Tables alphabétique et chronologique des pièces représentées sur l'ancien Théâtre italien : depuis son établissement jusqu'en 1697 qu'il a eté fermé; avec des Remarques sur ces pieces et une Table alphabetique des auteurs qui ont travaillé pour ce theatre.

Mode of access: Internet.

Select specimens of the theatre of the Hindus /

I. Treatise on the dramatic system of the Hindus. List of Hindu plays. Dramas translated from the original Sanscrit: The Mrichchakati, or, The toy-cart. Vikrama and Urvasí, or, The hero and the nymph. Uttara Ráma cheritra, or, Continuation of the history of Ráma.--II. Dramas translated from the original Sanscrit (cont'd.): Málati and Mádhava, or, The stolen marriage. Mudrá Rákshasa, or, The signet of the minister. Retnávali, or, The necklace. Appendix, containing short accounts of different dramas.

The minor theatre : being a collection of the most approved farces, operas, and comedies, in one, two and three acts.

Plays have separate title pages, dated 1793.

The London theatre. A collection of the most celebrated dramatic pieces.

Most of the plays are preceded by a brief history of the play, dramatis personae, etc.

The modern theatre; a collection of successful modern plays as acted at the Theatres Royal, London ...

Each play has half-title only, and continuous paging.

Le theatre des Grecs,

Mode of access: Internet.

Le theatre en France; histoire de la litterature dramatique depuis ses origines jusqu'a nos jours,

Mode of access: Internet.

The Attic theatre; a description of the stage and theatre of the Athenians, and of the dramatic performances at Athens,

Mode of access: Internet.

A Complementary Economy? National Markets and International Product in Early Australian Theatre Managements

The international circulation of commercial theatre in the early twentieth century was driven not only from the centres of Great Britain and the USA, but by the specific enterprise and habitus of managers in ‘complementary’ production sites such as Australia, South Africa, and New Zealand. The activity of this period suggests a de-centred competitive trade in theatrical commodities – whether performers, scripts, or productions – wherein the perceived entertainment preferences and geographies of non-metropolitan centres were formative of international enterprise. The major producers were linked in complex bonds of partnerships, family, or common experience which crossed the globe. The fractures and commonalities displayed in the partnerships of James Cassius Williamson and George Musgrove, which came to dominate and shape the fortunes of the Australian industry for much of the century, indicate the contradictory commercial and artistic pressures bearing upon entrepreneurs seeking to provide high-quality entertainment and form advantageous combinations in competition with other local and international managements. Clarke, Meynell and Gunn mounted just such spirited competition from 1906 to 1911, and their story demonstrates both the opportunities and the centralizing logic bearing upon local managements shopping and dealing in a global market. The author, Veronica Kelly, works at the University of Queensland. She is presently undertaking a study of commercial stars and managements in late nineteenth- and early twentieth-century Australia, with a focus on the star performer as model of history, gender, and nation.