1.
Bogart, A. And then, you act: making art in an unpredictable world. (Routledge, 2007).
2.
Britton, J. Encountering ensemble. (Bloomsbury Methuen Drama, 2013).
3.
Cynkutis, Zbigniew, 1938-1987 & Tyabji, K. Acting with Grotowski: theatre as a field for experiencing life. (Routledge, 2014).
4.
Keefe, John & Murray, Simon David. Physical theatres: a critical reader. (Routledge, 2007).
5.
Hodge, A. & Hulton, P. Core training for the relational actor. (2013).
6.
Graham, Scott & Hoggett, Steven. The Frantic Assembly book of devising theatre. (Routledge, 2009).
7.
Zarrilli, P. B. Acting (re)considered: a theoretical and practical guide. vol. Worlds of performance (Routledge, 2002).
8.
Murray, S. D. & Keefe, J. Physical theatres: a critical introduction. (Routledge, 2015).
9.
Artaud, Antonin. The theatre and its double: essays. (John Calder, 1970).
10.
Bogart, A. & Landau, T. The viewpoints book: a practical guide to viewpoints and composition. (Theatre Communications Group, 2005).
11.
Callery, Dymphna. Through the body: a practical guide to physical theatre. (Nick Hern, 2001).
12.
Goodridge, Janet. Rhythm and timing of movement in performance: drama, dance, and ceremony. (J. Kingsley Publishers, 1999).
13.
Grotowski, J. & Barba, E. Towards a poor theatre. (Taylor and Francis, 2012).
14.
Heddon, D. & Milling, J. Devising performance: a critical history. vol. Theatre and performance practices (Palgrave Macmillan, 2006).
15.
Hodge, Alison & MyiLibrary. Twentieth century actor training. (Routledge, 2000).
16.
Lecoq, Jacques, Carasso, Jean-Gabriel, & Lallias, Jean-Claude. The moving body: teaching creative theatre. (Methuen, 2002).
17.
Martin, Jacqueline. Voice in modern theatre. (Routledge, 1991).
18.
Pavis, Patrice. Analyzing performance: theater, dance, and film. (University of Michigan Press, 2003).
19.
Sanchez-Colberg & Anna. Altered States and Subliminal Spaces: Charting the Road towards a Physical Theatre. in Physical theatres: a critical reader (Routledge, 2007).
20.
Carruthers, Ian & Takahashi, Yasunari. The Theatre of Suzuki Tadashi. vol. Directors in perspective (Cambridge University Press, 2004).
21.
Wolford, L. Grotowski’s objective drama research. vol. Performance studies (University Press of Mississippi, 1996).
22.
Slowiak, James & Cuesta, Jairo. Jerzy Grotowski. vol. Routledge performance practitioners (Routledge, 2007).
23.
Richards, Thomas & Grotowski, Jerzy. At work with Grotowski on physical actions. (Routledge, 1995).
24.
Radosavljevic & D. Emma Rice in interview with Duska Radosavljevic. Journal of Adaptation in Film & Performance 3, (2010).
25.
Wolford, Lisa Ann. The occupation of the saint: Grotowski’s art as vehicle. (UMI Dissertation Services, 1997).
26.
Wangh, Stephen. An acrobat of the heart: a physical approach to acting inspired by the work of Jerzy Grotowski. (Vintage Books, 2000).
27.
Evans, Mark, 1957-. Jacques Copeau. vol. Routledge performance practitioners (Routledge, 2006).
28.
Chamberlain, Franc & Yarrow, Ralph. Jacques Lecoq and the British theatre. vol. Contemporary theatre studies (Routledge, 2002).
29.
Newlove, Jean & Laban, Rudolf von. Laban for actors and dancers: putting Laban’s movement theory into practice, a step-by-step guide. (Nick Hern Books, 1993).
30.
Staniewski, Włodzimierz & Hodge, Alison. Hidden territories: the Theatre of Gardzienice : [with CD-ROM]. (Routledge, 2004).
31.
Leabhart, Thomas. Etienne Decroux. vol. Routledge performance practitioners (Routledge, 2007).
32.
Pitches, Jonathan. Vsevolod Meyerhold. vol. Routledge performance practitioners (Routledge, 2003).
33.
Lecoq, Jacques. The theatre of movement and gesture. (Routledge, 2006).
34.
Watson, Ian. Towards a third theatre: Eugenio Barba and the Odin teatret. (Routledge, 1993).
35.
Williams, David. Collaborative theatre: the Théâtre du Soleil sourcebook. (Routledge, 1999).
36.
Allain, Paul. Gardzienice: Polish theatre in transition. vol. Contemporary theatre studies (Harwood Academic, 1997).
37.
Murray, S. D. Jacques Lecoq. vol. Routledge performance practitioners (Routledge, 2003).
38.
Allain, P. & Allain, P. The theatre practice of Tadashi Suzuki: a critical study with DVD examples. vol. Methuen drama : Practitioners (Methuen Drama, 2009).
39.
Burt, Ramsay. Judson Dance Theater: performative traces. (Routledge, 2006).
40.
Behrndt & S. Dance, dramaturgy and dramaturgical thinking. Contemporary theatre review 20, (2010).
41.
Fraleigh, Sondra Horton & Nakamura, Tamah. Hijikata Tatsumi and Ohno Kazuo. vol. Routledge performance practitioners (Routledge, 2006).
42.
Preston-Dunlop, Valerie & Sanchez-Colberg, Ana. Dance and the performative: a choreological perspective - Laban and beyond. (Verve, 2002).
43.
Turner, Margery Jean, Grauert, Ruth, & Zallman, Arlene. New dance: approaches to nonliteral choreography. (University of Pittsburgh Press, 1971).
44.
Fraleigh & S. A Vulnerable Glance: Seeing Dance through Phenomenology. in The Routledge dance studies reader (Routledge, 1998).
45.
Carter, Alexandra. The Routledge dance studies reader. (Routledge, 1998).
46.
Schechner, Richard. Between theater & anthropology. (University of Pennsylvania Press, 1985).
47.
Boenisch & P. Towards a theatre of encounter and experience. Contemporary theatre review 20, (2010).
48.
Machon, Josephine. (Syn)aesthetics: redefining visceral performance. (Palgrave Macmillan, 2009).
49.
Huston, Hollis. The actor’s instrument: body, theory, stage. vol. Theater--theory/text/performance (University of Michigan Press, 1992).
50.
Pavis & P. Dramatic, postdramatic and post-postdramatic. TheatreForum (La Jolla, San Diego, Calif.) 37, (2010).
51.
Bloom, Katya. The embodied self: movement and psychoanalysis. (Karnac, 2006).
52.
Bogart, Anne. A director prepares: seven essays on art and theatre. (Routledge, 2001).
53.
East, Ron & Hush School of Mime and Non-Verbal Theatre. Moving images: experiential learning and the physical theatre. vol. A Hush manuscript publication (Hush School of Mime and Non-Verbal Theatre, 2000).
54.
Free, J. & Ramsay, N. Holistic bodywork for performers: a practical guide. (Crowood, 2004).
55.
Govan, Emma, Nicholson, Helen, & Normington, Katie. Making a performance: devising histories and contemporary practices. (Routledge, 2007).
56.
Making contemporary theatre: international rehearsal processes. (Manchester University Press, 2010).
57.
Küppers, Petra. Disability and contemporary performance: bodies on edge. (Routledge, 2003).
58.
Leabhart, Thomas. Modern and post-modern mime. vol. Macmillan modern dramatists (Macmillan, 1989).
59.
Marshall, Lorna. The body speaks. (Methuen Drama, 2008).
60.
Oida, Yoshi & Marshall, Lorna. The invisible actor. (Methuen, 1997).
61.
Todd, Mabel Elsworth. The thinking body: a study of the balancing forces of dynamic man. (Princeton Book Company).
62.
Boston, J. & Cook, R. Breath in action: the art of breath in vocal and holistic practice. (Jessica Kingsley, 2009).
63.
McConnell, A. Breathe strong, perform better. (Human Kinetics, 2011).
64.
Droznin, A., Fedorova, N., Hulton, P. & Allain, P. Andrei Droznin’s physical actor training: a Russian Masterclass. (Arts Archives, 2012).
65.
TDR: The drama review.
67.
American Theatre Association. Theatre journal.
68.
Dance Research Journal.
69.
University of California. TheatreForum.
70.
Mime Action Group. Total theatre: the magazine for mime, physical theatre and visual prformance.
71.
Friends of the Laban Centre & Laban Centre for Movement and Dance. Dance theatre journal.
72.
The Body. Canadian theatre review 109, (2002).
73.
Journal of Adaptation in Film & Performance.
74.
Contemporary theatre review.
75.
TheatreForum (La Jolla, San Diego, Calif.).
76.
Vuyst & Hildegard de. Ballet C de la B website. (1998).
79.
Complicite theatre company.
83.
Roy, J.-N. & Carasso, J.-G. Les deux voyages de Jacques Lecoq. (1999).
84.
Ramachandran, V. S. The tell-tale brain: a neuroscientist’s quest for what makes us human. (W.W. Norton, 2011).