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Flather, Horace 1930. South African drama. The Mime, 3(2):2-3.
Fleishman, Mark 1990. Workshop theatre as oppositional form. South African Theatre Journal, 4(1):88-118.
Fleishman, Mark 1991. Workshop theatre in South Africa in the 1980s: a critical examination with specific reference to power, orality and the carnivalesque. Unpublished master’s thesis. Cape Town: University of Cape Town.
Fleishman, Mark 1996. Physical images in the South African theatre, in Davis, Geoffrey V. & Fuchs, Anne (eds.). Theatre and Change in South Africa. Amsterdam: Harwood Academic Publishing. 173-182.
Fleishman, Mark 1997 Physical images in the South African theatre. South African Theatre Journal, 11(1&2):199-214.
Fleishman, Mark 1998. Making People’s Theatre, by Robert Mshengu Kavanagh. Reviewed in: South African Theatre Journal, 12(1&2):253-256.
Fleishman, Mark 2001. Unspeaking the centre, in Kriger, Robert & Zegeye, Abebe (eds.). Culture in The New South Africa: After Apartheid. Vol.2. Cape Town: Kwela Books. 91-115.
Fleishman, Mark & Davids, Nadia 2007. Moving theatre: of the place of theatre in the process of memorializing District Six through an examination of Magnet Theatre’s production Onnest’bo. South African Theatre Journal, 21:149-165.
Fleishman, Mark 2005. 'Stories like the wind': recontextualising /Xam narratives for contemporary audiences. South African Theatre Journal, 19:43-57.
Fleishman, Mark 2009. Knowing performance: performance as knowledge paradigm for Africa. South African Theatre Journal, 23:116-136.
Fleishman, Mark 2011. Cargo: staging slavery at the Cape. Contemporary Theatre Review, 21(1):8-19.
Fleishman, Mark (Ed.) 2015. Performing Migrancy and Mobility in Africa. Cape of Flows (Series: “Studies in International Performance” edited by Janelle Reinelt and Brian Singleton). London: Palgrave Macmillan.
Fletcher, D. 1976. Etienne Rousseau Theatre. South African Builder. 55(1):14-15. January.
Fletcher, Jill 1990. Puppetry, A Guide for Beginners, by Marie Kruger. Reviewed in: South African Theatre Journal, 4(2):114.
Fletcher, Jill 1994. The Story of Theatre in South Africa: A Guide to its History from 1780-1930. Cape Town: Vlaeberg. (This is the official title, but the dust jacket of the original edition bears a different title: The Story of South African Theatre: A Guide to its History from 1780-1930. Both titles are cited by sources.)
Flockemann, Miki 1991. Gcina Mhlope’s Have You Seen Zandile? English or english? The situation of drama in literature and language departments in the emergent post-Apartheid South Africa. South African Theatre Journal, 5(2):40-54.
Flockemann, Miki 1992. The State of South African Drama up to February 1990: the case of an(other) drama. Pretexts, 4(1):99-108.
Flockemann, Miki 1994a. Imagining Women: Cultural Representation and Gender, edited by F. Bonner, L. Goodman, R. Allen, L. James & C.King. Reviewed in: South African Theatre Journal, 8(1):81-83.
Flockemann, Miki 1994b. A situated perspective on contemporary feminist theatres. Studies in Theatre Production, 10:31-38.
Flockemann, Miki 1996a. From ghosts of the past to cross-cultural love stories for teens. Theatre and fictions of childhood for teaching in the transition, in Wittenberg, Hermann & Nas, Loes (eds.). AUETSA 96 : proceedings of the conference of the Association of University English Teachers of South Africa, University of the Western Cape, 30 June-5 July 1996. Vol 1, 131-142.
Flockemann, Miki 1996b. Medeas from Corinth and Cape-Town: cross-cultural encounters, theatre, and the teaching context. Alternation, 3(1):82-93.
Flockemann, Miki 1997. Teaching large classes, reaching across multilingualism: a UWC experiment with playtexts. Journal for Language Teaching, 31(3):276-283.
Flockemann, Miki 1998a. Categories and cultural continuums: a response to Theatre and Society in South Africa by Temple Hauptfleisch. Reviewed in: South African Theatre Journal, 12(1&2):244-252
Flockemann, Miki 1998b. White men with weapons, Black women with dresses: The TRC and refashioning myths of identity. JTD: Journal of Theatre and Drama, 4:7-22.
Flockemann, Miki & Mazibuko Thuli 1999a. Between women -- an interview with Gcina Mhlope. Contemporary Theatre Review, 9(1):41-51.
Flockemann, Miki 1999b. Getting harder? From post-Soweto to post-election: South African theatre and the politics of gender. Contemporary Theatre Review, 9(3):37.
Flockemann, Miki 1999c. On not giving up -- an interview with Fatima Dike. Contemporary Theatre Review, 9(1):17-26.
Flockemann, Miki 2001 The aesthetics of transformation: reading strategies for South African theatre entering the new millennium. South African Theatre Journal, 15:25-39.
Flockemann, Miki 2002. Translations, affirmations, inventions and subversions: Grahamstown 2002. South African Theatre Journal, 16:198-207.
Flockemann, Miki, Gino Fransman, Linda Tini, Ignatius Ticha. Furiously enthused? Performing identities, encountering iMumbo Jumbo: a UWC case study. 2005. South African Theatre Journal, 19:191-207.
Flockemann, Miki, Roberts, Wahseema, Castle, Andrea, Krog, Antjie and Ngara, Kudzayi. 2009. Performing xenophobia: a conversation with Jonathan Nkala and Bo Petersen. South African Theatre Journal, 23:207-220.
Flockemann, Miki, Ngara, K, Roberts, Wahseema, & Castle, Andrea 2010. The everyday experience of xenophobia: performing The Crossing from Zimbabwe to South Africa', Critical Arts, 24(2):245-259.
Flockemann, Miki 2010. Experiments in freedom : explorations of identity in new South African drama, by A. Krueger. Reviewed in: Scrutiny2, 15(2):70-73.
Flockemann, Miki 2010b. Little perpetrators, witness-bearers and the young and the brave: towards a post-transitional aesthetics. English Studies in Africa, 53(1):
Flockemann, Miki 2011. Facing the stranger in the mirror: staged complicities in recent South African performances. South African Theatre Journal, 25(2):129-141.
Flockeman, Micki, Jerome Cornelius, Jolyn Phillips 2012. Grahamstown 2012: theatres of belonging, longing and counting the bullets. South African Theatre Journal, 26(2):218-226.
Flockemann, Miki 2013. Repeating and disrupting embodied histories through performance: Exhibit A, Mies Julie and Itsoseng. Critical Arts, 27(4):403-417.
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