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• The Arbor (Director: Clio Barnard; Artangel Media, 2011). • Cicely Berry, Your Voice and How to Use it Successfully (London: Harrap, 1975), p. 21. • Alecky Blythe, Come Out Eli first performed at the Arcola Theatre, September 2003, directed by Sara Powell – not published • Alecky Blythe, Cruising (London: Nick Hern Books, 2006): first performed at the Bush Theatre, London, 7 June 2006, directed by Matthew Dunster. • Alecky Blythe, The Girlfriend Experience (London: Nick Hern Books, 2008): first performed at the Royal Court Jerwood Theatre Upstairs, London, 18 September 2008, directed by Joe Hill-Gibbins: transferred to the Young Vic Theatre, London, 29 July 2009. • Alecky Blythe (Book and Lyrics) & Adam Cork (Music and Lyrics), London Road (London: Nick Hern Books, 2011): first performed at the Cottesloe auditorium, the National Theatre, London, 14 April 2011, directed by Rufus Norris: transferred to the Olivier auditorium, National Theatre, 28 July 2012. • Alecky Blythe, Do We look Like Refugees, with the Rustaveli Theatre Company, Georgia, 2010: first performed in Georgia, 2010: transferred to Assembly Rooms, Edinburgh Festival, August 2010: British tour began at the University of Reading (in conjunction with South Hill Park Arts Centre, Bracknell), 16 May 2011 – not published • Interview with Alecky Blythe, 16 September 2011. http://www.reading.ac.uk/web/FILES/ftt/Alecky_Blythe_16th_September_2011.pdf • Peter Boenisch, ‘Towards a Theatre of Encounter and Experience: Reflexive Dramaturgies and Classic Texts’, Contemporary Theatre Review, 20:2, (2010), 162-72 (p. 162). • Gregory Burke, Black Watch (London: Faber, 2007): first performed at the University of Edinburgh Drill Hall, the Edinburgh Festival Fringe, 5 August 2006, directed by John Tiffany. • See Judith Butler, Bodies That Matter: On The Discursive Limits Of Sex (London: Routledge, 1993). • Tom Cantrell and Mary Luckhurst eds., Playing for Real: Actors on Playing Real People, (Basingstoke: Palgrave Macmillan, 2010). Interview with Esther Coles, 12 August 2009. http://www.reading.ac.uk/web/FILES/ftt/Esther_Coles_12th_August_2009.pdf • Andrea Dunbar, The Arbor (London: Pluto Plays, 1980): first performed at the Royal Court Theatre, London, 1980, directed by Max Stafford-Clark. • Andrea Dunbar, Rita, Sue And Bob Too (London: Methuen, 1988): first performed at The Royal Court Theatre, London, 14 October 1982 • • Interview with Beatie Edney, 12 August 2009. http://www.reading.ac.uk/web/FILES/ftt/Beatie_Edney_12th_August_2009.pdf • See Forsyth and Megson, Get Real: Documentary Theatre Past and Present; (Basingstoke: Palgrave Macmillan, 2009). • David Hare, The Permanent Way (London: Faber, 2003): first performed at the Theatre Royal, York, 13 November 2003, co-production with Out of Joint and the National Theatre, London: transferred to the Cottesloe auditorium, the National Theatre, London, 6 January 2004, directed by Max Stafford-Clark. • David Hare, Stuff Happens (London: Faber, 2004): first performed at the Olivier auditorium, the National Theatre, London, 1 September, 2004, directed by Nicholas Hytner. • David Hare, The Permanent Way and The Power of Yes (London: Faber, 2009): first performed in the Lyttelton auditorium, The National Theatre, London, 29 September 2009, directed by Angus Jackson. • Carol Martin, Dramaturgy of the Real on the World Stage (Basingstoke: Palgrave, 2010). • Derek Paget and Jane Roscoe, ‘Giving Voice: performance and authenticity in the documentary musical’, Jump Cut: a Review of Contemporary Media 48, (2006). • Derek Paget, ‘Acting with Facts: Actors Performing the Real in British Theatre and Television since 1990 – a preliminary report’, Studies in Documentary Film, 1:2 (2007), 165-76. • Lucy Prebble, Enron (London: Methuen, 2009): first performed at the Minerva Theatre, Chichester, 11 July 2009, directed by Rupert Goold, in a co-production by Headlong Theatre, Chichester Festival and the Royal Court Theatre: transferred to Royal Court Jerwood Theatre Downstairs, 17 September 2009: transferred to the Noel Coward Theatre, London, January. • Janelle Reinelt, ‘The Promise of Documentary’, in Get Real: Documentary Theatre Past and Present, ed. by Alison Forsyth and Chris Megson (Basingstoke: Palgrave Macmillan, 2009), pp. 6-23. • Rebecca Schneider, Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011). • Robin Soans, Talking to Terrorists (London: Oberon Books, 2005): first performed in an Out of Joint production at the Theatre Royal, Bury St Edmunds, directed by Max Stafford-Clark. • Robin Soans and Max Stafford-Clark, ‘A State Affair’, Rita, Sue and Bob Too: and A State Affair (London: Methuen, 2000). • Lib Taylor, ‘The Experience of Immediacy: Emotion and Enlistment in Fact-based Theatre’, Studies in Theatre & Performance, 31:1 (2011), 223-37. • Hans-Thies Lehmann, Postdramatic Theatre, trans. by Karen Jürs-Munby (London: Routledge, 2006). • The Wooster Group, To You The Birdie, directed by Elizabeth LeCompte: first performed at The Festival D'Automne, Centre Pompidou, Paris, France, 2001. • The Wooster Group, Vieux Carré, directed by Elizabeth LeCompte: first performed at Festival Premieres at Théâtre National, Strasbourg, France, 2011. • The Wooster Group, Troilus and Cressida, (with the Royal Shakespeare Company), directed by Elizabeth LeCompte (with Mark Ravenhill): first performed at The Swan Theatre, Stratford on Avon, 3 August 2012. • The Wooster Group website, http://thewoostergroup.org/twg/twg.php?hamlet (accessed 17 November 2012). • The Wooster Group, Poor Theater: A Series of Simulacra: first performed at The Performance Garage, New York, 18 February 2004, directed by Liz LeCompte.