Anon. 1AD. ‘Wooster Group Birdie’.
Anon. 4AD. ‘Marthaler 1’.
Anon. 6AD. ‘Thomas Ostermeier - Hamlet on Theatro TV’.
Anon. 8AD. ‘The Demons’.
Anon. 13AD. ‘Parole, Parole Sung by Sophie Rois, Matthias Matschke’.
Anon. 14ADa. ‘House-Lights’.
Anon. 14ADb. ‘ImagineFashion.Com Presents “My Personal Visual Landscape - Elizabeth LeCompte” by Spooner & Dugas’.
Anon. 15AD. ‘Talk with Theatre Director Thomas Ostermeier | Talking Germany’.
Anon. 21ADa. ‘Christoph Marthaler, “Platz Mangel”’.
Anon. 21ADb. ‘CPR-5: The Wooster Group: On LSD’.
Anon. 21ADc. ‘Thomas Ostermeier’s Hamlet’.
Anon. 28ADa. ‘Katia Kabanova - Janácek’.
Anon. 28ADb. ‘NTFI Riesenbutzbach. Eine Dauerkolonie’.
Anon. 29AD. ‘Agamemnon - Le Choeur - Peter Stein -Mnouchkine - Géry’.
Anon. 1982. ‘Richard II’.
Anon. 2012. ‘Peter Brook: “Simplicity Is Not a Style” - Video Interview | Stage | The Guardian’.
Anon. n.d.-a. ‘26 (Titre Provisoire), III : Les Viaducs de La Nacelle, Suite 5’. Retrieved (http://ciscoblog.chez-alice.fr/Archives_02_04.htm).
Anon. n.d.-b. ‘1789’. Retrieved (http://ciscoblog.chez-alice.fr/Archives_02_04.htm).
Anon. n.d.-c. ‘Bardfilm: Peter Brook’s Midsummer Night’s Dream (1970): Three Rare Clips’.
Anon. n.d.-d. ‘New York City Players, Inc.’ Retrieved (http://www.nycplayers.org/).
Anon. n.d.-e. ‘Robert Wilson’. Retrieved (http://robertwilson.com/).
Anon. n.d.-f. ‘Schaubuehne’. Retrieved (http://www.schaubuehne.de/en/start/index.html).
Anon. n.d.-g. ‘The Wooster Group’. Retrieved (http://thewoostergroup.org/blog/).
Anon. n.d.-h. ‘Toneelgroep Amsterdam’. Retrieved (http://www.tga.nl/).
Barba, Eugenio. 2009. ‘The Nature of Dramaturgy: Describing Actions at Work’. New Theatre Quarterly 1(01). doi: 10.1017/S0266464X00001421.
Barba, Eugenio, and Judy Barba. n.d. ‘The Deep Order Called Turbulence: The Three Faces of Dramaturgy’. TDR (1988-) 44(4):56–66.
Billington, Michael. 1985. ‘Archive Theatre Review: Krishna Comes to the City of the Popes’. The Guardian.
Bogart, Anne, Tina Landau, and Theatre Communications Group. 2005a. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group.
Bogart, Anne, Tina Landau, and Theatre Communications Group. 2005b. ‘The Viewpoints Book: A Practical Guide to Viewpoints and Composition’. in The viewpoints book: a practical guide to viewpoints and composition. New York: Theatre Communications Group.
Brook, Peter. 2008. The Empty Space. Vol. Modern classics. London: Penguin Books.
Fuchs, Elinor. 1996. The Death of Character: Perspectives on Theater after Modernism. Bloomington, IL: Indiana University Press.
Hughes, John. n.d. ‘The Director as Psychoanalyst: An Interview with Jacques Rivette’.
Kartsaki, Eirini. 2017. Repetition in Performance: Returns and Invisible Forces. London, [England]: Palgrave Macmillan.
Lehmann, Hans-Thies. 2006. Postdramatic Theatre. London: Routledge.
Maxwell, Richard. 2004. ‘Plays, 1996-2000’. in Plays, 1996-2000. New York: Theatre Communications Group ; St. Paul, MN.
Meier, Alison. n.d. ‘Director Ivo van Hove Brings His Immersive Shakespeare Epic “Roman Tragedies” to New York’. Retrieved (http://www.blouinartinfo.com/news/story/839319/director-ivo-van-hove-brings-his-immersive-shakespeare-epic).
Mitchell, Katie, and Katie Mitchell. 2009. The Director’s Craft: A Handbook for the Theatre. London: Routledge.
Mitter, Shomit and Shevtsova, Maria. 2005. Fifty Key Theatre Directors. Vol. Routledge key guides. London: Routledge.
O’Mahony, John. n.d. ‘Profile: Peter Stein’. The Guardian.
Ostermeier, Thomas, and Peter Boenisch. 2016. The Theatre of Thomas Ostermeier. London, [England]: Routledge.
Shevtsova, Maria. 2007. Robert Wilson. Vol. Routledge performance practitioners. London: Routledge.
Tallmer, Jerry. 2005. ‘The Master of Improvisation’. The Villager 75(29).
Whitmore, Jon. 1994. Directing Postmodern Theater: Shaping Signification in Performance. Ann Arbor: University of Michigan Press.
