

  • Bibliography
  • Edited by Baz Kershaw, University of Warwick
  • Book: The Cambridge History of British Theatre
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521651325.025
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.

  • Bibliography
  • Edited by Baz Kershaw, University of Warwick
  • Book: The Cambridge History of British Theatre
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521651325.025
Available formats
×