, Two Post-Modern PJays (Jackets et In In the Company of Men), Notes on Post-Modernism, 1990.

, OJJy's Prison, (London : Methuen Modern Plays, 1993.

T. Et, Intervj-ew and Teaching Notes, 1993.

, Coffee et "Notes on Imaginatiorr, 1995.

, OEU\TRES COMPLETES Chronologie des premières publications

. Pjays, Author's Note : on Vio]-ence" ; Saved ; EarJ-y I"lorning ; The Pope's wedding, Eyre Methuen, vol.1, pp.9-77

. Pjays and . Two, Preface to Lear" ; Lear ; ?he Sea ; Narrow Road to the Deep North ; BJ-ack l"lass

. Passionl and . London, Eyre Methuen, 1978.

. Pjays and . Three, Introduction to Bingo" ; Bingo 1 "fntroduction to The Foof" ; The EoofClare Poems" ; The Woman ; "Poems, Stories and Essays for The WomanAuthor's Note ; Stonel, Four Pieces, 1987.

, PJays : Four I The Wor].ds I "The Activists Papers

, RestorationRestoration Poems and Stories" ; Summer

, Sumner poems, Eyre Methuen, vol.7992

A. Publications and . Bond-chronologrie,

, Three Sjsters (traduction)

, Theatre Poems and Songs, 1978.

, Spring Awakening (traduction), (London : Methuen Theatre cl-assics, 1980.

, Poems 7978-7985, 1987.

, 1,994\ . OETIVRES NON PUBLIEES After the Assassinations

, At the Inl-and Sea

, A Chaste l"laid in Cheapside

, Orpheus

, The White Devil-, (adaptation), p.492

O. St-'r and . Boiid,

S. Christenson, Horst Bond's "Lear" and Shakespeare's "King Leat

^. and I. +. ,

\. and L. ,

, Très précieuse collection de documents

D. E. Donahue and . Bond, Rome : BulzonL 1'919

M. Hay, P. Roberts, and . Bond, Plays, 1980.

, Etude thématique de f'oeuvre

E. Bond, Companion to the Plays, 1978.

K. Herget, Poesje und RevoLution im Werk Edward Bonds : die Lyriker- Viten John Cfares und Matsuo Bashos al-s ProLegomena einer Sozial-istischen Gattunqsutopie

P. E. Hern and . Bond, , 1983.

D. L. Hirst,

E. Bond and . London, , 1985.

, Réflexion sur I'oeuvre intéressante

P. Iden,

E. Bond, , 1973.

L. Lappin, The Art and Pol-itjcs of, 1987.

G. Restivo and . La-nuova-scena-fnglese,

. Poole, The Dynamic Contradiction in SeLected Plays of Edward Bond: a Study in Dramatic Technique, Dissertation Asbstracts International Ann Arbor Michigan, 1987.

P. Prange,

, Die Rezeption der Dramen Edward Bonds im Deutshen Sprashraum, 1984.

. Rios, Charl-otte-Rose VioJ-ence in Contemporary Drama : Antonjn Artaud's Theatre of Cruel-ty and Se-Zected Drama of Genêt, Wifl-iams, Dissertation Abstracts fnternational-Ann Arbor Michigan, p.198

C. L. Shmitt, . Beckett, . Pinter, . Orton, and . Bond, , p.915

. Spencer, Jenny Structure and Pofitics in the Plays of Edward Bond, (Dissertation Abstracts International-Ann Arbor Michigan, r9B2)

, Ql-rrrr{- Tan v Lss! çt PoLitics in Performance : the Production Work of Edward Bond 7973-7990, Dissertation Abstracts international Ann arbor Michigan, vol.1, p.992

E. Suliivan and . Bradsher, The Forged lron : Modes and Counter-luIodes in the PJays of, Dissertation Abstracts International-Ann Arbor Michigan, l-9BB)

W. A. Zeld, E. Bond, T. Stoppard, and S. , Dissertation Abstracts fnternational Ann Arbor Michigan, 1990.

D. Raptophontqi-'e-s-par-ordre-chronologique,

. Scan, BBC Radio4

. Kaleidoscope,

, BBC Broadcast, vol.26

. Mégaphonie-\redward-bond and . Une-dramaturgie-en-boucle, Archives de France Cul-ture

. De-bond, . Cttapitres, . De, . St-'r, and . Boiid, Participation (parfois étonnante) de metteurs en scène et de traducteurs français

S. Attar, Saved The fntruder in I"lodern Drama, Frankfurt : Lang 1891), pp.11-24

D. A. Berger, Kunst.Ierdethronisierung als Dramatishes Prinzip i zûr Aestetik des Gegenwarstheatres in Grossbritannien

G. Aestetik, , pp.209-224, 1985.

P. Bertinetti and . Sans-titre, Teatro Inglese Contemporaneo : Saveli I91 9), pp.1-06

R. A. Cave, The History Plays of Edward Bond, in : New British Drama in Performance on the London Stage: 7970 to 7985, Gerrard Cross : Smythe 798'7), pp.249-302

C. Chambers and M. Prior, Edward Bond : Pessimism of the Intel-lect, Optimism of the Wil-1", in : Playwright's Progress : Patterns of Postwar British Drama, pp.151-169, 1981.

R. Cohn, Lear Come Lately, in : I"Iodern Shakespeare Offshoots, r/Dri nnaf nn, il_f ord : Princeton U. P. I9'7 6), pp.254-266

\. !-!-f-rrvv-uvrr-t-zl, The Fabulous Theatre of Edward Bond, Essays on Contemporary British DramaMunish : Hueber 1981), pp.1-5

, Digging the Greeks : New Versions of OId Classics, pp.41-54, 1994.

, American InterpJay in Recent DramaCambridge : Cambridge U.P, pp.36-51, 1995.

C. Combres, . Pouvoir-et-folie-dans-le-lear-d-'edward, and . Bond, Théâtre et Pol-itiqueToulouse : Toulouse le Mirail U.P. I9B4), pp.149-51

C. Itzin and . Bond, Stages in the RevoLution : PoLitical Theatre in Britain Since J-968, pp.76-88, 1980.

*. Très-bon-chapitre-sur-bond,

A. Jenkins, Edward Bond : A political Education British and Irish Drama Sjnce l-960, pp.103-116, 1993.
DOI : 10.1007/978-1-349-22762-4_8

O. Kerensky and . Bond, in : The New Britjsh Drama, (London : Hamilton 1-9'7'7), pp.18-20

D. Klaic, Un.l-earning Violence : Bond's Lear", in : The Pf of of the Future : Utopia and Distopia in Modern Drama

U. P. Michigan, , pp.104-109

T. Jë and |. Pp-llt, The Artist in Society : Bond, Shakespeare and Bingo, Before his Eyes, pp.57-70, 1986.

R. Ledebur and . Von, The Adaptation and Reception in Germany of Edward Bond's Saved", in : The PJay out of Context : Transferring PJays from Cul-ture to Cul.ture, (NY : Cambridge UP, 1989.

J. R. Maikin, Edward Bond : Sarzed and The Pope's Wedding", in : VerbaL Viol-ence in contemporary Drama : from Handke to Shepard, Carnbridge : Cambridge U.P. 1,992), pp.125-145

U. Mehlin and . Hans,

, Dj-e Behandlung von Liebe Aggression in Shakespeares Romeo and Jul,iet und in Edward Bonds Saved, pp.132-159

E. Mengel, An El-ective Af f inity : Edward Bond's Sprinçr Awakening" , in : On .Fjrst Looking into Arden's Goethe : Adaptations and Transl.ations of Cl.assicaL German Plays for the English Stage, pp.81-103

. Mennenmeier and N. Frantz, Sans titre. in : Das Moderne Drama des AusLandes, Dussel-dorf : Bagel I9'7 6), pp.183-192

. Motte-sherman-de-fa and . Brunehil-de, Edward Bond, an Author with Anarchist Tendencies and Liberal Attj-tudes, British Drama and Theatre from the I4id-Fifties to the I4id-Serzentjes, pp.101-102, 1979.

H. Oppei and . Lear, Das Eng)ishe Drama der Gegerwart : Interpretationen, (Berlin : Shnidt I916), pp.222-238

S. F. Parham, Mytholoqizing, in : To HoJ-d a Mirror up to Na ture : Dramatic fmages and Refl-ections, P. of America, vol.1, pp.98277-90

K. D. Peacock, Edward Bond's Historical-Allegories", in z Radical- Stages : Alternative History in Modern British Drama, 199I), pp.139-151

. Pl-ett and F. Heinrich, Edward Bond's The Woman : Mythos und Geschichte in einer 'socialistische Rhapsodie, Munich : Fink I9B2), pp.359-394

. Rabey and I. Davld, Sans titre. in : British and lrish PoJ-itical-Drama in the XXth Century : ImpJicating the Audience

. Macmi, , pp.101-102, 1986.

, Bref survo] de l-'oeuvre

J. Reinelt, Theorizing Utopia:, Iowa City, pp.1-991
DOI : 10.2307/j.ctt20h6tv1.16

, Edward Bond : Parables for our Times, After Brecht : British Epic Theatre, pp.49-80

P. Roberts and E. Bond, Barcelona : Laia 1983), pp.61-80

, Edward Bond's Seved", in : The Royal Court Theatre 1-965- 7972, pp.29-43, 1986.

, Chronol-ogie très détaiIlée

, Edward Bond's Summer : a Voice f rom the Working-Class ,' Essays from Modern Drama, Contemporary Britjsh Drama 7970-1990, 1993.

E. H. Winkler, Men run Camps of Mass Murder and Sing Carols : the Rational Theatre of Edward Bond", in : The Function of Songs in Contemporary British Drama, Newmark : Delaware U.P, pp.131-201, 1990.

K. Worth and . Bond, Essays on Contemporary British DramaMunich : Hueber 1981), pp.205-222

. Sans-titre, Rerzo-lutions in Modern DramaBond's Restoration ; Essays from l4odern Drama, BelI) Contemporary British Drama, pp.16-187, 1993.

W. Worthen, . Pinter, and B. Shepard, Empty Spaces and the Power of Privacy, Modern Drama and the Rhetoric of Theatre, pp.1-98, 1992.

D. De, C. Des, . Et, and . Preiviieres, The Pope's Wedding. Composition : 1961,-1,962, Première : Royal Court Theatre, p.9, 1962.

. Saved, Compositj-on : 1964, Première : Royal Court Theatre (Londres), vol.03, issue.11, 1965.

, A Chaste l4aid in Cheapside, Composition, 1965.

, Première : Royal Court Theatre (Londres), vol.13, issue.0I, 1966.

, Composition : 1,966, Three Sjsters, p.966

, Iornlng Composition : 19 65-1,961, Première : Royal Court Theatre 3I/03, 1968.

, Narrow Road to the Deep North. Composition, 1968.

. Première-belgrade-theatre, , 1968.

. Bl-ack-luflass, Composition : I9'70, Première : Lyceum Theatre, vol.22, issue.031, p.970

. Passion, Composition : I91I. Première : Al-exandra Park Racecourse, p.7917

. Lear, Composition : 1969-791I, Première : Royal Court Theatre (Londres), vol.29, issue.09, p.7917

, The Sea. Composition : 1.91I-L912. Première : Royal Court Theatre, p.913

. Bingo, Composition : I973. Première : Northcott Theatre, I4/II

S. Awakening, Composition : I974. Première : National Theatre ( Londres, pp.91-131

T. Fooj and -. , Composition : 1974. Première : Royal Court Theatre, LB / II / 1, p.915

. Stone, Composition : 1,916 Première : Institute of Contemporary Arts, p.916

, We Come to the River. Composition : 19'72-79'14

. Première, Royal Opera House (Londres)r f2, p.916

. The-white-devif, Composition : L976. Première : Old Vic Theatre, pp.72-73

!. Aaamerica, Composition z 19'76. Première : A.lmost Free Theatre (Londres)

, The Swing : 22/11, 1916.

, Composition : 19'71 . Première : The ldarehouse (Londres), p.918

, Composition : I9'74-1'971 . Première : National Theatre (Londres) r 10, p.918

, Composition : 1,9'71-1,979. Première : Newcastl-e Playhouse, p.919

. Orpheus, Composltion : L91'7-I978, Première : Stuttgart Ballet Company

, Restoration Composition : L9'79-1980, 2I/ 07

. Summer, Composition : 1980-1981, Première : National Theatre, vol.217982, issue.07

D. , Composition : L982. Première : The Other Pl-ace ( Strat ford-upon-Avon, p.7982

, After the Assassjnations. Composition : inconnue

, The Cat. Composition : I919. Première : Schwetzinger Festpiele, Wùrttembergische Staatsoper, issue.06, p.2, 1983.

T. War and P. , Composition : 1984-1984 Première de la trilogie complète

. Jackets, Composition : inconnue. Première : Department of Theatre Studies, p.989

. Septernber, Composition : inconnue. Première : Canterbury Cathedral (Canterbury, pp.9-9

, Jn the Company of Men. Composition : inconnue

T. , Composition : inconnue. Première : téIédiffusion par BBC Education, pp.3-7993

. Ojjy-'s-prjson, Composition : inconnue. Première : télédiffusion par BBC TV, 1993.

. Coffee, Composition : inconnue. Première : Soar Ffrwdamos Community Theatre, 1996.

. Aaamerica, appropriation, 397 arL, pp.478-316

. At, . Sea, and . Bj, , pp.322-313

. Boite-de-conserve, II, vol.221, issue.482, pp.320-324

, classe ouvrière, p.372

, Commentary on the War PJays, pp.77-95

D. , 436, dévoilement' LB3-198, 345' 349 dialectigu?, 7I, 7L6' LI7 ' l-l-8, r24, pp.1-64, 1976.

E. Morning, , pp.418-248, 1975.

, In the Company of Men, vol.88, p.444

. Lear, , pp.484-485

7. Lutte-des-classes and . Bj, , 1974.

. Machiavel, , p.254

. Mort, , pp.369-372

, {r Narrow Road to the Deep North, pp.3-3, 2013.

, Notes on Imagination 9B Notes on Post-Modernism, vol.18, pp.77-8277

. Ojly-'s-prison and . Bb, , pp.436-467

. Orpheus, , pp.352-374

P. Post-iniodern, BJ, vol.7118, issue.235, pp.61-413, 1973.

B. Red, , pp.3-4

, Restoration, vol.66404564, issue.3, pp.61-109, 0131.

S. Summer, socia.l-isme, pp.476-480

T. and T. , , pp.71-256

, The Sea, pp.403-404

, The Swing, pp.452-458

, The Tin Can People The Vlar PJays, pp.7-300

T. Tuesday, , pp.6-63

, We Come to the River, pp.313-347, 1975.