The 80s: Modern British Playwriting (2012)<br /><a href=''>Jane Milling</a> John Ruskin and the Victorian Theatre (2010)<br /><a href=''>Katherine Newey</a> and Jeffrey Richards Ritual, Rapture and Remorse: A Study of Tarantism and Pizzica in Salento (2010)<br /><a href=''>Jerri Daboo</a> The Basset Table (2009)<br />Edited by <a href=''>Jane Milling</a> Ruskin, the Theatre, and Victorian Visual Culture (2009)<br />Anselm Heinrich, <a href=''>Katherine Newey</a> and Jeffrey Richards (eds) Psychophysical Acting: an Intercultural Approach After Stanislavski (2008)<br /><a href=''>Phillip Zarrilli</a> Theatre Histories: An Introduction (2008)<br /><a href=''>Phillip B. Zarrilli</a>, Bruce McConachie, Gary Jay Williams, and Carol Fischer Sorgenfrei. Devising Performance: A Critical History (2005)<br />Deirdre Heddon and <a href=''>Jane Milling</a>


  • Jane Milling (ed.). The 80s: Modern British Playwriting. London, Methuen, 2012.
  • Katherine Newey (ed.). Lives of Shakespearean Actors: Fanny Kemble, Vol. IV, London: Chatto & Pickering, 2011.
  • Jerri Daboo. Ritual, Rapture and Remorse: A Study of Tarantism and Pizzica in Salento. Oxford, Peter Lang, 2010.
    An historical and ethnographic study of the ritual of tarantism in southern Italy. The book draws on a range of disciplines including performance studies, anthropology, ethnography, cultural studies, medical history and sociology.
  • Katherine Newey co-author (with Jeffrey Richards). John Ruskin and the Victorian Theatre, Basingstoke: Palgrave Macmillan, 2010.
  • Katherine Newey (ed. with Andy Moreton). Winifred Dolan, A Chronicle of Small Beer: the Life and Times of a Victorian Actress, London: Society for Theatre Research, 2010.
  • Jane Milling. Susanna Centlivre: A Basset Table. Peterborough, Broadview Press 2009.
  • Katherine Newey. (ed. with Anselm Heinrich and Jeffrey Richards), Ruskin, the Theatre, and Victorian Visual Culture, Basingstoke: Palgrave Macmillan, 2009.
  • Phillip Zarrilli. Psychophysical Acting: an Intercultural Approach after Stanislavski. London: Routledge, 2008, with DVD-ROM by Peter Hulton.
    An historical overview of a psychophysical approach to acting from Stanislavski to the present
  • Phillip Zarrilli with Bruce McConachie, Gary Williams and Carol Fischer Sorgenfrei. Theatre Histories: An Introduction, 2nd Edition. London: Routledge, 2008.
  • Deirdre Haddon and Jane Milling. Devising Performance: A Critical History. Basingstoke: Palgrave Macmillan, 2005.

Articles and book chapters


  • Adrian Curtin. 'Recalling the Theatre Phone', in Reilly K (ed.) Theatre, Performance and Analogue Technology: Interfaces and Intermedialities, London: Palgrave.
  • Adrian Curtin. 'Vibration, Percussion, and Primitivism in Avant-Garde Performance', in Trower S, Enns A (eds.) Vibratory Modernism, London: Palgrave.


  • Adrian Curtin. 'Noises On: Sights and Sites of Sound in Apollinaire's The Breasts of Tiresias', in Roesner D, Kelso L (eds.) Theatre Noise: The Sound of Performance, Newcastle: Cambridge Scholars, 2012, 124-138.
  • Jerri Daboo. 'Mixing with the Mainstream: Transgressing the Identity of Place', in Ley G., Dadswell, S. (eds.) British South Asian Theatre: Critical Essays, Exeter: University of Exeter Press, 2012.
    Chapter resulting from the four year AHRC-funded History of British Asian Theatre project within the department. The chapter investigates notions of the 'mainstream' and 'margin' in relation to British Asian performances taking place on mainstream stages.
  • Stephen Hodge. 'Before I compose a piece, I walk round it several times, accompanied by myself', Performance Research, vol. 17, no. 2, 2012.
    Four artist's pages, tracing composer Erik Satie's nocturnal 10km walk home across Paris from Montmartre to Arcueil.
  • Stephen Hodge. 'British Asian Live Art: moti roti', in Ley G, Dadswell S (eds.) British South Asian Theatre: Critical Essays, University of Exeter Press, 2012.
  • Cathy Turner and Stephen Hodge. 'Site: Between Ground and Groundlessness', in Heddon D, Klein J (eds.) Histories and Practices of Live Art, Palgrave Macmillan, 2012.


  • Jerri Daboo. 'Michael Chekhov and the Studio in Dartington: the re-membering of a tradition', in Pitches PJ (eds.) The Russians in Britain: British Theatre and the Russian Tradition of Acting, Routledge, 2011, 62-85.
    An historical investigation into the setting up of Chekhov’s studio in Dartington. The chapter contains previously unpublished material from the Studio archives.
  • Jane Milling. '"For Without Vanity I’m Better Known": Restoration Actors and Metatheatre on the London Stage'. Theatre Survey, 52.1, 2011, 59-82.
    'Women Working in the Theatre: Women Playwrights 1660-1750,' in Nelson, B. and Burroughs, C. (eds.) Teaching British Women Playwrights of the Restoration and Eighteenth Century, New York: MLA, 2010, 41-67.
  • Katherine Newey. 'The 'British Matron' and the Poetic Drama: The Case of Augusta Webster', George Eliot – George Henry Lewes Studies, Nos. 60-61, 2011, 132-147.
  • Katherine Newey. 'Theatricality' in Martin Hewitt (ed.) Victorian Worlds, London & New York: Routledge, 2011.


  • Adrian Curtin. 'Cruel Vibrations: Sounding Out Antonin Artaud's Production of Les Cenci', Theatre Research International, vol. 35, no. 3, 2010, 250-262.
  • Adrian Curtin. 'Defining and Reconstructing Theatre Sound', in Collins J, Nisbett A (eds.) Theatre and Performance Design: A Reader in Scenography, London: Palgrave, 2010, 218-222.
  • Sarah Goldingay. 'To perform possession and to be possessed in performance: the actor, the medium and an "other"' in Schmidt, Bettina (ed.) New Interpretations of Spirit Possession. London: Continuum, 205-222. (2010).
  • Katherine Newey. 'Popular Culture' in Cambridge Companion to Victorian Literature, ed. Joanne Shattock, Cambridge: Cambridge University Press, 2010, 147-161.
  • Katherine Newey. 'Theatre' in Cambridge Companion to Victorian Culture, ed. Francis O’Gorman, Cambridge: Cambridge University Press, 2010.


  • Adrian Curtin. 'Alternative Vocalities: Listening Awry to Peter Maxwell Davies' Eight Songs for a Mad King'Mosaic: a journal for the interdisciplinary study of literature, vol. 42, no. 2, 2009, 101-118.
  • Adrian Curtin. 'Dumb Reading: The Noise of the Mute in Jonson's Epicene', Comparative Drama, vol. 43, no. 1, 2009, 45-62.
  • Adrian Curtin. 'Hearing Joyce Speak: The Phonograph Recordings of  "Aeolus" and  "Anna Livia Plurabelle" as Audiotexts', James Joyce Quarterly, vol. 46, no. 2, 2009, 269-284.
  • Sarah Goldingay. 'Watching the dead speak: the role of the audience, imagination, and belief in late-modern spiritualism' in Scripta Instituti Donneriani Aboensis vol 20 (in a special edition of the journal on postmodern spirituality), 19-43. (2009).
  • Sarah Goldingay. 'Plagiarising theory: performance and religion' in Studies in Theatre and Performance vol 29 (1), 5-14. (2009).
  • Kara Reilly. 'The Rape of Lavinia: The Restoration Actress’s Body in Pain'. Staging Pain, 1580-1800 Violence and Trauma in British Theatre . Ed. James Robert Allard and Matthew R Martin. Ashgate 2009.
    This book article examines the representation of rape and pain on the Restoration stage, particularly exploring how rape scenes change after female actresses enter the profession. As such, it applies key cultural and critical theory to the embodied performances of seventeenth-century actresses and their voyeuristic audiences. This chapter contributes towards a collection published by Ashgate representing the first attempt to look at pain, violence and trauma as they were represented on the theatrical stage.


  • Katherine Newey. "'Thus Far and No Farther!': The 'Proper Lady' and the Ends of Melodrama" in Penny Gay (ed. and preface); Johnston, Judith (ed. and introd.); Waters, Catherine (ed. and introd.), Victorian Turns, NeoVictorian Returns: Essays on Fiction and Culture. Newcastle upon Tyne, England: Cambridge Scholars, 2008, 50-58.

Publications in progress

  • Adrian Curtin, Avant-Garde Theatre Sound: Staging Sonic Modernity, New York: Palgrave.
  • Adrian Curtin. 'O Brave New (Audio) World: Designing Sound for Shakespeare,' in John Russell Brown and Stephen Di Benedetto S (eds), The Routledge Companion to Designers' Shakespeare, London: Routledge, 2014.
  • Cathy Turner. Dramaturgy and Architecture: the art of construction. Under contract with Palgrave Macmillan.
    This book will examine the relationship between dramaturgy and architecture, conceived as analogous concerns with space-time structures. It particularly looks at the overlapping concerns of theatre and architecture within European modernism, while identifying connections and developments in contemporary performance.