Citation: Cb. Balme, INTERPRETING THE PICTORIAL RECORD - THEATER ICONOGRAPHY AND THE REFERENTIAL DILEMMA, Theatre research international, 22(3), 1997, pp. 190-201
Citation: B. Holm, PICTURE AND COUNTER-PICTURE - AN ATTEMPT TO INVOLVE CONTEXT IN THE INTERPRETATION OF THEATER-ITALIEN ICONOGRAPHY, Theatre research international, 22(3), 1997, pp. 219-233
Citation: Mi. Aliverti, MAJOR PORTRAITS AND MINOR SERIES IN 18TH-CENTURY THEATRICAL PORTRAITURE, Theatre research international, 22(3), 1997, pp. 234-254
Citation: R. Dmonte, WOMEN READING SHAKESPEARE, 1660-1900 - AN ANTHOLOGY OF CRITICISM - THOMPSON,A, ROBERTS,S, Theatre research international, 22(3), 1997, pp. 266-267
Citation: B. Sebek, THE TRICK OF SINGULARITY - 'TWELFTH NIGHT' AND THE PERFORMANCE - OSBORNE,LE, Theatre research international, 22(3), 1997, pp. 267-268
Citation: D. Wilcox, MEYERHOLD, EISENSTEIN AND BIOMECHANICS - ACTOR TRAINING IN REVOLUTIONARY RUSSIA - LAW,A, GORDON,M, Theatre research international, 22(3), 1997, pp. 268-269
Citation: M. Mumford, GERMAN THEATER - A BIBLIOGRAPHY FROM THE BEGINNINGS TO 1995 - PATTERSON,M, Theatre research international, 22(3), 1997, pp. 269-270
Citation: A. Scullion, THE POLITICS OF ALTERNATIVE THEATER IN BRITAIN, 1958-1990 - THE CASE OF 7 84 (SCOTLAND) - DICENZO,M/, Theatre research international, 22(3), 1997, pp. 273-274
Citation: D. Krasner, DIGGING THE AFRICANIST PRESENCE IN AMERICAN PERFORMANCE - DANCE AND OTHER CONTEXTS - DIXON,B, Theatre research international, 22(3), 1997, pp. 276-277
Citation: De. Heddon, A SOURCE-BOOK OF FEMINIST THEATER AND PERFORMANCE - ON AND BEYOND THESTAGE - MARTIN,C, Theatre research international, 22(3), 1997, pp. 277-279
Citation: M. Shevtsova, INTERCULTURALISM, AESTHETICISM, ORIENTALISM - STARTING FROM BROOK,PETER 'MAHABHARATA', Theatre research international, 22(2), 1997, pp. 98-104