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A History of Scottish Theatre, szerk. Bill FINDLAY, Polygon, Edinburgh, 1998.
A jövő városi színháza, ford. KRICSFALUSI Beatrix, Szinhaz.net 2018. december 28. https://szinhaz.net/2018/12/28/a-jovo-varosi-szinhaza (Hozzáférés: 2023. november 2.)
A Theatre that Matters. Twentieth-Century Scottish Drama and Theatre, szerk. Valentina POGGI – Margaret ROSE, Edizioni Unicopli, Bologna, 2000.
Benedict ANDERSON, Imagined Communities. Reflections on the Origin and Spread of Nationalism, Verso, London, 1991.
Rustom BHARUCHA, The Politics of Cultural Practice. Thinking Through Theatre in an Age of Globalization, Athlone, London, 2000.
BOROS Kinga, Valósággyakorlatok, Játéktér.ro 2020. február 11. https://jatekter.ro/boros-kinga-valosaggyakorlatok (Hozzáférés: 2023. november 2.)
BOROSS Martin, Megjegyzések a Genti Manifesztum kapcsán, Szinhaz.net 2018. december 28. https://szinhaz.net/2018/12/28/boross-martin-megjegyzesek-a-genti-manifesztum-kapcsan (Hozzáférés: 2023. november 2.)
Alasdair CAMERON, Experimental Theatre in Scotland = Contemporary Experimental Theatre, szerk. Theodore SHANK, Frankfurt, 1999, 123–138. DOI: 10.1007/978-1-349-23078-5_9
Nick DAVIES, A Look Back at a Decade in Welsh Theatre, Wales Arts Review 2019. december 17. https://www.walesartsreview.org/a-look-back-at-a-decade-in-welsh-theatre (Hozzáférés: 2023. november 2.)
Tim EDENSOR, National Identity, Popular Culture, and Everyday Life, Berg, Oxford – New York, 2002.
Kate EMSLIE, National Theatre? Kids’ Stuff, Evening News 2006. február 23.
Mark ESPINER, Breaking out of the Box, The Guardian 2006. február 23. https://www.theguardian.com/stage/2006/feb/23/theatre3/ (Hozzáférés: 2023. november 2.)
Vicky FEATHERSTONE, Dream Theatre Becomes Reality, Scotland on Sunday 2006. február 19.
Patricia GABORIK, Italy: The Fancy of a National Theatre? = National Theatre in a Changing Europe, szerk. S. E. WILMER, Palgrave Macmillan, London, 2008, 138–150. DOI: 10.1057/9780230582910_12
Lyn GARDNER, The Passion – review, The Guardian 2011. április 24. https://www.theguardian.com/stage/2011/apr/24/the-passion-port-talbot-review/ (Hozzáférés: 2023. november 2.)
Christine HAMILTON – Adrienne SCULLION, „Picture It If Yous Will”. Theatre and Theatregoing in Rural Scotland, New Theatre Quarterly 2005/1., 61–76. DOI: 10.1017/S0266464X0400034X 
Jen HARVIE, Staging the UK, Manchester University Press, Manchester – New York, 2005.
IMRE Zoltán, A nemzet színpadra állításai. A magyar nemzetiszínház-elképzelés változásának főbb momentumai 1837-től napjainkig, Ráció, Budapest, 2013.
IMRE Zoltán, Kommentár „A jövő városi színháza” című manifesztumhoz, Szinhaz.net 2018. december 28. https://szinhaz.net/2018/12/28/imre-zoltan-kommentar-a-jovo-varosi-szinhaza-cimu-manifesztumhoz (Hozzáférés: 2023. november 2.)
Thomas IRMER, Aspects of National Theatres in Germany after 1945 = National Theatre in a Changing Europe, szerk. S. E. WILMER, Palgrave Macmillan, London, 2008, 173–179. DOI: 10.1057/9780230582910_15  
Anwen JONES, National Theatres in Context: France, Germany, England and Wales, University of Wales Press, Cardiff, 2007.
Dragan KLAIČ, National Theatres Undermined by the Withering of the Nation State = National Theatre in a Changing Europe, szerk. S. E. WILMER, Palgrave Macmillan, London, 2008, 217–227. DOI: 10.1057/9780230582910_20  
Loren KRUGER, The National Stage. Theatre and Cultural Legitimation in England, France, and America, University of Chicago Press, Chicago–London, 1992.
Robert LEACH, The Short, Astonishing History of the National Theatre of Scotland, New Theatre Quarterly, 2007/2., 171–183. DOI: 10.1017/S0266464X07000073
David MCCRONE, Understanding Scotland: the Sociology of a Nation, Routledge, London – New York, 2001.
Joyce MCMILLAN, For One Weekend, All the World’s a Stage – Or All the Country, at Least, The Scotsman 2006. február 27.
Orestes in Mosul – Oedipus in Ghent, Lost Dramaturgin International 2019. április 21. https://lostdramaturgininternational.wordpress.com/2019/04/21/orestes-in-mosul-oedipus-in-ghent (Hozzáférés: 2023. november 2.)
Frank PEETERS, Creating and Dismantling the National Theatre in Divided Belgium = National Theatre in a Changing Europe, szerk. S. E. WILMER, Palgrave Macmillan, London, 2008, 111–118. DOI: 10.1057/9780230582910_10
PÓTH István, A magyar népszínmű a szerb színpadon, Akadémiai, Budapest, 1981.
Milo RAU, Orestes in Mosul, NTGent, Gent, 2019.
Milo RAU – Stefan BLÄSKE – Steven HEENE – Natalie DE BOELPAEP, The City Theatre of the Future – Ghent Manifesto, 2018. http://international-institute.de/en/the-city-theatre-of-the-future-ghent-manifesto (Hozzáférés: 2023. november 3.)
Janelle REINELT, The Role of National Theatres in an Age of Globalization = National Theatre in a Changing Europe, szerk. S. E. WILMER, Palgrave Macmillan, London, 2008, 228–238. DOI: 10.1057/9780230582910_21
Jens ROSELT, Rimini Protokoll and Bürgerbühne Theatre: Institutions, Challenges and Continuities, Performance Paradigm 2015/11., 76–87.
Alissa J. RUBIN, Can a Greek Tragedy Help Heal a Scarred City?, The New York Times 2019. április 17. https://www.nytimes.com/2019/04/17/theater/orestes-in-mosul-milo-rau.html (Hozzáférés: 2023. november 2.)
Roger SAVAGE, A Scottish National Theatre? = Scottish Theatre since the Seventies, szerk. Randall STEVENSON – Gavin WALLACE, Edinburgh University Press, Edinburgh, 1996, 23–34. DOI: 10.1515/9781474472869-003
Scottish Theatre since the Seventies, szerk. Randall STEVENSON – Gavin WALLACE, Edinburgh University Press, Edinburgh, 1996.
Kirsty SEDGMAN, Ladies and Gentlemen Follow Me, Please Put On Your Beards. Risk, Rules, and Audience Reception in National Theatre Wales, Contemporary Theatre Review 2017/2., 158–176. DOI: 10.1080/10486801.2017.1300153
Paula ŚLEDZIŃSKA, Revisiting the Other. National Theatre of Scotland and the Mythologization of the Highlands and Islands, The Canadian Journal of Irish Studies 2015/1., 118–141.
Anthony D. SMITH, Nationalism. Theory, Ideology, History, Polity, London, 2001.
Theatre, History, and National Identities, szerk. Helka MÄKINEN – S. E. WILMER – William B. WORTHEN, Helsinki University Press, Helsinki, 2001.
Miriam TSCHOLL, Die Bürgerbühne. Beschreibung eines Modells = Die Bürgerbühne. Das Dresdner Modell. szerk. Hajo KURZENBERGER – Miriam TSCHOLL, Alexander, Berlin, 2014, 11–21.
Fiona WILKIE, Site-specific Performance and the Mobility Turn, Contemporary Theatre Review 2012/2., 203–212. DOI: 10.1080/10486801.2012.666738
Writing and Rewriting National Theatre Histories, szerk. S. E. WILMER, University of Iowa Press, Iowa City, 2008.