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Drama - LibGuides at University of Exeter. http://libguides.exeter.ac.uk/DramaHomePage
2.
Parker-Starbuck J, Mock R. Chapter 9: Researching the Body in/as Performance. In: Research Methods in Theatre and Performance. Edinburgh University Press; 2011:210-235. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991001377909707446&context=L&vid=44UOEX_INST:default
3.
Logie L. Developing a Physical Vocabulary for the Contemporary Actor. New Theatre Quarterly. 1995;11(43):230-240. https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1017/S0266464X00009118
4.
Zarrilli PB. Chapter 1: Introduction: Acting as Psychophysical Phenomenon and Process. In: Acting: Psychophysical Phenomenon and Process. Palgrave Macmillan; 2013:1-50. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008569919707446&context=L&vid=44UOEX_INST:default
5.
Berlin N. Traffic of Our Stage: Boxing as Theater. Massachusetts Review. 2006;47(1):22-32. https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/25091051
6.
Loukes R. Chapter 5: Making Movement: The Psychophysical in ‘Embodied’ Practices. In: Acting: Psychophysical Phenomenon and Process. Palgrave Macmillan; 2013:194-223. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008569919707446&context=L&vid=44UOEX_INST:default
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Overlie M. Standing in Space: The Six Viewpoints Theory and Practice. The Author; 2016.
8.
Bogart A, Bogart T. Chapters 1-3. In: The Viewpoints Book: A Practical Guide to Viewpoints and Composition. Theatre Communications Group; 2005:3-20. https://contentstore.cla.co.uk/secure/link?id=e8f10323-360c-e911-80cd-005056af4099
9.
Borowski M, Sugiera M. Chapter 3: Political Fictions and Fictionalisations: History as Material for Postdramatic Theatre. In: Carroll J, Giles S, Jürs-Munby K, eds. Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance. Bloomsbury Publishing; 2013:67-86. https://contentstore.cla.co.uk/secure/link?id=c8ca174d-390c-e911-80cd-005056af4099
10.
Heddon D, Milling J. Chapter 6: Contemporary Devising and Physical Performance. In: Devising Performance: A Critical History. Revised edition. Palgrave Macmillan; 2015:157-189. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008030009707446&context=L&vid=44UOEX_INST:default
11.
Rokem F. Introduction: The Notions of ‘Performing History’. In: Performing History: Theatrical Representations of the Past in Contemporary Theatre. University of Iowa Press; 2000:1-25. https://contentstore.cla.co.uk/secure/link?id=f32c1769-389e-e911-80cd-005056af4099
12.
Davis TC. The Context Problem. Theatre Survey. 2004;45(2):203-209. https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1017/S0040557404000158
13.
Quinault R. The Cult of the Centenary, c.1784-1914. Historical Research. 1998;71(176):303-323. https://uoelibrary.idm.oclc.org/login?url=http://onlinelibrary.wiley.com/doi/10.1111/1468-2281.00066
14.
Iles J. In remembrance: The Flanders poppy. Mortality. 2008;13(3):201-221. https://uoelibrary.idm.oclc.org/login?url=http://www.tandfonline.com/doi/full/10.1080/13576270802181640
15.
Remembrance poppy: Controversies and how to wear it - BBC Newsbeat. Published 2015. http://www.bbc.co.uk/newsbeat/article/29848595/remembrance-poppy-controversies-and-how-to-wear-it?intc_type=singletheme&intc_location=allvirtualsites&intc_campaign=remembranceday&intc_linkname=article_newsbeat_contentcard1
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Smith HL. This year, I will wear a poppy for the last time. The Guardian. Published online 2013. https://www.theguardian.com/commentisfree/2013/nov/08/poppy-last-time-remembrance-harry-leslie-smith?CMP=Share_iOSApp_Other
17.
‘we’re here because we’re here’ performance compilation. https://www.youtube.com/watch?time_continue=147&v=1pd1XYx27_U
18.
‘we’re here because we’re here’ project overview. https://www.nationaltheatre.org.uk/content/we%E2%80%99re-here-because-we%E2%80%99re-here
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we’re here because we’re here. https://becausewearehere.co.uk/we-are-here-gallery/
20.
Purvis J, Stanley Holton S. Introduction: The campaigns for votes for women. In: Votes for Women. Routledge; 2000:1-12. https://contentstore.cla.co.uk/secure/link?id=80bb01d9-550c-e911-80cd-005056af4099
21.
Liddington J. Era of Commemoration: Celebrating the Suffrage Centenary. History Workshop Journal. 2005;(59):194-218. https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1093/hwj/dbi015
22.
The Complete London 2012 Opening Ceremony - YouTube. https://www.youtube.com/watch?v=4As0e4de-rI
23.
Dreadnought South West. http://dreadnoughtsouthwest.org.uk/
24.
Wonder Women Festival Manchester 2018 - Creative Tourist. https://www.creativetourist.com/event/wonder-women/
25.
Kean H. Public history and popular memory: issues in the commemoration of the british militant suffrage campaign. Women’s History Review. 2005;14(3-4):581-602. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edswah&AN=000233412200014&site=eds-live&scope=site
26.
Cockin K. Inventing the Suffragettes: Anachronism, Gnosticism and Corporeality in Contemporary Fiction. Critical Survey. 2004;16(3):17-32. https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/41557286
27.
Mayhall LEN. Domesticating Emmeline: Representing the Suffragette, 1930-1993. NWSA Journal. 1999;11(2):1-24. https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/4316653
28.
Mary Poppins - Sister Suffragette - YouTube. https://www.youtube.com/watch?v=Ds8cKgPdE6M
29.
Lane D. Chapter 3: Writing and Devising – The Call for Collaboration. In: Contemporary British Drama. Edinburgh University Press; 2010:82-107. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991000785299707446&context=L&vid=44UOEX_INST:default
30.
Kirkwood L. NSFW. Nick Hern Books Limited; 2012.
31.
Basham VM. Gender, Race, Militarism and Remembrance: The Everyday Geopolitics of the Poppy. Published online 2016. http://encore.exeter.ac.uk/iii/encore/record/C__Rx1032042?lang=eng
32.
Kidd J, Sayner J. Unthinking remembrance? Blood Swept Lands and Seas of Red and the significance of centenaries. Cultural Trends. 2018;27(2):68-82. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=129571391&site=eds-live&scope=site
33.
Attenborough R, Bogarde D, Calvert P. Oh! What a Lovely War. Published online 1969. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Felibrary.exeter.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F0001DAC9%3Fbcast%3D127907327
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Attenborough R, Bogarde D, Calvert P. Oh! What a Lovely War.
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Hytner N, Griffiths R, De La Tour F, Tovey R, Cooper D. The History Boys. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Felibrary.exeter.ac.uk%2Fidp%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand%2Findex.php%2Fprog%2F030E2761%3Fbcast%3D128227797
36.
Roper M. Family Legacies in the Centenary: Motives for First World War Commemoration among British and German Descendants. History and Memory. 2018;30(1):76-115. https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.2979/histmemo.30.1.04
37.
Poore B. Heritage, Nostalgia and Modern British Theatre: Staging the Victorians. Palgrave Macmillan; 2011. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991001086309707446&context=L&vid=44UOEX_INST:default
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Postlewait T. The Cambridge Introduction to Theatre Historiography. Cambridge University Press; 2009.
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Rokem F. Performing History: Theatrical Representations of the Past in Contemporary Theatre. University of Iowa Press; 2000.
40.
Taylor D. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press; 2007. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015079999707446&context=L&vid=44UOEX_INST:default
41.
Hall S. Extract from Chapter 1: The Work of Representation. In: Representation: Cultural Representations and Signifying Practices. Sage in association with the Open University; 1997:36-74. https://contentstore.cla.co.uk/secure/link?id=b919569a-5a9e-e911-80cd-005056af4099
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Sullivan N. Chapter 5: Performance, Performativity, Parody and Politics. In: A Critical Introduction to Queer Theory. Edinburgh University Press; 2003:81-98. https://contentstore.cla.co.uk/secure/link?id=d6339b97-a5fa-e711-80cd-005056af4099
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Mangan M. Chapter 7: Contemporary Masculinities. In: Staging Masculinities: History, Gender, Performance. Palgrave Macmillan; 2003:207-216. https://contentstore.cla.co.uk/secure/link?id=2ca9e055-a6fa-e711-80cd-005056af4099
44.
Dolan J. Chapter 1: The Discourse of Feminisms: The Spectator and the Representation. In: The Feminist Spectator as Critic. University of Michigan Press; 2012:1-18. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991004293539707446&context=L&vid=44UOEX_INST:default
45.
Mulvey L. Chapter 9: Visual Pleasure and Narrative Cinema. In: The Feminism and Visual Culture Reader. 2nd ed. Routledge; 2010:57-65. https://contentstore.cla.co.uk/secure/link?id=90edc23f-a7fa-e711-80cd-005056af4099
