Aronson, A. (1975) “Sakonnet Point,” The Drama Review, 19: 4, 27–35.
_______ (1985) “The Wooster Group’s L.S.D. (…Just the High Points…),” The Drama Review, 29: 2, 65–77.
_______ (2000) American Avant-garde Theatre: a history, London: Routledge.
Auslander, P. (1987) “Toward a Concept of the Political in Postmodern Theatre,” Theatre Journal, 39: 1, 20–34.
_______ (1992) Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance, Ann Arbor: University of Michigan Press.
Bell, P. (2005) “Fixing the TV: Televisual Geography in The Wooster Group’s ‘Brace Up!’,” Modern Drama, 48: 3, 565–584.
Bierman, J. (1979) “Three Places in Rhode Island,” The Drama Review, 23: 1, 13–30.
Bottoms, S. (2004) “Wooster Group Poor Theater, a Series of Simulacra,” Theatre Journal, 56: 4, 693–695.
Callens, J. (ed.) (2004) The Wooster Group and Its Traditions, Brussels, Belgium: P.I.E.–Peter Lang.
Champagne, L. (1981) “Always Starting New: Elizabeth LeCompte,” The Drama Review, 25: 3, 19–28.
Coco, W. (1982) “Wooster-Group Route 1 and 9 (the Last Act),” Theatre Journal, 34: 2, 249–251.
Dunkelberg, K. (2005) “The Wooster Group’s Poor Theater”, The Drama Review, 49:3, 43–57.
Etchells, T. (1999) “Replaying the Tapes of the Twentieth Century: An Interview with Ron Vawter” in T. Etchells Certain Fragments: Contemporary Performance and Forced Entertainment, London: Routledge, pp. 84–93.
Euridice, A. (1992) “Island Hopping: Rehearsing The Wooster Group’s Brace Up!” The Drama Review, 36: 4,121–142.
Foreman, R. and LeCompte, E. (1999) “Off-Broadway’s Most Inventive Directors Talk About Their Art” in G. Rabkin (ed.) Richard Foreman, Baltimore, MD: John Hopkins University Press, pp. 133–142.
Goldberg, R. (1998) Performance—Live Art Since 1960, London: Thames and Hudson.
Gray, S. (1978) “Playwright’s Notes,” Performing Arts Journal, 3: 2, 87–91.
_______ (1979) “Perpetual Saturdays,” Performing Arts Journal, 4: 1, 46–49.
_______ (1979) “About Three Places in Rhode Island,” The Drama Review, 23: 1, 31–42.
_______ (1980) “Children of Paradise: Working with Kids,” Performing Arts Journal, 5: 1, 61–74.
Gray, S. and LeCompte, E. (1978) “Rumstick Road,” Performing Arts Journal, 3: 2, 92–115.
LeCompte, E. (1978) “An Introduction,” Performing Arts Journal, 3: 2, 81–86.
_______ (1979) “Who Owns History?” Performing Arts Journal, 4: 1, 50–53.
_______ (1985) “The Wooster Group Dances: From the Notebooks of Elizabeth LeCompte,” The Drama Review, 29: 2, 78–93.
Lawson, T. (2005) “Not a Condition but a Process,” Afterall, 11: 27-34.
Leverett, J. (1982) “The Wooster Group’s ‘Mean Theatre’ Sparks a Hot Debate,” Theatre Communications, July/August: 16–20.
Marranca, B. (2003) “The Wooster Group: A Dictionary of Ideas” Performing Arts Journal, 25: 2, 1-18.
Mee, S. (1992) “Chekhov’s Three Sisters and The Wooster Group”s Brace Up!,” The Drama Review, 36: 4, 143–153.
Philbrick, J. (2005) “Devotion and Betrayal: Air Time/Hang Time in the Passion of Wooster,” Afterall, 11: 19–25.
Quick, A. (2007) The Wooster Group Work Book, New York/London: Routledge.
Savran, D. (1988) Breaking the Rules: The Wooster Group, New York: Theatre Communications Group.
_______ (1985) “The Wooster Group, Arthur Miller and The Crucible,” The Drama Review, 29: 2, 99–109.
_______ (1987) “Adaptation as Clairvoyance: The Wooster Group’s Saint Antony,” Theater, 18: 1, 36– 41.
_______ (2005) “The Death of the Avantgarde,” The Drama Review, 49: 3, 10-42.
Schechner, R. (1982) The End of Humanism: Writings on Performance, New York: Performing Arts Journal Publications.
Schechner, R. and Vawter, R. (1993) “Ron Vawter: For the Record: An Interview,” The Drama Review, 37: 3, 17–41.
Schmidt, P. (1992) “The Sounds of Brace Up! And the Wooster Group’s Staging of Three Sisters: Translating the Music of Chekhov,” The Drama Review, 36: 4, 154–157.
The Wooster Group (1996) “Frank Dell’s The Temptation of St. Antony” in B. Marranca (ed.) Plays for the End of the Century, Baltimore, MD: John Hopkins University Press, pp. 261–314.
________ (1981) “Route 1&9 (The Last Act),” Benzene, No. 5/6
________ (1981) “Point Judith (an epilog),” Zone 7, Spring/Summer
