Henrik Ibsen in English Translation
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EUROPEAN THEATRE 2006-2007 Secondary Reading List IbsenAkerholt, May Brit, “Henrik Ibsen in English Translation”; in Zuber, Ortrun (ed.), The Languages of Theatre: Problems in the Translation and Transposition of Drama, 1980, pp.104-120 Braunrnuiler, A. R., “Hedda Gabler and the Sources of Symbolism”. In: Redmond, James (ed.) Drama and Symbolism; Themes in Drama 4, 1982, pp. 57-70 Durbach, Errol, Ibsen and the Theatre, 1980
Fjelde, R, (ed.), Ibsen: A Collection of Critical Essays, 1965 Gray, Ronald, Ibsen: A Dissenting View, 1977 Hemmer, Bjorn, and Ystad, Vigdis, (ed.), Contemporary Approaches to Ibsen, vol. 7,1991 McFarlane, James, Henrik Ibsen: A Critical Anthology, 1970 Meyer, Michael, Henrik Ibsen, 1974. Marker,F.J.and L.L., Ibsen's Lively Art: A Performance Study of the Major Plays, 1989. Northam, John, Ibsen: A Critical Study, 1973 Sprinchiorn, Evert, “The Unspoken Text in Hedda Gabler”, Modern Drama 6, no. 3 (Sept. 1993): pp. 353-67 Young, Robin, Time's Disinherited Children: Childhood, Regression and Sacrifice in the Plays of Henrik Ibsen, 1989
StrindbergChaudhuri, Una, “Private Parts: Sex, Class, and Stage Space in Miss Julie”, Theatre Journal 45, No.3 (Oct. 1993): pp.317-32 Dodd, Philip, “Fairy Tales, the Unconscious and Strindberg's Miss Julie',” Literature and Psychology 28, (1978): pp.145-50 Madsen, B. G., Strindberg's Naturalistic Theatre: Its Relation to French Naturalism Meyer, Michael, Strindberg, 1985 Reinert, Otto, Strindberg: A Collection of Critical Essays, 1967 Stockenstrom, ed., Strindberg's Dramaturgy, 1985 Sprinchiom, Evert, Strindberg As Dramatist, 1982 Steene, Birgetta, August Strindberg, 1982 Strindberg, August, Letters to the Intimate Theatre, 1967 Tornqvist, Egil, Strindbergian Drama, 1982 Tornqvist, Egil and Jacobs, Barry, Strindberg's Miss Julie: A Play and its Transpositions, 1988 Weaver, O.K., (ed.), Strindberg on Stage, 1983 Chekhov Allen, David, Performing Chekhov, 2000 Gerhardie, William, Anton Chekhov: A Critical Study, 1974 Gottlieb, Vera (ed.), Allain, Paul (ed.), The Cambridge Companion to Chekhov, 2000 Hingley, Ronald; Chekhov: A Biographical and Critical Study, 1966 Jackson, R.L., Chekhov: A Collection of Critical Essays, 1967 Pritchett, V. S; Chekhov: A Spirit Set Free, 1988 Selenick, Lawrence, Anton Chekhov, 1985 Stanislavsky, Konstantin, My Life in Art, 1924. Styan, J.L., Chekhov in Performance, 1971 Threadgold, Terry, “Postmodemism and the Politics of Culture: Chekhov's Three Sisters in Rehearsal and Performance”, Southern Review 28, no. 2 (July 1995):pp. 172-82 Valency, Maurice, The Breaking String, 1966 WedekindPirandelloBassanesse, Fiora, Understanding Luigi Pirandello, 1997 Bassnett, Susan, File on Pirandello, 1989 Luigi Pirandello, 1983 Bassnett, Susan and Lorch, Jennifer (eds.), Luigi Pirandello in the Theatre: A Documentary Record, 1993 Bentley, Eric, The Pirandello Commentaries, 1986 Bishop, Tom, Pirandello and the French Theater, 1960 Bloom, Harold (ed.), Luigi Pirandello, 2003 Caesar, Ann, Characters and Authors in Luigi Pirandello, 1998 Cambon, Glauco, Pirandello: A Collection of Critical Essays, 1967 Oliver, Roger, Dreams of Passion : the Theater of Luigi Pirandello, 1979 Pirandello, Luigi, On Humour, 1974 Ragusa, Olga, Luigi Pirandello: An Approach to his Theatre, 1980 Rink, Peter, ”Six Characters in Search of an Author' by Luigi Pirandello, 1977 Sogliuzzo, A. Richard, Luigi Pirandello, Director: The Playwright in the Theatre, 1982 Lorca Allen, R. C., Psyche and Symbol in the Theater of Federico Garcia Lorca, 1975 Edwards, Gwynne, Lorca, The Theatre Beneath the Sand, 1988 Gibson, Ian, Frederico Garcia Lorca, 1989 Miller, Beth (ed.), Women in Hispanic Literature: Icons and Fallen Idols, 1983 Smith, Paul Julian, The Theatre of Garcia Lorca: Text, Performance, Psychoanalysis, 1998 The Body Hispanic, 1991 Sullivan, Patricia L., “The Mythic Tragedy of Yerma”, Bulletin of Hispanic Studies 49, (1972): 265-78 Ter Horst, Robert, “Nature Against Nature in Yerma”. In, Zdenek, Joseph W. (ed.), The World
Benjamin, Walter, Understanding Brecht, 1977 Bentley, Eric, The Brecht Commentaries, 1991 Brecht, Bertolt, Brecht on Theatre, 1973 Brecht on Film and Radio, 1994 Fuegi, John, Brecht in Performance, 1987 Gray, Ronald, Brecht the Dramatist, 1976 Dickson, K., Towards Utopia: A Study of Brecht, 1978 Hiley., Jim, Theatre at Work: The National Theatre Production of “Galileo”, 1981 Lyon, James K., Bertolt Brecht in America, 1980 Patterson, Michael, The Revolution in German Theatre 1900-1933, 1981 Silberman, Marc, Revolution 1989: Whither Brecht? (Brecht Yearbook 16), 1991 Thomson, Peter, and Sack, Glendyr, The Cambridge Companion to Brecht, 1994 Willett, John, The Theatre of Bertolt Brecht, 1959 Brecht in Context, 1983 Wright, E., Post-modern Brecht, 1989 BeckettBeckett, Samuel, Happy Days: the Production Notebooks of Samuel Beckett, 1985 No Author Better Served: the Correspondence of Samuel Beckett and Alan Schneider, 1998 Begam, Richard, Samuel Beckett and the End of Modernity, 1996 Brater, Enoch, Beyond Minimalism, 1987 Cohn, Ruby, Just Play: Beckett's Theater, 1980 Essif, Les, Empty Figures on an Empty Stage: the Theatre of Samuel Beckett and his
Generation, 2001Kelb, Jonathan, Beckett in Performance, 1989 Knowlson, James, Damned to Fame: the Life of Samuel Beckett, 1996 Oppenheimer, Lois, Directing Beckett, 1994 Pilling, John, The Cambridge Companion to Beckett, 1994 Worth, Katherine, Samuel Beckett's Theatre: Life Journeys, 1999
ChurchillAston, Elaine, An Introduction to Feminism and Theatr, 1995 Sue-Ellen Case (ed.), Performing Feminisms,1990 Geraldine Cousin, Churchill the Playwright, 1989
Women in Dramatic Space and Time: Contemporary Female Characterson Stage, 1996 Fitzsimmonds, Linda, File on Churchill, 1989 Goodman, Elizabeth, Contemporary Feminist Theatres, 1993
Amelia H. Kritzer, The Plays of Caryl Churchill, 1991 Phyllis Randall, Caryl Churchill, A Casebook, 1988 |