BOOKS

Garde, Ulrike & Meg Mumford, Theatre of Real People: Diverse Encounters from Berlin's Hebbel am Ufer and Beyond (London: Bloomsbury, 2016).

Birgfeld, Johannes, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015).

Mumford, Meg, Bertolt Brecht (London and New York: Routledge, 2009). [Included in Choice magazine's list of Outstanding Academic Titles for 2009. Revised edition re-issued 2018.]

ARTICLES 

Mumford, Meg & Ulrike Garde, 'Staging Real People: On the Arts and Effects of Non-Professional Theatre Performers', Performance Paradigm, 11 (2015): 5-15, http://www.performanceparadigm.net/index.php/journal/article/view/167

‘Rimini Protokoll's Reality Theatre and Intercultural Encounter: Towards an Ethical Art of Partial Proximity’, Contemporary Theatre Review, 23.3 (2013): 153-65. 

‘Pina Bausch Choreographs Blaubart: A Transgressive or Regressive Act?’, German Life and Letters, LVII, 1 (2004): 44-57.

‘Barthes on Brecht’s Tableau: Fetish meets Flux’, Communications from the International Brecht Society, 32 (June 2003): 42-7.

Mumford, Meg & Alison Phipps, ‘Translating the Strange, Performing the Peculiar: Marieluise Fleißer's Fegefeuer in Ingolstadt’, Studies in Theatre and Performance, 22, 2 (2002): 69-81.

‘Gestic Masks in Brecht’s Theatre: A Testimony to the Contradictions and Parameters of a Realist Aesthetic’, The Brecht Yearbook, 26 (2001): 143-71.

‘Brecht on Acting for the 21st Century: Interrogating and Re-Inscribing the Fixed’, Communications from the International Brecht Society, 29, 1 & 2 (June 2000): 44-9.

‘Brecht Studies Stanislavski: Just a Tactical Move?’, New Theatre Quarterly, 11, 43 (1995): 241-58.

CHAPTERS 

Gibson, Janet and Meg Mumford, 'Care Aesthetics and TimeSlips Storytelling in Dialogue: Facilitating More Equitable Sensory Artistry within a Dementia Unit', in Kate Maguire-Rosier, Réka Polonyi and James Thompson (eds), Care Aesthetics and the Arts (Routledge, c. 2024), manuscript under review. 

Mumford, Meg, ‘Valentin, Brecht and Comical Inelasticity: Ridiculing Rigidity as an Impediment to Change’, in Josephine Gray and Lisa Trahair (eds), Second Nature: Comic Performance and Philosophy (London: Rowman and Littlefield, 2023), pp. 89-112.

Mumford, Meg, ‘Models for Epic Theatre from the Munich Years: Wedekind and Valentin’, in Stephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge: C.U.P., 2021), pp. 26-33.

Meg Mumford, ‘Getting the Gist of Gestus’, in David Barnett (ed.), Bertolt Brecht: Critical and Primary Sources, vol. 2 (London: Bloomsbury, 2020).

Mumford, Meg, "Brecht's Perspectives, Then and Now: Class, Gender and the Social Stakes of Performance", in David Barnett (ed.), The Great Stage Directors, vol. 2 (Meyerhold, Piscator, Brecht) (London: Bloomsbury Methuen Drama,  2018).

Mumford, Meg, '100% City and Popular Factual Television: A New Game Plan for Managing Proximity to People?', in Johannes Birgfeld, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. 278-301.

Birgfeld, Johannes, Ulrike Garde & Meg Mumford, 'Introduction: Diverse and Close-Up Navigations of Rimini Protokoll's Theatre', in Johannes Birgfeld, Ulrike Garde & Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. ix-xxv.

Mumford, Meg, 'Toward Transculturality in Reality Theatre from Berlin and Sydney: A Study of the Nomad in Rimini Protokoll's Cargo Sofia-X and the "Spiritual Medium" in Fast Cars and Tractor Engines by Urban Theatre Projects', in Alan Corkhill and Alison Lewis (eds), Intercultural Encounters in German Studies (St. Ingbert: Röhrig, 2014), pp. 181-196.

Garde, Ulrike & Meg Mumford, ‘Postdramatic Reality Theatre and Productive Insecurity: Destabilising Encounters with the Unfamiliar in Theatre from Sydney and Berlin’, in Jerome Carroll, Steve Giles and Karen Jürs-Munby (eds), Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance (London: Bloomsbury (Methuen Drama), 2013), pp. 157-64.

‘Fluid Collectives of Friendly Strangers: The Creative Politics of Difference in the Reality Theatre of Rimini Protokoll and Urban Theatre Projects’, in Gerhard Fischer & Florian Vaßen (eds), Collective Creativity: Collaborative Work in the Sciences, Literature and the Arts (Amsterdam & New York: Rodopi, 2010), pp. 329-43.

‘Aftershocks: Voices from a Shaken Community', in Paul Brown (ed.), Verbatim: Staging Memory and Community (Currency Press: Sydney, 2010), pp. 37-48. 

Wake, Caroline, Meg Mumford & Ulrike Garde, ‘A Short History of Verbatim Theatre', in Paul Brown (ed.), Verbatim: Staging Memory and Community (Currency Press: Sydney, 2010), pp. 9-17.

Mumford, Meg & Alison Phipps, ‘Encountering Stories from Contemporary German Theatre’, Contemporary German Cultural Studies (London: Arnold, 2002), pp. 219-40. 

“Dragging” Brecht’s Gestus Onwards: A Feminist Challenge’, in Steve Giles and Rodney Livingstone (eds), Bertolt Brecht: Centenary Essays (Amsterdam: Rodopi, 1998), pp. 240-57.

OTHER PUBLICATIONS 

Panel Discussion Transcripts

Mumford, Meg & John Severn (eds.), 'Putting Real People on Stage: Helgard Haug (Rimini Protokoll) in Conversation with Australian Practitioners and Academics', Performance Paradigm, 11 (2015): 101-15, http://www.performanceparadigm.net/index.php/journal/article/view/165

Mumford, Meg (ed.), panel discussion transcript, 'Panel Discussion 100% Melbourne: Contemporary Documentary Performance that Puts "Real Melbournians" on the Stage', in Johannes Birgfeld, Ulrike Garde and Meg Mumford (eds), Rimini Protokoll Close-Up: Lektüren (Hannover: Wehrhahn, 2015), pp. 302-17.

Conference Publication

‘Polykulturelle Akteure im “Reality Theater” von Rimini Protokoll und Urban Theatre Projects', in Ortrud Gutjahr, Deniz Göktürk, Alexander Honold (eds), Interkulturalität als Herausforderung und Forschungsparadigma der Literatur- und Medienwissenschaft, section 21 in Franciszek Grucza (ed.), Akten des XII. internationalen Germanistenkongresses Warschau 2010. Vielheit und Einheit der Germanistik weltweit, vol. 12 (Frankfurt am Main et al.: Peter Lang, 2012), pp. 191-5.    

Entries on ‘agitprop’, ‘bourgeois theatre’, ‘illusionism’, and ‘Verfremdung’, in Dennis Kennedy (ed.), The Oxford Encyclopedia of Theatre and Performance, vols. 1 & 2 (Oxford: O.U.P., 2003).

PERFORMANCE REVIEWS

Mumford, Meg, film review of The Threepenny Opera, director Georg Wilhelm Pabst, Nero-Film/ Tobis /Warner Bros., 1931, in Michelle Langford (ed.), Directory of World Cinema: Germany 2 (Bristol: Intellect, 2013), pp. 210-12.

Garde, Ulrike & Meg Mumford, ‘Rimini Protokoll Presents “Real” Experts: 100% Melbourne and Radio Muezzin’, Kultur, Magazine of the Goethe-Institut in Australia, 23 (2012): 16-17.  See also: http://issuu.com/goetheaustralia/docs/gi_kultur23_sep12/1 [accessed September 2012]

Garde, Ulrike & Meg Mumford, performance review of Radio Muezzin, by Rimini Protokoll, Everest Theatre, Sydney Festival, January 2012, in ‘Experts of the Everyday: Rimini Protokoll’, RealTime, 108 (2012): 26.  See also: http://www.realtimearts.net/article/108/10617 [accessed May 2012]

Aurin, Andreas & Meg Mumford, performance review of Baal, director Simon Stone, a co-production of Sydney Theatre Company and Malthouse Melbourne, Wharf 1, Sydney Theatre Company, May 2011, in Communications from the International Brecht Society, 40 (2011): 58-62.  

BOOK REVIEWS 

Insecurity: Perils and Products of Theatres of the Real. By Jenn Stephenson (Toronto, Buffalo and London: University of Toronto Press, 2019). In Theatre Research in Canada, 42, 2 (2021): 320-322.

Contemporary Theatres in Europe: A Critical Companion. Edited by Joe Kelleher and Nicholas Ridout (London & New York: Routledge, 2006). Review in http://performanceparadigm.net/journal/issue-4/bookreviews/ [Issue 4, 2008]

Women and German Drama: Playwrights and Their Texts, 1860-194. By Sarah Colvin (Rochester, NY: Camden House, 2003). Review in Theatre Research International, (Summer 2005).

Brecht Sourcebook. Edited by Carol Martin & Henry Bial. London & New York: Routledge, 2000. Review in Theatre Research International (Autumn, 2000).

Schauspielerinnen im Europa des 18. Jahrhunderts: Ihr Leben, Ihre Schriften und Ihr Publikum. By Ruth Emde (Amsterdam-Atlanta: Rodopi, 1997).  In Theatre Research International (Summer, 2000).

German Expressionist Theatre: The Actor and the Stage. By David F. Kuhns (Cambridge: Cambridge University Press, 1997). Review in Theatre Research International (Autumn, 1998).

German Theatre: A Bibliography from the Beginning to 1995. By Michael Patterson (Leicester: Motley Press, 1996). Review in Theatre Research International (Winter, 1997).

The Shocking Ballad Picture Show. By Tom Cheesman (Oxford: Berg Publishers, 1994).  Review in Theatre Research International (Autumn, 1997).

TRANSLATION

Dr Barbara Panse, ‘Censorship in Nazi Germany: The Influence of the Reich’s Ministry of Propaganda on German Theatre and Drama, 1933-45’ in Günter Berghaus (ed.), Fascism and Theatre: Comparative Studies on the Aesthetics and Politics of Performance in Europe 1925-1945 (Providence US and Oxford UK: Berghahn Books, 1996), pp. 140-56.