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Drama - LibGuides at University of Exeter. http://libguides.exeter.ac.uk/DramaHomePage
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Parker-Starbuck J, Mock R. Chapter 9: Researching the Body in/as Performance. In: Research methods in theatre and performance. Edinburgh: : Edinburgh University Press 2011. 210–35.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991001377909707446&context=L&vid=44UOEX_INST:default
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Logie L. Developing a Physical Vocabulary for the Contemporary Actor. New Theatre Quarterly 1995;11:230–40.https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1017/S0266464X00009118
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Zarrilli PB. Chapter 1: Introduction: Acting as Psychophysical Phenomenon and Process. In: Acting: psychophysical phenomenon and process. Basingstoke: : Palgrave Macmillan 2013. 1–50.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008569919707446&context=L&vid=44UOEX_INST:default
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Berlin N. Traffic of Our Stage: Boxing as Theater. Massachusetts Review 2006;47:22–32.https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/25091051
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Loukes R. Chapter 5: Making Movement: The Psychophysical in ‘Embodied’ Practices. In: Acting: psychophysical phenomenon and process. Basingstoke: : 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.
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Bogart A, Bogart T. Chapters 1-3. In: The viewpoints book: a practical guide to viewpoints and composition. New York: : Theatre Communications Group 2005. 3–20.https://contentstore.cla.co.uk/secure/link?id=e8f10323-360c-e911-80cd-005056af4099
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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. London: : Bloomsbury Publishing 2013. 67–86.https://contentstore.cla.co.uk/secure/link?id=c8ca174d-390c-e911-80cd-005056af4099
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Heddon D, Milling J. Chapter 6: Contemporary Devising and Physical Performance. In: Devising performance: a critical history. Basingstoke, Hampshire: : Palgrave Macmillan 2015. 157–89.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008030009707446&context=L&vid=44UOEX_INST:default
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Rokem F. Introduction: The Notions of ‘Performing History’. In: Performing history: theatrical representations of the past in contemporary theatre. Iowa City, IA: : University of Iowa Press 2000. 1–25.https://contentstore.cla.co.uk/secure/link?id=f32c1769-389e-e911-80cd-005056af4099
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Davis TC. The Context Problem. Theatre Survey 2004;45:203–9.https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1017/S0040557404000158
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Quinault R. The Cult of the Centenary, c.1784-1914. Historical Research 1998;71:303–23.https://uoelibrary.idm.oclc.org/login?url=http://onlinelibrary.wiley.com/doi/10.1111/1468-2281.00066
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Iles J. In remembrance: The Flanders poppy. Mortality 2008;13:201–21.https://uoelibrary.idm.oclc.org/login?url=http://www.tandfonline.com/doi/full/10.1080/13576270802181640
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Remembrance poppy: Controversies and how to wear it - BBC Newsbeat. 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 First: 2013.https://www.theguardian.com/commentisfree/2013/nov/08/poppy-last-time-remembrance-harry-leslie-smith?CMP=Share_iOSApp_Other
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‘we’re here because we’re here’ performance compilation. https://www.youtube.com/watch?time_continue=147&v=1pd1XYx27_U
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‘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/
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Purvis J, Stanley Holton S. Introduction: The campaigns for votes for women. In: Votes for women. London: : Routledge 2000. 1–12.https://contentstore.cla.co.uk/secure/link?id=80bb01d9-550c-e911-80cd-005056af4099
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Liddington J. Era of Commemoration: Celebrating the Suffrage Centenary. History Workshop Journal 2005;:194–218.https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.1093/hwj/dbi015
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The Complete London 2012 Opening Ceremony - YouTube. https://www.youtube.com/watch?v=4As0e4de-rI
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Dreadnought South West. http://dreadnoughtsouthwest.org.uk/
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Wonder Women Festival Manchester 2018 - Creative Tourist. https://www.creativetourist.com/event/wonder-women/
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Kean H. Public history and popular memory: issues in the commemoration of the british militant suffrage campaign. Women’s History Review 2005;14:581–602.https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edswah&AN=000233412200014&site=eds-live&scope=site
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Cockin K. Inventing the Suffragettes: Anachronism, Gnosticism and Corporeality in Contemporary Fiction. Critical Survey 2004;16:17–32.https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/41557286
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Mayhall LEN. Domesticating Emmeline: Representing the Suffragette, 1930-1993. NWSA Journal 1999;11:1–24.https://uoelibrary.idm.oclc.org/login?url=http://www.jstor.org/stable/4316653
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Mary Poppins - Sister Suffragette - YouTube. https://www.youtube.com/watch?v=Ds8cKgPdE6M
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Lane D. Chapter 3: Writing and Devising – The Call for Collaboration. In: Contemporary British drama. Edinburgh: : Edinburgh University Press 2010. 82–107.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991000785299707446&context=L&vid=44UOEX_INST:default
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Kirkwood L. NSFW. London: : Nick Hern Books Limited 2012.
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Basham VM. Gender, Race, Militarism and Remembrance: The Everyday Geopolitics of the Poppy. 2016.http://encore.exeter.ac.uk/iii/encore/record/C__Rx1032042?lang=eng
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Kidd J, Sayner J. Unthinking remembrance? Blood Swept Lands and Seas of Red and the significance of centenaries. Cultural Trends 2018;27:68–82.https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=129571391&site=eds-live&scope=site
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Attenborough R, Bogarde D, Calvert P. Oh! What a Lovely War. 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, et al. 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
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Roper M. Family Legacies in the Centenary: Motives for First World War Commemoration among British and German Descendants. History and Memory 2018;30:76–115.https://uoelibrary.idm.oclc.org/login?url=http://doi.org/10.2979/histmemo.30.1.04
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Poore B. Heritage, Nostalgia and Modern British Theatre: Staging the Victorians. Basingstoke: : 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. New York: : Cambridge University Press 2009.
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Rokem F. Performing History: Theatrical Representations of the Past in Contemporary Theatre. Iowa City, IA: : University of Iowa Press 2000.
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Taylor D. The Archive and the Repertoire: Performing Cultural Memory in the Americas. London: : Duke University Press 2007. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991015079999707446&context=L&vid=44UOEX_INST:default
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Hall S. Extract from Chapter 1: The Work of Representation. In: Representation: Cultural Representations and Signifying Practices. London: : 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: : 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. Basingstoke: : Palgrave Macmillan 2003. 207–16.https://contentstore.cla.co.uk/secure/link?id=2ca9e055-a6fa-e711-80cd-005056af4099
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Dolan J. Chapter 1: The Discourse of Feminisms: The Spectator and the Representation. In: The Feminist Spectator as Critic. Ann Arbor, MI: : University of Michigan Press 2012. 1–18.https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991004293539707446&context=L&vid=44UOEX_INST:default
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Mulvey L. Chapter 9: Visual Pleasure and Narrative Cinema. In: The Feminism and Visual Culture Reader. London: : Routledge 2010. 57–65.https://contentstore.cla.co.uk/secure/link?id=90edc23f-a7fa-e711-80cd-005056af4099
