Ali, T. (2003, Aug. 4). A Little Treatise on Theatre: ... a Greater Need for Provocative Political Drama. New Statesman, p. 26+.
Bell, D. (1962). The End of Ideology: On the Exhaustion of Political Ideas in the Fifties. New York: Free Press.
Corrie, C. (2008). Introduction from the Corrie Family. In R. Corrie, Let Me Stand Alone: the Journals of Rachel Corrie (pp. ix-xx). New York: Norton.
Corrie, R. (2008). Let Me Stand Alone: the Journals of Rachel Corrie. New York: Norton.
Danaher , K., & Mark, J. (2003). Insurrection: Citizen Challenge to Corporate Power. New York: Routledge.
Dawson, G. F. (1999). Documentary Theatre in the United States: An Historical Survey and Analysis of its Content, Form, and Stagecraft. Westport: Greenwood Press.
Eagleton, T. (1996). The Illusions of Postmodernism. Oxford: Blackwell.
Evans, E. J. (1997). Thatcher and Thatcherism (2nd ed.). London: Routledge.
Flintoff, I. (2004, June 21). Bloody Poor Show: Why Is Theatre Failing to Address Contemporary Political Realities? New Statesman, p. 38.
Fukuyama, F. (1992). The End of History and the Last Man. New York: Free Press.
Garton, S. (2004). Histories of Sexuality: Antiquity to Sexual Revolution. London: Equinox.
Gupta, S. (2011). Imagining Iraq: Literature in English and the Iraq Invasion. New York: Palgrave Macmillan.
Hare, D. (1998). Via Dolorosa. London: Faber.
Hare, D. (2002, Feb. 2). Why Fabulate?: ... the best art is conceived in response to the real world. Guardian.
Hare, D. (2005). On Factual Theatre. In R. Soans, Talking to Terrorists (pp. 111-113). London: Oberon.
Kolakowski, L. (1978). Main Currents of Marxism: Its Origin, Growth, and Dissolution (Vol. III). (P. S. Falla, Trans.) Oxford: Oxford UP.
Kritzer, A. H. (2008). Political Theatre in Post-Thatcher Britain. New York: Palgrave Macmillan.
Lacey, S. (1995). British Realist Theatre: The New Wave in its Context 1956-1965. Lodon: Routledge.
Marx, K. a. (1998). The German Ideology. New York: Prometheus.
Norton-Taylor, R. (2014, Oct. 22). Verbatim Plays Pack More Punch than the Papers. Guardian.
Paget, D. (1990). True Stories?: Documentary Drama on Radio, Screen, and Stage. Manchester: Manchester UP.
Patterson, M. (2003). Strategies of Political Theatre: Post-War British Playwrights. Cambridge: Cambridge UP.
Pilcher, J., & Wagg, S. (2005). Introduction: Thatcher's Children? In J. Pilcher, & S. Wagg (Eds.), Thatcher's Children?: Politics, Childhood and Society in the 1980s and 1990s. London: Falmer Press.
Pinter, H. (2003, 15 Feb.) Speech at Hyde Park. Harold Pinter.org.
Rickman, A., & Viner, K. (2008). My Name is Rachel Corrie. New York: Dramatists Play Service.
Saunders, F. S. (2000). The Cultural Cold War: The CIA and the World of Arts and Letters. New York: New Press.
Saunders, G. (2002). 'Love me or Kill me': Sarah Kane and the Theatre of Extremes. Manchester: Manchester UP.
Sierz, A. (2001). In-Yer-Face Theatre: British Drama Today. London: Faber.
Smith, C. S. (2005, Feb. 14). Political Acts: Theatre ... Plays a Vital Role in Debating Society's Big Issues. New Statesman, p. 38+.
Soans, R. (2005). Talking to Terrorists. London: Oberon.
Viner, K. (2008). Let Me Fight My Monsters. In A. Rickman, & K. Viner, My Name Is Rachel Corrie (pp. 41-45). New York: Dramatists Play Service.
Walgrave, S., & Rucht, D. (2010). Introduction. In S. Walgrave, & D. Rucht (Eds.), The World Says No to War: Demonstrations against the War in Iraq. Minneapolis: Minnesota UP.
Weiss, P. (1995). Fourteen Propositions for a Documentary Theater. In A. Favorini (Ed.), Voicings: Ten Plays from the Documentary Theater. Hopewell: Ecco Press.
)