@article{shepherd-barr_2003, title={From Copenhagen to infinity and beyond: science meets literature on stage}, volume={28}, ISSN={["0308-0188"]}, DOI={10.1179/030801803225005229}, abstractNote={Abstract Works like Copenhagen and After Darwin have shownthat 'science plays' can be an especially successful and powerful meeting point of literature and science. Here, we continue the exploration of science and theatre offered in last year's special issue of ISR on science and theatre, by looking at science plays from both a literary and a theatrical perspective. What is it that makes them work as theatre?In many science plays, form and content merge to convey the ideas in a highly theatrical way that reflects the scientific substance and themes. As analysis of specific textual examples shows, this interdependence of formal and thematic properties has become one of the hallmarks of the contemporary genre of science plays, along with their often provocative and innovative challenges to stage realism.}, number={3}, journal={INTERDISCIPLINARY SCIENCE REVIEWS}, author={Shepherd-Barr, K}, year={2003}, month={Sep}, pages={193–199} }
 @article{shepherd-barr_2003, title={Reconsidering Joyce's 'Exiles' in its theatrical context}, volume={28}, ISSN={["1474-0672"]}, DOI={10.1017/S0307883303001044}, abstractNote={James Joyce's one extant play, Exiles, has never been held in great critical esteem. But rather than viewing it as an aberration in the Joyce canon, a fairer reading of the play takes into consideration the play's own theatrical context: what contemporary dramatists were doing both in print and on stage, what evidence there is of Joyce's own theatrical interests and what models he may have used in his own playwriting. The conclusion is that Joyce, surprisingly, wrote neither a ‘bad’ Edwardian play nor a slavishly Ibsenist one, but a pastiche of Victorian and Symbolist drama that roots the play firmly in the theatrical currents of the 1890s. In addition, Harold Pinter's landmark productions of the play in 1970 and 1971 revealed affinities with postmodernist drama, so that the play looks forward as well as back – it is simply not of its own time. If Exiles seems out of step with the developments of modernism, that is largely because it takes its inspiration from the European experimental theatre of the fin de siécle – not from the theatrical world of the Dadaists, Joyce's contemporaries. While this realization may not rehabilitate Exiles into the modernist canon or indeed the theatrical one, looking at the play's context and history raises key questions about the role of theatre and performance in the historiography of modernism.}, number={2}, journal={THEATRE RESEARCH INTERNATIONAL}, author={Shepherd-Barr, K}, year={2003}, month={Jul}, pages={169–180} }
 @misc{shepherd-barr_2003, title={Stoppard's theater: Finding order amid chaos}, volume={46}, number={1}, journal={Modern Drama}, author={Shepherd-Barr, K.}, year={2003}, pages={130–133} }
 @misc{shepherd-barr_2003, title={The  Cambridge companion to Tom Stoppard}, volume={46}, number={1}, journal={Modern Drama}, author={Shepherd-Barr, K.}, year={2003}, pages={130–133} }
 @misc{shepherd-barr_2002, title={Commissioned review on the book on Strindberg.  Egil Tornqvist, Strindberg?s The ghost sonata:  from text to performance}, volume={27}, number={1}, journal={Theatre Research International}, author={Shepherd-Barr, K.}, year={2002}, pages={101–102} }
 @misc{shepherd-barr_2002, title={Letter to the the editor}, volume={27}, number={4}, journal={Interdisciplinary Science Reviews}, author={Shepherd-Barr, K.}, year={2002}, pages={250} }
 @article{lustig_shepherd-barr_2002, title={Science as theater - From physics to biology, science is offering playwrights innovative ways of exploring the intersections of science, history, art and modern life}, volume={90}, number={6}, journal={American Scientist}, author={Lustig, H. and Shepherd-Barr, K.}, year={2002}, pages={550–555} }
 @misc{shepherd-barr_2002, title={Strindberg's The 'Ghost Sonata': From text to performance}, volume={27}, number={1}, journal={Theatre Research International}, author={Shepherd-Barr, K.}, year={2002}, pages={101–102} }
 @misc{shepherd-barr_2001, title={Commissioned review on the book on Strindberg.  Hans-Goran Ekman, Strindberg and the five senses}, volume={26}, number={3}, journal={Theatre Research International}, author={Shepherd-Barr, K.}, year={2001}, pages={299–300} }
 @misc{shepherd-barr_2001, title={Strindberg and the 5 senses}, volume={26}, number={3}, journal={Theatre Research International}, author={Shepherd-Barr, K.}, year={2001}, pages={299–300} }
 @misc{shepherd-barr_2000, title={Ibsen, Strindberg and the intimate theatre: Studies in television presentation}, volume={25}, number={1}, journal={Theatre Research International}, author={Shepherd-Barr, K.}, year={2000}, pages={91} }
 @article{shepherd-baer_1999, title={'Mise-en-scent': The Theatre-d'Art's 'Cantique des Cantiques' and the use of smell as a theatrical device}, volume={24}, ISSN={["0307-8833"]}, DOI={10.1017/S0307883300020770}, abstractNote={In December 1891, an adaptation by Paul-Napoléon Roinard of the Old Testament text of the Cantique des cantiques (Song of Songs) of Solomon was performed at the recently created Théâtre d'Art, expressly to present a new idea of theatre as total art by engaging the visual, aural, and olfactory senses of the audience. One of the few theatre historians who has mentioned this remarkable endeavour notes that in it,‘music, words, colour, even perfume, were to be harmonized; all the senses were to be involved, simultaneously, in the one overwhelming experience’. Roinard's synaesthetic experiment drew on a range of sources including Baudelaire, Wagner and Rimbaud, and, most strikingly, featured scents pumped into the auditorium on cue by young symbolist poets stationed in the far edges of the proscenium and in the balcony and using hand-held vaporizers. According to the outline Roinard provided in the programme, nine scents were used: frankincense, white violets, hyacinth, lilies, acacia, lily of the valley, syringa, orange blossom, and jasmine. Each of these odours had corresponding orchestrations of speech (specific vowel sounds), tones (original music composed by Mme Flamen de Labrély), and colours.}, number={2}, journal={THEATRE RESEARCH INTERNATIONAL}, author={Shepherd-Baer, K}, year={1999}, pages={152–159} }
 @misc{shepherd-barr_1998, title={The mottled screen: Reading proust visually.}, volume={6}, number={3}, journal={Configurations}, author={Shepherd-Barr, K.}, year={1998}, pages={397–399} }
 @book{shepherd-barr_1997, title={Ibsen and early modernist theatre, 1890-1900}, ISBN={0313304106}, publisher={Westport, Conn.: Greenwood Press}, author={Shepherd-Barr, K.}, year={1997} }