[1]
S. Craig, Dreams and deconstructions: alternative theatre in Britain. Ambergate: Amber Lane, 1980.
[2]
H. Goorney and H. Goorney, The Theatre Workshop story. London: Eyre Methuen, 1981.
[3]
D. Shellard, British theatre since the war. New Haven, Conn: Yale University Press, 1999 [Online]. Available: https://www-jstor-org.uea.idm.oclc.org/stable/j.ctt5vm4r0
[4]
M. Billington, State of the nation: British theatre since 1945. London: Faber, 2009.
[5]
M. Wandor and M. Wandor, Look back in gender: sexuality and the family in post-war British drama. London: Methuen, 1987.
[6]
J. McGrath, A good night out: popular theatre: audience, class and form. Nick Hern Books Limited, 1996.
[7]
J. W. Donohue, B. Kershaw, J. Milling, and P. Thomson, The Cambridge history of British theatre: Vol.3: Since 1895. Cambridge: Cambridge University Press, 2004 [Online]. Available: https://www-cambridge-org.uea.idm.oclc.org/core/books/cambridge-history-of-british-theatre/7308629BDAD6D36E63CBF6D5D901E475
[8]
S. Shepherd, The Cambridge introduction to modern British theatre. Cambridge, UK: Cambridge University Press, 2009.
[9]
V. Angelaki, Ed., Contemporary British theatre: breaking new ground. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=1431430
[10]
J. Nelson, The voice exercise book: The warm-ups. London: Nick Hern Books, 2018.
[11]
B. Kershaw, Theatre ecology: environments and performance events. Cambridge: Cambridge University Press, 2007.
