EUROPEAN OPERA TRADITIONS
Abbate, C.(1991) Unsung Voices: Opera and Musical Narrative in the 19th Century, Princeton, NJ: Princeton University Press
Anselm, Gerhard, (1998) The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century (Chicago: University of Chicago Press
Bankes-Jones B Time to Sing a New Tune The Guardian 25th July 2008
Bokina, John, (1997) Opera and Politics: From Monteverdi to Henze New Haven, CT: Yale University Press
Citron, Marcia J.,(2000) Opera on Screen New Haven, CT: Yale University Press
Clément, C. (1989) Opera, or The Undoing of Women, London: Virago
Donington, R. (1990) Opera and Its Symbols, Yale University PressGroos
Kerman, J. rev edn 1989 (1st pub 1956)Opera as Drama, London: Faber
Levin, D (ed) (1994) Opera Through Other Eyes Stanford University Press
Pidd, H Sun Readers’ Exclusive : a Night at the Opera The Guardian 23rd July 2008
Sadie, S. (ed) New Grove Dictionary of Opera, London: Macmillan, 1993. See also New Grove II.
Traubner, R. 1990 (1st pub 1983)Operetta: A Theatrical History, Oxford: Oxford University Press,
White, E. W. (1983) A History of English Opera, London: Faber
Brook, Peter (1987) The Shifting Point – London: Methuen
Delgado, Heritage (1996) In Contact with the Gods? Manchester: Manchester University Press
Eyre, Richard (1998) 1997/8 Arts Council report on Opera and ballet – the lyric theatre London: Arts Council of England
Fay, Stephen (1995) Power Play. The life and times of Peter Hall – London: Hodder and Stoughton.
Opera and singers:
Atkinson, Paul(2006) Everyday Arias, An Operatic Ethnography Lanham : Altamira Press
Barker, Paul(2004) Composing for Voice – London: Routledge
Evans, David T(1999) Phantasmagoria, a Sociology of Opera London: Ashgate
Allen, Mary (1998) A House Divided London: Simon and Schuster
Fawkes, Richard (1986) Welsh National Opera – Cardiff: MacRae
Gilbert, Susie (2005) Opera for Everybody London: Faber and Faber
Gilbert, Susie and Shir,(2003) Jay A Tale of Four Houses London: Harper Collins
LeBrecht, Norman(2000) Covent Garden, The Untold Story London: Simon and Schuster
CHINESE OPERA TRADITIONS
Bonds, Alexandra B. (2008) Beijing Opera Costumes: The Visual Communication of Character and Culture Honolulu: University of Hawaii Press
Chiu, Y & Kwong A Behind the Colored Mask: an Introduction to the Traditions of Cantonese Opera Opera Canada 36:1:142 (Spring 1995) p.12-13
Evans, M The Emerging Role of the Director in Chinese Xiqu Asian Theatre Journal vol 24 no 2 (Fall 2007)
Goldman, Andrea Drama Kings: Players and Publics in the Re-creation of Peking Opera 1870-1937 (review) The Opera Quarterly Vol 26 no 23 2010
Li, Ruru (2005) “False but True, Empty but Full, Few but Many” – the Dialectic Concepts in Traditional Chinese Performance Art and Painting Theatre Theatre Research International 1999
Rauch, Rudolph S Letter from hitOpera News 69:8 (February 2005)
Skidelsky, E There’s More to Chinese Opera than the Stereotype The New Statesman no 4884 2008
Sun, William Paradox of Acting in Traditional Chinese Theatre: Performance Versus Literature New Theatre Quarterly Vol 1 1999 pp17-25
Tian, Min Meyerhold Meets Mei Lanfang: Staging the Grotesque and the Beautiful Comparative Drama 33:2 (Summer 1999)
Wei, Bingbing Drama Kings: Players and Publics in the Re-creation of Peking Opera 1870-1937 (review) China Review International Volume 14, Number 2, Fall 2007
Xiaomei Chen A Stage in Search of a Tradition The Dynamics of Form and Content in Post Maoist Theatre Asian Theatre Journal Vol 18 no2 2001
Young, Samson Reconsidering Cultural Politics in the Analysis of Contemporary Chinese Music: The Case of Ghost Opera. Contemporary Music Review 26(5/6) 2007 605–18 at
Zhang Huoding Yyuanyang Zhong (Mandarin Duck Tomb) at the Theatre Workshop, National Peking Opera Theatre of China, Chang’an Grand Theatre, Beijing, 24 November 2006. Asian Theatre Journal, vol. 25, no. 2 (Fall 2008).
INTER / TRANS CULTURAL PERFORMANCE
Barba , E Cultural Identity and Professional Identity in Hastrup, K et al (ed) The Performers’ Village: Time, Techniques and Theories at ISTA
Barba, E (2006) 2nd edition A Dictionary of Theatre Anthropology London: Routledge
Brook, Peter (2005) The Open Door, London: Anchor
Fei, Faye Chunfang & Sun, William Huizhu Othello and Beijing Opera: Two Cases of Appropriation in Different Directions Theatre Drama Review Vol. 50 no. 1 2006
Huang Zuolin et al Tradition, Innovation, and Politics: Chinese and Overseas Chinese Theatre across the World Theatre Drama Review (1988-), Vol. 38, No. 2. (Summer, 1994), pp. 15-71.
Knowles, R (2010) Theatre and Interculturalism Basingstoke: Palgrave-Macmillan
Law, Wing-Wah, Ho Wai-Chung Globalisation, Values Education and School Music Education in China Journal of Curriculum Studies. v. 41. no. 4. p. 501
Lei, Daphne P. (2006) Operatic China: Staging Chinese Identity across the Pacific. New York: Palgrave
Metzger, S Ice Queens, Rice Queens and Intercultural Investments in Zhang Yimou’s Turandot Asian Theatre Journal Vol 20 no 2 2009
Nascimento, C (2009) Crossing Cultural Borders Through the Actor’s Work : Foreign Bodies of Knowledge London:Routledge
Parvis, Patrice (ed) (1996) The Intercultural Performance Reader London: Routledge
Pitches, J and Li, Ruru (2010): Negotiations in the Uncomfortable Zone: Identity, Tradition and the Space between European and Chinese Opera Walling (ed) The Orientations Trilogy London: Border Crossings
Sun Huizhu (William) Performing Arts and Cultural Identity the Era of Interculturalism in Theatre Drama Review, Volume 53 no. 2 2006.
Pitches, (2003) Vsevolod Meyerhold London:Routledge
Sun, William Huizhu & Fei, Faye Chunfang Social Performance Studies: Between the Real and the Virtual Riley, Shannon & Hunter, Lynette (2009) Mapping Landscapes for Performance as Research Scholarly Acts and Creative Cartographies London: Palgrave
Wenwei Du The Chalk Circle Comes Full Circle: From Yuan Drama Through the Western Stage to Peking Opera Asian Theatre Journal, Vol. 12, No. 2 (Autumn, 1995), pp. 307-325
CULTURAL EDUCATION, MANAGEMENT AND POLICY
Bennet, Tony (2001) Diversities; Cultural Policy and Cultural Diversity Council of Europe
Boyle, Stephen Impact of Changes in Organisational Structure on Selected Key Performance Indicators for Cultural Organisations International Journal of Cultural Policy. v. 13. no. 3. 2007. p. 319
Bunting et al (2008) From Indifference to Enthusiasm: Patterns of Arts Attendance in England London: Arts Council of England : www.artscouncil.org.uk
Chong, Derrick (2002). Arts Management. London: Routledge.
Cultural statistics, Eurostat Pocketbooks, European Commision 2007 edition.
Fleming, M (2008) Arts in Education and Creativity: A Review of the Literature A Report for Creative Partnerships London: Creative Partnerships www.creative-partnerships.com/literaturereviews
Ford E, Patrick L (2010) DARE A Collaborative Partnership between Opera North and the University of Leeds A Mission Models Money case study London: Mission Models Money
Higher Education Funding Council for England (1998) Review of Music Conservatoires London: HEFCE
Holden, J (2008) Democratic Culture London : Demos
Kolb, Bonita M.. The effects of Generational Change on Classical Music Concert Attendance and Orchestra’s Responses in the UK and US. Cultural Trends vol. 11, issue 41, 2001 pp. 1-35.
Kolb, Bonita M. 2005. Marketing for Cultural Organisations. New strategies for attracting audiences to Classical Music, Dance, Museums, Theatre and Opera. Ireland: Thomson Learninig.
McCarthy, Kevin, Brooks, Arthur, Lowell, Julia ja Zakaras, Laura (2001). The Performing Arts in a New Era. Washington DC: Rand Corporation
National Endowment for the Arts (NEA) (2009). 2008 Survey of Public Participation in the Arts. Research Report # 49. Washington DC: National Endowment for the Arts.
Nesta (2008) Developing Entrepreneurial Graduates London: Nesta
Odam,G & Bannan N (2005) The Reflective Conservatoire, Studies in Music Education – London Ashgate
Parker, John 2008. The age of mass intelligence. Intelligent Life, winter 2008. http://www.moreintelligentlife.com/story/age-mass-intelligence.
Scollen, Rebecca 2008b. Regional voices talk theatre: audience development for the performing arts. International Journal of Nonprofit and Voluntary Sector Marketing, vol 13 (1), s. 45-56.
Younge, (2010) Who We Are (and should it matter in the 21st Century?) London : Penguin Ltd
Opera Quarterly Volume 26 numbers 2-3 Spring/summer 2010 : special edition : Chinese Opera & Film