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1

Cold War theatre. Routledge, 1992.

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2

Theatres of war: French committed theatre from the Second World War to the Cold War. University of Exeter Press, 1998.

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3

Meyer-Braun, Renate. Löcher im Eisernen Vorhang: Theateraustausch zwischen Bremen und Rostock während des Kalten Krieges (1956-1961) : ein Stück deutsch-deutscher Nachkriegsgeschichte. Trafo, 2007.

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4

American theater in the culture of the Cold War: Producing and contesting containment, 1947-1962. University of Iowa Press, 2003.

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5

Corporation, Rand, and United States Army, eds. NATO's future conventional defense strategy in Central Europe: Theater employment doctrine for the post-Cold War era. Rand, 1991.

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6

Davis, Tracy C. Stages of emergency: Cold War nuclear civil defense. Duke University Press, 2008.

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7

Balme, Christopher B., and Berenika Szymanski-Düll, eds. Theatre, Globalization and the Cold War. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8.

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8

Theater of war. New Press, 2002.

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9

Allen, Patrick D. Secondary land theater model. Rand, 1987.

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10

Nicoletti, Susi. Nicht alles war Theater: Erinnerungen. List, 1997.

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11

History, Center of Military. Asiatic-Pacific theater. United States Army Center of Military History, 2002.

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12

Theater Shoes: Shoes #4. Random House, 1994.

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13

Streatfeild, Noel. Theater Shoes: Shoes #4. Random House, 1994.

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14

U.S. Army Command and General Staff College. Sustainment in the theater of war. US Army Command and General Staff College, 2007.

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15

Theatre is more beautiful than war: German stage directing in the late twentieth century. University of Iowa Press, 2009.

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16

1971-, Hughes Jenny, and Balfour Michael 1966-, eds. Performance in place of war. Seagull Books, 2009.

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17

Maples, Holly. Culture war: Conflict, commemoration and the contemporary Abbey Theatre. Peter Lang, 2011.

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18

McCarthy, Jim. Political theatre during the Spanish Civil War. University of Wales Press, 1999.

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19

Rottman, Gordon L. World War II US Cavalry units: Pacific theater. Osprey, 2009.

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20

Rottman, Gordon L. World War II US Cavalry units: Pacific theater. Osprey, 2009.

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21

History, Center of Military, ed. The Civil War in the Western Theater, 1862. Center of Military History, United States Army, 2014.

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22

World War II US Cavalry units: Pacific theater. Osprey, 2009.

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23

Fairhall, James. At the water puppet theater: Poems. Word Press, 2002.

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24

Casacuberta, Margarida. El debat teatral a Catalunya: Antologia de textos de teoria i crítica dramàtiques. Institut del Teatre. Diputació de Barcelona, 2011.

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25

Richard, Kane. Miss Roach's war: A play. S. French, 1998.

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26

Nikolaus, Merck, ed. Martin Linzer: Ich war immer ein Opportunist-- : zwölf Gespräche über Theater und das Leben in der DDR, über geliebte und ungeliebte Zeitgenossen. Theater der Zeit, 2001.

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27

Cold War Theatre. Routledge, 2014.

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28

Elsom, John. Cold War Theatre (Routledge Revivals). Taylor & Francis Group, 2016.

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29

Masco, Joseph. Theater of Operations: National Security Affect from the Cold War to the War on Terror. Duke University Press, 2014.

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30

Masco, Joseph. Theater of Operations: National Security Affect from the Cold War to the War on Terror. Duke University Press, 2014.

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31

Masco, Joseph. The Theater of Operations: National Security Affect from the Cold War to the War on Terror. Duke University Press Books, 2014.

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32

Brauch, Hans G. Alternative Conventional Defense Postures In The European Theater: Military Alternatives for Europe after the Cold War (Alternative Conventional Defense Postures in the European Theater). Taylor & Francis, 1992.

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33

Jr, Robert F. Kennedy, and Hans G. Brauch. Alternative Conventional Defense Postures in the European Theater: Military Alternatives for Europe after the Cold War. Taylor & Francis Group, 2018.

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34

Jr, Robert F. Kennedy, and Hans G. Brauch. Alternative Conventional Defense Postures in the European Theater: Military Alternatives for Europe after the Cold War. Taylor & Francis Group, 2018.

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35

Jr, Robert F. Kennedy, and Hans G. Brauch. Alternative Conventional Defense Postures in the European Theater: Military Alternatives for Europe after the Cold War. Taylor & Francis Group, 2018.

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36

Jr, Robert F. Kennedy, and Hans G. Brauch. Alternative Conventional Defense Postures in the European Theater: Military Alternatives for Europe after the Cold War. Taylor & Francis Group, 2018.

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37

Kugler, Richard L. Nato's Future Conventional Defense Strategy in Central Europe: Theater Employment Doctrine for the Post-Cold War Era. Rand Corp, 1992.

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38

Stages of Emergency: Cold War Nuclear Civil Defense. Duke University Press, 2007.

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39

Davis, Tracy C. Stages of Emergency: Cold War Nuclear Civil Defense. Duke University Press, 2007.

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40

J, Hoffenaar, and Findlay Christopher, eds. Military planning for European theatre conflict during the Cold War: An oral history roundtable, Stockholm, 24-25 April 2006. Center for Security Studies, ETH Zürich, 2007.

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41

Cold War Theatre (Routledge Revivals). Routledge, 2014. http://dx.doi.org/10.4324/9781315733661.

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42

Fair, Alistair. ‘The Modern Concept of a Community Theatre’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0007.

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This chapter considers the often-expressed idea that Britain’s post-war theatres might become social centres. It begins by discussing the social centre in broad terms before continuing with a close examination of university theatres, in which social ideals were often especially significant. It concludes with the work of the prominent theatre architect Roderick Ham, focusing in particular on the Thorndike Theatre, Leatherhead. These examples together suggest that the idea of the social centre could be interpreted in two distinct but potentially interrelated ways. First, the term referred to a p
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43

Balme, Christopher B., and Berenika Szymanski-Düll. Theatre, Globalization and the Cold War. Palgrave Macmillan, 2017.

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44

Balme, Christopher B., and Berenika Szymanski-Düll. Theatre, Globalization and the Cold War. Palgrave Macmillan, 2018.

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45

Fair, Alistair. ‘A New Image of the Town Centre’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0006.

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This chapter locates key theatres of the 1960s and early 1970s in a series of urban contexts. The first part of the chapter discusses the idea of civic pride, and shows how this idea—often associated with the nineteenth century—persisted in the post-war period. It discusses how theatres could be invoked in discussions of civic pride and urban identity, and the range of individuals and organizations who did so. The second part of the chapter considers a series of examples whose location was discussed at some length. Some of these examples were located in civic centres as demonstrations of their
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46

Fair, Alistair. Modern Playhouses. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.001.0001.

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Between the 1950s and the 1980s, Britain witnessed a theatre-building boom. Across the country, substantial new theatres were constructed in town and city centres, and on university campuses. The construction of many of these buildings was subsidized with public funds. As a result, many of them represented a range of agendas that went far beyond the practical needs of performers: they addressed such themes as the place of public buildings in Britain’s changing urban landscape, the role of culture and leisure in modern life, and the extent to which support for the arts could be understood as pa
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47

Theater of War. Intellect, Limited, 2014.

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48

Powers, Nicholas. Theater of War. UpSet Press, Inc., 2005.

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49

Fair, Alistair. ‘An Instrument of Policy and Something Socially Desirable’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0002.

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This chapter sets the post-war theatre-building boom in a national context by outlining the emergence of a system of public support for the arts. Though only ever one source of income for theatres (and one which was limited in its extent), the advent of subsidy had important consequences. The creation of the Arts Council of Great Britain in 1946 and the Local Government Act of 1948 transformed certain kinds of theatre from an essentially commercial activity into something that could be considered a public amenity, a cultural arm of the welfare state. The ways in which this development was just
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50

Russell, Gillian. The Regulation of Theatres. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.16.

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Romantic-period theatre faced long-standing legal constraints on where playhouses could be built, the kind of plays that could be staged, and the social status of actors. This chapter shows how new legislation and historical conditions gradually altered this picture. The impact of the French Revolution and the Revolutionary and Napoleonic Wars created a demand for forms of theatrical entertainment that would mediate the rapidity and scale of cultural and political change, forms for which the ‘illegitimate’ theatres of London were particularly suited. The dominant ‘legitimate’ theatres of Coven
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