These are the sources and citations used to research British Theatre Post-1950 - Assignment 1. This bibliography was generated on Cite This For Me on
“the structure of events,” is the most important single feature of drama… this plot must have a beginning, a middle, and an end.”
In-text: (Williams, 1983)
Your Bibliography: Williams, S. (1983). The Well-Made Play. In: G. Stade, ed., European Writers: The Romantic Century, 7th ed. [online] New York: Charles Scribner's Sons, p.1911. Available at: http://go.galegroup.com.salford.idm.oclc.org/ps/i.do?p=GVRL&u=salcal2&id=GALE|CX1386900170&v=2.1&it=r&sid=exlibris&authCount=1# [Accessed 4 Mar. 2018].
“As I was going up Pippin Hill,/Pippin Hill was dirty…”
In-text: (Delaney, Leeming and Aston, 1982)
Your Bibliography: Delaney, S., Leeming, G. and Aston, E. (1982). A Taste Of Honey. 3rd ed. London, New York: Bloomsbury Methuen Drama, p.87.
“the well-made play strove consciously to create imbalance and then to proceed rationally to its resolution”
In-text: (Lieberman, 1969)
Your Bibliography: Lieberman, A. (1969). The Well-Made Play and the Theatre of the Absurd: A Study in Attitude Change. Sociological Inquiry, [online] 39(1), pp.85-91. Available at: http://onlinelibrary.wiley.com.salford.idm.oclc.org/doi/10.1111/j.1475-682X.1969.tb00943.x/epdf [Accessed 5 Mar. 2018].
In-text: (Collins and Delaney, 1981)
Your Bibliography: Collins, M. and Delaney, S. (1981). A Taste of Honey. Theatre Journal, [online] 33(4), p.545. Available at: http://www.jstor.org.salford.idm.oclc.org/stable/3206787?sid=primo&origin=crossref [Accessed 6 Mar. 2018].
“stringent austerities of this strange and unexampled kind of art (birthed) a new style of theatre”
In-text: (Scott, 1969)
Your Bibliography: Scott, N. (1969). Samuel Beckett. London: Bowes and Bowes Publishers Ltd., p.83.
“Why don’t we hang ourselves? /With what? /You haven’t got a bit of rope? /No. / Then we can’t.”
In-text: (Beckett, 2006)
Your Bibliography: Beckett, S. (2006). Waiting for Godot. 4th ed. London: Faber and Faber Limited, p.86.
“Godot replaces the scrupulously imagined and realised worlds of most modern plays with a setting that seems as close to nowhere as it is possible to get”
In-text: (Pattie, 2001)
Your Bibliography: Pattie, D. (2001). The Complete Critical Guide to Samuel Beckett. London: Routledge, p.74.
“if (a playwright) philosophises wrongly, he should do so with swagger. Mr Beckett has any amount of swagger”
In-text: (Graver and Federman, 1979)
Your Bibliography: Graver, L. and Federman, R. (1979). Samuel Beckett: The Critical Heritage. London: Routledge & Kegan Paul Ltd., p.94.
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