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［2］Bobby C. Alexander. Ritual and Current Studies of Ritual: Overview. Anthropology of Religion: A Handbook. Ed. Stephen D. Glazier. Westport, CT: Praeger, 1997．

［3］Dennis M. Kratz. The Future of the Arts and Humanities in the Age of High Technology. A Speech at the Academic Symposium on "Art in Post Technology Era" Held in Nanjing in 2010．

［4］Daniel Gerould (ed.). Theatre/Theory/Theatre: The Major Critical Texts from Aristole and Zeami to Soyinka and Havel. New York, London: Applause, 2000．

［5］Dante Alighieri. Epistolae; the letters of Dante. Emended text with Introd., Translation, Notes. Trans. Paget Jackson Toynbee. BiblioLife, 2009．

［6］David Krasner and David Z. Saltz (eds.). Staging Philosophy: Intersections of Theater, Performance, and Philosophy. Ann Arbor: The University of Michigan Press, 2006．

［7］Edward Albee. Which Theatre Is the Absurd One? The New York Times, February 25, 1962．

［8］Elaine Aston and George Savona. Theatre as Sign-System. London and New York: Routledge, 1991．

［9］Eli Rozik. The Roots of Theatre: Rethinking Ritual and Other Theories of Origin. Iowa: University of Iowa Press, 2002.

［10］Eric Csapo and Margaret C. Miller (eds.). The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama. Cambridge: Cambridge University Press, 2007．

［11］Erving Goffman. Frame Analysis. Harmondsworth: Penguin, 1974.

［12］Francis Macdonald Cornford. The Origin of Attic Comedy. Ed. Theodor H. Gaster. Gloucester, MA: Peter Smith, 1968．

［13］Francis Edwards. Ritual and Drama: the Mediaeval Theatre. London, Fakenham and Reading: Cox & Wyman Ltd., 1976．

［14］Günter Grass. Four Plays. New York: Harcourt, Brace & World, Inc. and Martin Secker & Warburg Limited, 1967．

［15］Henrik Ibsen. Hedda Gabler. English Adaptation by Max Faber. New York: Theatre Arts Book, 1966．

［16］James R. Hamilton. The Art of Theater. Oxford: Blackwell Publishing, 2007．

［17］Jan Kott. The Theater of Essence. Evanston, Illinois: Northwestern University Press, 1984．

［18］Jane K. Brown, Meredith Lee and Thomas P. Saine (eds.). Interpreting Goethe's Faust Today. Columbia: Camden House, 1994．

［19］Jean Genêt. The Screens [M]. Trans. Bernard Frechtman. New York: Grove Press, 1962．

［20］Jiri Veltrusky. Basic Features of Dramatic Dialogue. Semiotics of Art. Eds. Ladislav Matejka and Irwin R. Titunik. Cambridge, Massachusetts, and London, England: The MIT Press, 1976．

［21］John Calder. Martin Esslin [EB/OL]. http://www.guardian.co.uk, 2008-10-26．

［22］John Hanners. The Field of Drama: How the Signs of Drama Create Meaning on Stage and Screen, by Martin Esslin. Film Criticism. Fall 1987, 12（1）．

［23］John Marston. Antonio's Revenge. The Selected Plays of John Marston. Eds. MacDonald P. Jackson and Michael Neill. Cambridge: Cambridge University Press, 1986．

［24］Katherine H. Burkman and John L. Kundert-Gibbs (eds.). Pinter at Sixty. Bloomington & Indianapolis: Indiana University Press, 1993．

［25］Keir Elam. The Semiotics of Theatre and Drama. New Accents. London and New York: Routledge, 1988．

［26］Lois Gordon (ed.). Harold Pinter: A Casebook. New York & London: Garland Publishing, Inc., 1990．

［27］Ludwig Lewisohn. The Drama and the Stage. New York: Harcourt, Brace and Company, 1922．

［28］Martin Esslin. The Theatre of the Absurd. First Edition. Garden City, New York: Doubleday & Company, Inc., 1961．

［29］Martin Esslin. The Peopled Wound: The Work of Harold Pinter. Anchor Books. Garden, New York: Doubleday & Company, Inc., 1970．

［30］Martin Esslin. Reflections: Essays on Modern Theatre. Anchor Books Edition. Garden City, New York: Doubleday & Company, Inc., 1971．

［31］Martin Esslin. An Anatomy of Drama. First American Edition. New York: Hill and Wang, 1977．

［32］Martin Esslin. Brecht-A Choice of Evils. 4^th Edition. London & N.Y.: Hill & Wang, 1977．

［33］Martin Esslin. Artaud. London: Fontana, N.Y.: Penguin, 1977．

［34］Martin Esslin. The Age of Television. California: Stanford Alumni Association, 1981．

［35］Martin Esslin. Mediations: Essays on Brecht, Beckett, and the Media. First Evergreen Edition. New York: Grove Press, Inc., 1982．

［36］Martin Esslin. The Field of Drama. London and New York: Methuen, 1987．

［37］Marvin Carlson. Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the Present. Ithaca and London: Cornell University Press, 1984．

［38］Michal Schonberg (ed.). The Language of Drama and Drama as a language. A Lecture Given by Martin Esslin for the Stratford Shakespearen Festival. August 14, 1983．

［39］Peter Shaffer. Black Comedy [EB/OL]. http://members.fortunecity.com/bookdepository/plays/black/comedy2.html,2009-10-22．

［40］Robert Hurwitt. Prof. Martin Esslin—scholar of the theater [EB/OL]. http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2002/02/28/MN238291.DTL,2008-10-19．

［41］Simon Trussler. Remembering Martin Esslin, 1918—2002. New Theatre Quarterly, Aug 2002, 18（3）．

［42］Stanford Magazine. He Found Meaning in Absurdity[EB/OL]. http://www.stanfordalumni.org/news/magazine/2002/julaug/classnotes/esslin.html,2008-10-19．

［43］Stanford Report. Memorial Resolution: Martin Esslin [EB/OL]. http://news-service.stanford.edu/news/2004/may5/esslin-memorial-55.html,2008-10-25．

［44］Tadeusz Kowzan. Littérature et Spectacle. La Haye-Paris: Mouton, 1975．

［45］Tadeusz Kowzan. Sémiologie du Théâtre. Paris: Éditions Nathan, 1992．

［46］Telegraph. Martin Esslin [EB/OL]. http://www.telegraph.co.uk/news/obituaries/1386355/Martin-Esslin.html,2008-10-25．

［47］The Independent. Professor Martin Esslin[EB/OL]. http://www.independent.co.uk/news/obituaries/professor-martin-esslin-729783.html,2008-10-25．

［48］Thomas Barfield (ed.). The Dictionary of Anthropology. Oxford: Blackwell Publishing Ltd, 1997．

［49］Timothy Darvill (ed.). The Concise Oxford Dictionary of Archaeology. Oxford: Oxford University Press, 2003．

［50］Victor Turner. The Forest of Symbols: Aspects of Ndembu Ritual. Ithaca, New York: Cornell University Press, 1967．

［51］Volkmar Sander (ed.) Friedrich Dürrenmatt: Plays and Essays. New York: The Continuum Publishing Company, 1982．

［52］William A. Armstrong (ed.). Experimental Drama. London: G. Bell and Sons, Ltd., 1963．

［53］William Ridgeway. The Origin of Tragedy. Bronx, New York: Benjamin Blom, Inc., 1966．