Marvin A. Carlson


B.S. in Language Arts, University of Kansas, 1957
M.A. in English, University of Kansas, 1959
Ph.D. in Drama and Theatre, Cornell University, 1961



Instructor-Professor, Department of Theatre Arts, Cornell University, 1961-1979
Chairman, Department of Theatre Arts, Cornell University, 1966-1968; 1973-1978
Professor of Theatre and Director of Graduate Studies, Indiana University,1979-1986
Professor of Theatre and of Comparative Literature, Graduate Center, CUNY
Executive Officer, Ph.D. Program in Theatre, 1986-1995; 1986-present
Distinguished Professor of Theatre and Comparative Literature, Graduate Center, CUNY
Guest Professor, Freie Universität, Berlin, spring term, 2003.
Visiting Professor, University of Warwick, January, 2009
Guest Professor, Shanghai Theatre Academy, 2014-present


Honors and Awards

Guggenheim Fellowship, 1968
Named Fellow of the American Theatre Association, 1981
Named Distinguished Professor, CUNY, 1986
ACLS International Commission on Theatre and Dance Studies, 1987
Named Sidney E. Cohn Professor of Theatre Studies, CUNY, 1988
Honorable Mention, George Freedley Awards, and Finalist, Bernard Hewitt Award, for Places of Performance, 1990
Fellow of the Society for the Humanities, Indiana University, 1993
Walker-Ames Lecturer, University of Washington, January, 1994
George Jean Nathan Award, 1994
Career Achievement Award, ATHE, 1995
Burian Lectureship, SUNY Albany, April, 1997
Geske Lectureship in the History of the Arts, Lincoln, Nebraska, October, 1997
Elected to National Theatre Conference, Fall, 2000
ASTR Distinguished Scholarship Award, Fall, 2000
Alumni Honor Citation, University of Kansas, 2001
Joseph A. Calloway prize for The Haunted Stage, Fall 2002
Doctorate honoris causae, University of Athens, September 28, 2005.
Festschrift: Changing the Subject: Marvin Carlson and Theatre Studies 1959-2009, ed.
Joseph Roach, University of Michigan Press, 2009
Edgar Rosenblum Award for Outstanding Contributions to the Theatre and Education,2014
ASTR Oscar Brockett Essay Prize, 2014


Judge for International Competitions

Judge, Cairo International Festival of Experimental Theatre, Cairo, Egypt, September,1999
Judge, Onassis International Theatre Competition, Summer 2000; Summer 2004
Judge, Prague Quadrennial, Summer 2011


Professional Affiliations

American Society for Theatre Research (Member of Executive Board, 1978-1980, 1983-1986, 1992-1995), Program Chair, San Antonio Convention, 1997, Local Arrangements Chair, New York Convention, 2000
Association for Theatre in Higher Education
American Ibsen Society (Executive Board 1986-1995)
International Federation for Theatre Research
Players Club (1986-1995)
American Theatre Critics Association
Architecture on Stage (Executive Board)
National Theatre Conference



The Theatre of the French Revolution. Cornell University, 1966.
Published in French, Le Theatre de la Revolution Francaise. Gallimard, 1970.
Chapter 6 published in German in Das Franzosiche Theater des 18 Jahrhunderts.
Wissenschaftlich Buchgesellschaft, Darmstadt, 1984.
The French Stage in the Nineteenth Century. Scarecrow, 1972.
The German Stage in the Nineteenth Century. Scarecrow, 1972.
Editor, Moynet, French Theatrical Production in the Nineteenth Century University of Miami, 1974.
Goethe and the Weimar Theatre. Cornell University Press, 1978.
The Italian Stage From Goldoni to D’Annunzio.   McFarlane Press, 1981.
Theories of the Theatre. Cornell University, 1984.
Published in Italian, Teorie del teatro. Il Mulino, 1988.
Published in Slovenian, Teorije Gledalisca. Ljubljana, 1992.
Published in Portugese, Teorias do Teatro, Editora UNSEP, 1995.
Published in Croatian, Kazalisne teorije, Zagreb, 1996.
Published in Arabic, Nadarit al-Misrah, Cairo, 1996, expanded edition, Cairo, 2011
Published in Korean. Seoul, 2002.
Published in Slovak, Dejiny divadelnych teorii, Bratislava, 2006.
Published in Turkish, Tiyatro Teorileri, Ankara, 2007.
Places of Performance. Cornell University Press, 1989.
Theatre Semiotics: Signs of Life. Indiana University Press, 1990.
Section published in Hungarian, Budapest, 2014
The Play’s The Thing. (Co-author, Yvonne Shafer), Longman’s, 1990.
Deathtraps. Indiana University Press, 1993.
Performance: A Critical Introduction. Routledge, 1996.
Second revised edition, Routledge, 2002
Chapter six published in Chinese, Theatre Arts, 3 (1998)
Published in Arabic, Fanan al-Aday, Cairo, 1999
Published in Slovenian, Ljubljana, 2002
Published in Finnish. Helsinki, 2006
Published in Galacian, Santiago, 2006
Published in Polish, Warsaw, 2007
Published in Turkish, Ankara, 2013
(Chapter 8 reprinted in The Routledge Reader in Politics and Performance.Routledge, 2000.)
Chapter 8 reprintedin The Performance Studies Reader, ed. Henry Bial,Routledge, 2004.
Chapter 5 published in Galacian in Annuario Galego de Estudios Teatrais, Vigo,2001
Published in Portuguese, 2012
Section published in Hungarian, Budapest, 2014
Voltaire and the Theatre of the Eighteenth Century. Greenwood, 1998
The Haunted Stage: Theatre as Memory-Machine. Michigan, 2001.
Section published in Hungarian, Budapest, 2014
Editor, The Arab Oedipus. Segal Center, 2005.
Speaking in Tongues: Languages at Play in the Theatre. Michigan, 2006.
Section published in Hungarian, Budapest, 2014
Editor, Four Plays from North Africa, Segal Center, 2008
Theatre is More Beautiful than War, Iowa, 2009.
Section published in Hungarian, Budapest, 2014
The Theatres of Morocco, Algeria and Tunisia, with Khalid Amine, Palgrave, 2011
Theatre: A Very Short Introduction, Oxford, 2014
A színpadtól a színpadig. Válogatás Marvin Carlson (collection of writings translated
into Hungarian: 5 articles and selections from five books)  Americana eBooks,
Hungary, 2014.
Hamlet’s Shattered Mirror: Theatre and the Real, Michigan, 2016


Articles and Essays
“George Bernard Shaw: A Selected Bibliography, 1945-1955, Modern Drama(September, 1959 and December, 1959)
“Henrik Ibsen and Finnegans Wake,” Comparative Literature (Spring 1960)
“Meiningen Crowd Scenes and the Théâtre-Libre,”Educational Theatre Journal (Dec., 1961)
Contributed to A Digest of 500 Plays, ed., Theodore Shank.  Crowell-Collier, 1963.
“The Modern Drama: A Bibliography of Bibliographies,” Modern Drama (May 1965)
(Also published separately by the University of Kansas Press).
“A Theatre Inventory of the First Empire,” Theatre Survey (May, 1970)
“Hernani’s Revolt from the Tradition of French Stage Composition,” Theatre Survey(May, 1972)
“French Stage Composition from Hugo to Zola,” Educational Theatre Journal (Oct.1971)
“Montigny, Laube, Robertson: The Early Realists,” Educational Theatre Journal (Oct.1972)
“Renaissance Theatre in Scandinavia,” Theatre Survey (May, 1973)
“The Golden Age of the Boulevard,” The Drama Review (March, 1974)
“A Fresh Look at Hogarth’s Beggar’s Opera,” Educational Theatre Journal (March, 1975)
“Patterns of Structure and Character in Ibsen’s Rosmersholm,” Modern Drama (May,1975)
reprinted in Marker and Innes, eds, Modernism in European Drama, Toronto, 1998.
“Rosenstand-Goiske and Den dramatiske Journal: Scandinavia’s First Theatrical Criticism,” Scandinavian Studies (Winter 1975)
“Scandinavia’s International Baroque Theatre,” Educational Theatre Journal (May, 1976)
“Three Recent Eastern European Productions,” Educational Theatre Journal (May, 1976)
“The Tours of Ernesto Rossi, in Theatrical Touring and Founding in North America.                         Greenwood Press (1982)
“On Collecting Ibsen,” Ibsen Newsletter (1982)
“Ibsens’s Vildanden (The Wild Duck) in English Translation,” Yearbook of Comparative and General Literature (1982)
“The Semiotics of Character Names in the Drama,” Semiotica (1983)
“Ristori in America,” in Bernhardt and the Theatre of Her Time, Greenwood Press(1984)
“Contemporary Concerns in the Semiotics of Theatre,” Semiotica (1984)
“Theatrical Performance: Illustration, Translation, Fulfillment or Supplement?” Theatre Journal (March, 1985)
translated into Arabic in Fossoul 62 (Summer, 2003)
“Ibsen, Strindberg and Telegony” PMLA (October, 1985)
Reprinted in Modern European Drama: From Ibsen to Brecht, ed. Swati Pal,Pencraft, (2011).
“Semiotics and Nonsemiotics in Performance,” Modern Drama (December, 1985)
“Theatre as Event,” Semiotica (1985)
“Signification and Theatrical Forms” in Theatre Analysis, Universite Libre de Bruxelles,(1986).
“August von Kotzebue’s Surveys of the Parisian Stage,” Theatre History Studies (June,1986)
“The French Censorship Enquiries of 1849 and 1891,” Essays in Theatre (November,1986)
“Psychic Polyphony,” Journal of Dramatic Theory and Criticism (Fall 1986)
Published in Japanese in Bulletin of the Japanese Society for Theatre Research 35(1997)
Reprinted in Modern Theories of Drama, ed. George W. Brandt, Oxford, 1998
“The Theatre Event and Filmic Documentation,” Degres, 48 (Winter 1986)
“The Semiotics of Opera Structures,” in Approches de l’Opera, Didier (1986)
“Ibsen in Berlin, 1985,” Ibsen News and Comment (January, 1987)
“Theatre Historiography and Semiotic Analysis,” Literary Research, 11/1 (Spring 1987)
“The Eighteenth Century Pioneers in French Costume Reform,” Theatre Survey (May,1987)
“Histoire des codes,” in Theatre: Modes d’approche, ed. Patrice Pavis, Paris.
“The Old Vic: A Semiotic Analysis,” Semiotica, 71-3/4 (1988)
“The Theatre as a Civic Monument”, Theatre Journal (March, 1988)
“Theatre Semiotics,” in The Semiotic Web (1988)
“Theater,” in International Encyclopedia of Communications (1988)
“Popular Entertainment and the Field of Theatre Studies,”
translated into Chinese by Chung Fang, Foreign Theatre, 3, (1988)
“The Semiotics of Space,” Thesis (Spring 1988)
“US-USSR Commission on Theatre and Dance,” Soviet and East European Drama, Theatre and Film (May, 1988)
“Theatre Audiences and the Reading of Performance,” in Interpreting the Theatrical Past, Iowa State University Press (1989)
translated into Chinese by Xian Zhou, Theatre Arts 2 (1998)
translated into Hungarian by Nyisztor Miklos, 2014
“Local Semiosis and Theatrical Interpretation,” Semiotica, 73-3/4 (1989)
“The Iconic Stage,” Journal of Dramatic Theory and Criticism, Vol. III (Spring 1989)
“Observations on the Moscow Theatre, January, 1989,” Soviet and Eastern European Performance(Summer, 1989)
“An Economic Appraisal of Soviet Theatre Today,” Soviet and Eastern European Performance   (Summer, 1989)
“The Structure of the Drama,” Semiotica, 76-3/4 (1989)
“Report from France,” Western European Stages. 1,1 (Fall 1989)
“Peter Brook’s The Mahabharata and Ariane Mnouchkine’s L’Indiade as Examples of Contemporary and Cross-Cultural Theatre” in The Dramatic Touch of Difference,Patrice Pavis (1990)
“Interview: Daniel Mesguich,” Western European Stages (Fall 1990)
“David’s Oath of the Horatii as a Theatrical Document,” Theatre History Studies (1990)
“The First International Ibsen Festival,” (with Eric Samuelson) Western European Stages (Fall, 1990)
“Dramatic Texts and Performance,” Semiotica, 82-1/2 (1990)
“Foreword” and “Historical Survey of Theatrical Forms” in Approaching Theatre, ed. Andre Helbo, Indiana (1991)
translated into Macedonian by Jeshena Nychvia in the collection Teorya na dpamatan Teatarot (Skopje, 1998)
“The St. Petersburg/Irondale Collaboration,” Soviet and Eastern European Performance,10,3 (Winter, 1990)
“The Status of Stage Directions,” Studies in the Literary Imagination (Fall 1991)
Translated into Hungarian by Csikai Zsuzsa, 2014
“Report from Vienna,” Western European Stages (Spring 1991)
“The Theory of History,” in The Performance of Power, eds., Sue-Ellen Case and Janelle Reinelt. University of Iowa Press (1991)
“Ronconi’s Strange Interlude” and “Interview with Luca Ronconi,” Western European Stages (Spring 1992)
“Theatre and Dialogism,” in Critical Theory and Performance, eds., Joseph Roach andJanelle Reinelt, University of Michigan Press (1992)
Reprinted in Modern Drama: Critical Concepts in Literary and Cultural Studies,Ed. Maartin Puchner (2008)
“Theatre and Performance,” Semiotica, 1/2 (1992)
“The Audience as/for Accomplice,” Semiotica, 1/2, (1992)
“The London International Mime Festival,” Western European Stages (Spring 1993)
“Accueil on the Road: Mnouchkine’s Les Atrides in Context,” Assaph, C. (8) (1992)
“Passages to India,” in Confluences, Le Dialogue des Cultures dans la mise en scene contemporaine, ed. Patrice Pavis, Bois Robert, Paris (1993)
English edition: The Intercultural Performance Reader (1996).
Published in Polish as “Brook i Mnouchkine:drogi i indii?” didaskalia (Fall 1997)
“Development of the American Theatre Program,” in The American Stage, eds., Ron Engle and Tice Miller, Cambridge (1993)
“The Citizen in the Theatre,” in The French Revolution and the Meaning of Citizenship, eds. Waldinger et al., Greenwood (1993)
“Is There a Real Inspector Hound?” Modern Drama (September, 1993)
“Drama Theory,” in The Johns Hopkins Guide to Literary Criticism, eds. Groden and                         Kreiswirth (1994)
“Report from Finland,” Western European Stages (Fall 1993)
“Interview with Esa Kirkkopelto,” Western European Stages (Fall 1993)
“Bondy and Castorf Direct John Gabriel Borkman“, Western European Stages (Fall1993)
“Daniel Mesguisch and Intertextual Shakespeare,” in Foreign Shakespeare, ed., Dennis Kennedy, Cambridge (1993)
“Report from Paris,” Western European Stages (Spring 1994)
“Theatre Scholars Tour the Baltic States,” Slavic and East European Performance(Spring, 1994)
“Nationalism and the Romantic Drama in Europe” and “The Italian Romantic Drama in its European Context,” in Romantic Drama, Vol. II in the Romanticism Subseries of the   Comparative History of Literatures in European Languages. International Comparative Literature Association (1994).
“The Haunted Stage: Recycling and Reception in the Theatre,” Theatre Survey (Spring 1994)
“Invisible Presences–Performance Intertextuality,” Theatre Research International(Summer 1994)
“Indexical Space in the Theatre,” Assaph (1994)
“Theatre History: Methodology and Distinctive Features,” Theatre Research International (Summer, 1995)
“Murderous Games: The Self-Conscious Art of the Comedy Thriller” in Self Conscious Art: A Tribute to John W. Kronik (Bucknell, 1996)
Report from London” (with Elizabeth Swain), Western European Stages (Fall 1995)
“Goethe as a Theatre Director,” in A Reassessment of Weimar Classicism, ed. Gerhart Hoffmeister (Edwin Mellon, 1996)
“Nowojorskie En Garde Arts,” Opcje (Poland)(Summer 1996)reprinted in Teatr w Miejscach Nieteatralnych (WFH, 1998)
“Mystery, Mayhem, Mirth,” Stagebill (November 1996)
“Doubled Myths by Mesguich,” Western European Stages (Fall 1996)|
“The Amsterdam Theatre Festival” (with Susan Mason) Western European Stages (Fall1996)
“He Never Should Bow Down to a Domineering Frown: Class Tensions and the Nautical Melodrama,” in Melodrama: The Cultural Emergence of a Genre (St. Martin’s, 1996)
“Performing the Self,” Modern Drama (Winter 1996)
Published in Croatian, “Izvo÷enje sebstva” Frakcija (Zagreb, Croatia), (Spring,1999)
“Report from Berlin,” Western European Stages (Spring 1997)
“Two Peer Gynts in Paris,” Western European Stages (Spring 1997)
“The Eternal Instant: Some Thoughts on Theatre and Religion,” Assaph C 12 (1997)
“Current Trends in Theatre Research (Japanese translation), Bulletin of the Japanese Society for Theatre Research, 35 (1997)
Il re alla caccia and Le Roi et le fermier: Italian and French treatments of class and gender,” in Opera Buffa in Mozart’s Vienna, ed. Hunter and Webster (Cambridge,1997)
“Booth, Lincoln, and Theatrical Reception,” The Geske Lectures Series (Univ. of Lincoln, Nebraska, 1997)
“Aleatory Art and the Frankfurt Police,” Theatre Annual 51 (Fall 1998)
“Report from Northern Italy,” Western European Stages (Winter 1998)
“Report from Milan,” Western European Stages (Winter 1998)
“The Langscapes of Mac Wellman” The Mac Wellman Journal (Winter 1998)
“Foreword” to Patrice Pavis, Dictionary of the Theatre, 1998
“Eugene Brieux” and “Marie-Joseph Chenier” in Dictionary of Literary Biography, vol. 192: “French-Dramatists, 1789-1914, ed. Barbara T. Cooper, Detroit, 1998.
“Interview with Stein Winge,” Western European Stages (Fall 1998)
“Report from Paris,” Western European Stages (Fall 1998)
“Govorice modernega mednarod ne ga odra (Languages of the Modern InternationalStage)” (Slovenian), Maska (Fall 1998)
“Theatre Criticism Conference in Pula, Croatia,” Slavic and East European Performance(Fall 1998)
“Visions of Graver Puppetry, “Puppetry International (1999)
“Razmišljana o Ulozi Novinskog Kriti…ara (Reflections on the Role of ModernCriticism)” (Croatian), Glumište (3/4/99)
“Back to the Basics,” in Reza Abdoh, ed. Daniel Mufson, Johns Hopkins, 1999.
“Report from Athens” and “Western European Productions at the Cairo Festival,” Western European Stages (Fall 1999)
“Eastern European Contributions to the Cairo International Festival,” Slavic and Eastern European Performance (Fall 1999)
“The Crime and Mystery Genre in Theatre,” in The Oxford Companion to Crime and Mystery Writing, ed. Rosemary Herbert, Oxford, 1999
“Body and Sign in Marat/Sade,” Assaph 15 (1999)
Ghosts on Two Continents and in Two Cultures,” Ibsen News and Comment 19 (1999)
The Ghosts of Versailles,” Theatre Research International, 25,1 (2000)
“Alternative Theatre,” in The Cambridge History of American Theatre, Vol. III, ed. Don
Wilmeth and Christopher Bigsby, Cambridge, 2000
“teatr i performance: zmienne paradygmaty, zwienna praktyka” Didaskalia 37/38 (2000)
“Performance,” in Chambers Companion to 20th Century Theatre Contimuum, 2000
“The Macaronic Stage,” in East of West, ed. Claire Sponsler and Xiaomei Chen,Palgrave, 2000
“Elizabeth Inchbald: a woman critic in her theatrical culture,” in Catherine Burroughs, ed., Women in British Romantic Theatre, Cambridge, 2000
“Unidram 2000 and Teatr Cinema,” Slavic and East European Performance, 20: 3 (Fall2000)
“The Berlin Theatertreffen, Spring, 2000,” Western European Stages 12,3 (Fall 2000)
“Report from Switzerland,” Western European Stages 12,3 (Fall 2000)
“Performing the Past: Living History and Cultural Memory,” Paragrana, 9,2 (2000)Translated into Hungarian by Szverle Ilona, 2014
“Reply to David Savran,” Theater 31,2 (Spring 2001)
“Theatre and Performance at a Time of Shifting Disciplines,” Theatre Research International, 26, 2(2001)
Unser Ibsen’ at the Berlin Theatertreffen,” Ibsen News and Comment, 20 (2000)
“The Semiotics of Supertitles,” Assaph C, 16 (2000)
“Italian Theatre at the Millennium,” Western European Stages 13,1 (Winter 2001)
“Portugese Theatre at the Millenium,” Western European Stages 13,1 (Winter 2001)
Hamlet Times Two in Paris,” Western European Stages 13,2 (Spring, 2001)
“Rethinking Our Field: A Forum,” Theater 31:2 (Summer 2001)
“Speaking in Tongues: Multiple Languages on the Modern Stage,” Text and Presentation, 22 (2001)
“Divadelné theórie: dvadsiate storo…ie od roku 1980,” Aspekt 2 (2001)
“A New Director and a New Play at London’s Royal National,” Western European Stages 13,3 (Fall, 2001)
“Needcompany’s King Lear,”Western European Stages 13,3 (Fall 2001)
“Theatre Studies and Cultural Studies,” Degrés (Autumn‑Winter 2001)
“Performance,” Anuario Galego de Estudios Teatrais, 2001
Contributed to “Forum on Tragedy,” Theatre Journal, 54:1 (March 2002)
Wir möchten lieber nicht beunruhigt werden,” Theater der Zeit (November 2001)(In Polish translation) “Wolelibysmy miec spokoj” Dialog (March 2002)
“The Resistance to Theatricality,” Substance, Fall, 2002.(In Serbian translation) “”Otpor prema teatralnosti,” TkH (Sept. 2003)(in Bulgarian translation), Homo Ludens (2016)
“Ibsen without Tables,” Ibsen News and Comment, 22 (2002)
“Report from Paris,” Western European Stages 14,1 (Winter 2002)
“Report from Rome,” Western European Stages 14,1 (Winter 2002)
“After Stein: Traveling the American Theatrical ‘Langscape,’” in Land/Scape/Theater,Elinore Fuchs and Una Chaudhuri, Michigan, 2002
“Le theatre et l’image de la peinture,” in Theatre et arts plastiques, ed. Eric Bonnet,Amos Fergombe and Edmond Nogacki, Presses Universitaires de Valenciennes, 2002
“Lorca in Berlin,” Western European Stages 14,2 (Spring 2002)
“The 2002 Berlin Theatertreffen,” (with John Rouse), Western European Stages 14,3(Fall 2002)
“The Theatre Journal Auto/Archive: Marvin Carlson,” Theatre Journal 55 (2003)
“Report from Paris, January, 2003” Western European Stages 15,1 (Winter 2003)
“Stephane Braunschweig and the Theatre in Strasbourg,” Western European Stages 15,1(Winter 2003)
“Report from Denmark,” Western European Stages 15,2 (Spring 2003)
“A Gorki Trio,” Western European Stages 15,2 (Spring 2003)
“’Pacific Overtures’ und die Komplexitat des Zeitgenossischen Multikulturalismus,” inSzenarien von Theater (und) Wissenschaft, Theater der Zeit, Berlin, 2003.
“The Mother Tongue and the Other Tongue: The American Challenge in Recent Drama,”in Global Challenges and Regional Responses in Contemporary Drama in English, ed. Joachim Achilles (Trier, 2003)
“The 2003 Berlin Theatertreffen,” Western European Stages 15,3 (Fall 2003)
“The Fin-de-Siècle Italian Stage,” The Journal of the Pirandello Society in America(2003)
“Video and Stage Space: Some European Perspectives, “ Modern Drama, 46:4 (Winter2003)
“Theatre Festivals in the Arab World,” Contemporary Theatre Review (Nov. 2003)(In Arabic translation) “ITlala Banourameya ala Waqe’ al-mahraganat al-Masrah Heyyaal-Arabeyya” Al-Masrah (Cairo), July 2, 2004 and Albayan (Dubai) July 4-5, 2004.
“Three December Productions in Berlin, Western European Stages (Winter 2004)
Matthew Bourne’s Nutcracker! at Sadler’s Wells, Western European Stages (Winter, 2004)
“Ghosts and Follies,” The Journal of American Drama and Theatre (Winter 2004)
“9/11, Afghanistan, and Iraq: The Response of the New York Theatre,” Theatre Survey (May, 2004).
Unser Ibsen: Ibsen on the Contemporary German Stage,” Ibsen Studies (2004)
“Become Less Provincial,” Theatre Survey (November 2004)
“Theatre and Religion: The World’s Oldest Couple,” Baylor Journal of Theatre and Performance (Fall 2004).
“Ibsen in the 2003-2004 New York Season,” Ibsen News and Comment (2003-2004)
“Egyptian Oedipuses: Comedies or Tragedies?” in Rereading Classics in “East and West:” Post-colonial Perspectives on the Tragic, ed. Freddy Decreus and Mieke Kolk (Ghent, 2004)
“Truth and Lies in Paris,” Western European Stages (Winter, 2005)
“Teatteriyleisöt ju esityksen lukeminen,” inTeatteriesityksen Tutkiminen (2005)
“Introduction” to The Arab Oedipus (MESTC, 2005)
“Electronic Environments in Berlin,” Western European Stages (Fall 2005)
“The 2005 Berlin Theaterfreffen,” Western European Stages (Fall 2005)
“The Contribution of Yusuf Idris to Egyptian and World Comedy, in The Performance of the Comic in Arabic Theater, ed. Mieke Kolk (Antwerp, 2005)
“A investigaçāo de teatro num mundo digital,” Sinais de cena 4 (Dec, 2005)
“Ibsen on the Fringe,” Ibsen News and Comment 25 (2005)
“Old Wine in New Bottles,” Western European Stages 18:1 (Winter 2006)
“Interview with Armando Nascinmento Rosa,” Western European Stages 18:2 (Spring2006)
“Zeffirelli directs Pagliacci at the Acropolis,” Western European Stages 18:1 (Winter,2006)
“Coupling Serpents: Armando Nascinmento Rosa’s An Oedipus,” in An Oedipus—The Untold Story,” (New Orleans, 2006)Published in Portugese in Sala Preta, Sao Paulo, Brazil, Winter 2009.
“Przestrzenie Dialogu” (The Future of Dialogue), Dialog 5-6 (May 2006)
“Avant-Garde Drama in the Middle East,” in Not the Other Avant-Garde, ed. JamesHarding and John Rouse (Ann Arbor, 2006)
“The Berlin Theatertreffen,” Western European Stages 18:3 (Fall, 2006)
“Predgovor k prvi izdaji,” in Javno Uprizarjanja, ed. Alja Predan (Llubjana, 2006)
“Parrots and Guinea Pigs” in No Beauty for Me There, ed. Christel Stalpaert (Brussels,2007)
“I Am Not an Animal,” TDR 51:1 (Spring 2007)
“Semiotics and Its Heritage,” Critical Theory and Performance, ed. Janelle Reinelt andJoseph Roach (Ann Arbor, 2007)
“Ibsen in New York in the Centennial Year,” Ibsen News and Comment (2006)
“Needcompany’s King Lear and the semiotics of supertitles,” in No Beauty for Me There Where Human Life is Rare, ed. Christel Satallpaert et al. (Ghent, 2007)
“Who’s Afraid of Rachel Corrie?” (panel), Theater 37:2 (Summer 2007)
“What I am Reading Now,” Theatre Survey 48:2 (November 2007)
“Memory theatres and Theatre Memories,” in Στεφάησς (Athens, 2007)
“Theatre Research Today” Published in Japanese (Tokyo, 2007)
“The 2007 Theatertreffen,” Western European Stages 19:3 (Fall 2007)
“Ira Aldridge at the Old Vic,” Western European Stages 19:3 (Fall 2007)
“Peter Zadek: The Outsider Who has Come Inside,” TRI 32:3 (Oct. 2007)
“A Difficult Birth: Bringing Staging Studies to the Pages of Modern Drama,Modern Drama 50:4 (Winter 2007)
“Staging Science” with Brian Schwarz, Science and the Arts, CUNY blog, May 2007.

Translated into Romanian, “Asteptare Stiinta,” February 2012
“The New Landscape in Theatre Studies” (published in Japanese, Tokyo, 2007)
“National Theatres: Then and Now,” in National Theatres in a Changing Europe, ed.S.E. Wilmer (Palgrave, 2008)
“Intercultural Theory, Postcolonial Theory, and Semiotics: The Road Not (Yet) Taken,”Semiotica 185 (2008)Translated into Hungarian by Kromjak Laura, 2014
“Editor’s Introduction,” Four Plays from North Africa, MESTC 2008
“Has Video Killed the Theatre Star? Some German Responses,” Contemporary Theatre  Review, 18:1 (2008)
Al-halqa in Arabic Theatre: An Emerging Site of Hybridity,” (with Khalid Amine),Theatre Journal 60:1 (March 2008)
“Claus Peymann and the Performance of Scandal, Contemporary Theatre Review, 18:2(2008)
“Mixed Media and Mixed Messages: Big Art Group’s Exploration of the Sign” Journal  of Dramatic Theory and Criticism 22:2 (Spring, 2008)
“Spring in Berlin,” Western European Stages, 20:2 (Spring, 2008)
“Perspectives on Performance: Germany and America” in Erika Fischer-Lichte,The Transformative Power of Performance, Routledge, 2008.
“David Levine’s Bauerntheater: The Return of the Matrix,” TDR 52:3 (Fall             2008).
“The Realistic Theatre and Bourgeois Values, 1750-1900,” in A History of German   Theatre, ed. Simon Williams and Maik Hamburger, Cambridge, 2008.
“Against Cropped Truths,” (with Hazem Azmy), Editorial and Guest editorship, special Issue on Islam and Theatre, Ecumenica 1:2 (Fall 2008)
“Everyone Suffers,” TDR 53:1 (Spril 2009).
“Current Trends in Arab-American Performance,” with Dalia Basiouny in Performance, Exile, and “America,” ed. Silvija Jestrovic and Yana Meerzon, Palgrave, 2009.
“Theatre Research in a Digital World,” forthcoming in Proceedings of the First International Conference on Theatre Studies, Athens 2005.
Preface to The Tropic of X by Caridad Svich NoPassport Press, 2009
“The 2009 Gdansk Shakespeare Festival,” Slavic and Eastern European Performance 29:3 (Fall, 2009).
“Peter Zadek’s Way,” Contemporary Theatre Review 19:4 (Nov., 2009).
“Frank Castorf and the Volksbuhne” in Contemporary European Theatre Directors, ed.Maria Delgado and Dan Rebellato, Routledge, 2010
“Ibsen in Berlin,” Ibsen News and Comment 29 (2009)
“Ibsen Productions Off-Broadway, 2009,” Ibsen News and Comment 29 (2009)
“Egyptian Theatre and Performance from an International Perspective,” in Egypt at the  Crossroads, ed. Salwa Kamel et al. Cairo University, 2009.
“Das Theater ici,” in Politik des Raumes: Theater und Topologie, ed. Erika Fischer-Lichte and Benjamin Wihstutz, Wilhelm Fink 2010.
Translated into English, Routledge, 2012
“The Local Meets the Global in Performance: A Discussion,” with Janelle Reinelt, in The Local Meets the Global in Performance, ed. Pirkko Koski and Melissa Sihra,Cambridge Scholars, 2010
“Frank Castorf and the Volksbühne: Berlin’s Theatre of Deconstruction,” in Contemporaray European Theatre Directors, ed. Maria M. Delgado and Dan Rebellato, Routledge, 2010.
“Space and Theatre History” in Representing the Past, ed. Thomas Postlewait and  Charlotte Canning, Iowa, 2010.
“IFTR’s Arabic Theatre Working Group,” (with Khalid Amine and Hazem Azmy),Theatre Research International 35:3 (Oct. 2010)
“’God is a DJ, and so is Shakespeare:’ Stefan Pucher’s Blended Bard,” in Theatrical Blends, ed. Jerzy Limon, Gdansk, 2010.
“Inheriting the Wind: A Personal View of the Current Crisis in Theatre Higher Education        in New York,” Theatre Survey 52:1 (May 2011)
“Site-Specific Performance in the Arab World,” in Site-Specific Performance in Arabo- Islamic Contexts, ed. Khalid Amine and George Robertson, Tetouan, 2011.
“Andreas Kriegenburg: The Cabinet-Maker Director,” TheatreForum 39 (2011)
“Ibsen Off-Broadway” and “Ibsen in Berlin” Ibsen News and Comment 31 (2011)
“Préface,” Théâtralités contemporaines, by Katia Arfara, Peter Lang, Berne, 2011
“Ibsen’s A Doll’s House in America,” in Global Ibsen, ed. Erika Fischer-Lichte,Routledge, 2011.
“Bog jest didzejem I Szekspir tez nim jest,” in Amalgamaty sztuki, ed. Jerzy Limon,Gdansk, 2011.
“Performance Studies and the Enhancement of Theatre Studies,” in The Rise of  Performance Studies, ed. James Harding and Cindy Rosenthal, Palgrave, 2011.
“The Religious Drama of Egypt’s Ali Ahmed Bakathir,” in Religion, Theatre and  Performance, ed. Lance Gharavi, Routledge, 2012
“Space and Theatre,” in Focus 2012, ed. Maria Kurdi, Pecs Translated into Hungarian by Bach Aniko, 2014
“Modes of Censorship, Strategies of Silencing,” in Out of Silence, ed. Caridad Svich,Eyecorner, 2012
“Non-traditional Theatre Space,” in The Disappearing Stage, ed. Arnold Aronson, Arts And Theatre Institute, Prague, 2012
“The Theatre ICI” in Performance and the Politics of Space, ed. Erika Fischer-Lichte and Benjamin Wihstutz, Routledge, 2012
“Relections on a global theatre history,” in The Cambridge Companion to Theatre History, ed. David Wiles and Christine Dymkowski, Cambridge, 2012
“El Islam en el Norte de Afrioca durante la Epoca Colonial (with Khalid Amine),Performance and Spirituality 3:1 (Spring, 2012)
“Nachwort” to Die Auffuhrung, ed. Erika Fichte-Lichte , Tilhelm Fink, 2012
“Erika Fischer-Lichte and the Transformative Power of Scholarship,” in Performing Transformations, ed. Khalid Amine (CMI, Morocco), 2013.
“House,” in Contemporary Theatre Review, 12:1 (2013)
“Ibsen in the Americas” and “Ibsen in Berlin” Ibsen News and Comment 32 (2012)
“Introduction: Rehearsing Arab Performance Realitites,” (with Hazem Azmy) Theatre  Research International  38: July, 2013)
“Postscriptum/Manifesto of Difference” in Differences on Stage, ed. Alessandra De Martino, Paolo Puppa and Paola Toninato, Cambridge CSP, 2013.Translated into Italian, CUE ed. Mattina Visani, 2014
“Andrea Breth,” Spotkanie Teatrow Narodowych 13 (Warsaw, March 2013)
“Stanislavski and the Bauerntheater,” folhetim 30 (Rio de Janiero, Summer, 2013.
“The Arab Aristophanes,” in Comparative Drama 47:2 (Summer 2013). Awarded the ASTR Oscar G. Brockett Essay Prize, 2014
“The 2013 Theatertreffen,” European Stages 1 (Fall 2013)
“Theorizing the Performative Event,” Chapter 3 in Oxford Handbook of the Georgian Theatre Oxford, 2014. Also published in online version.
“Medieval Street Performers Speak,” TDR (Winter 2013)
“Linguistic and Cultural Interweaving on Contemporary English and American Stages,”In The Politics of Interweaving, ed. Erika Fischer-Lichte, Palgrave, 2013.
“Microhistory in the Middle East: The Case of Ibn Daniyal,” Theatre Survey 55:1(January 2014)
“Negotiating Theatrical Modernism in the Arab World,” Theatre Journal, 65:4(December 2013)
“Strollers” Parabasis. University of Athens, (12) 2013
“Linguistic and Cultural Interweaving on contemporary English and American Stages” in The Politics of Interweaving Performance Cultures, ed. Erika Fischer-Lichte et Routledge, 2014
“Living History, Re-enactment” in Performance Studies: Key Concepts (Palgrave, Jan.2014)
“Theorizing the Performative Event” in Swindells and Taylor, eds/ the Oxford Handbook  of the Georgian Theatre, Oxford, 2014.
“Schafer’s Patria,” Parabasis. University of Athens, (13) 2014
“The 2014 Theatertreffen,” European Stages 2 (Fall 2014)
“Report from Poznan,” European Stages 2 (Fall 2014)
“Report from Brno,” European Stages 2 (Fall 2014)
“Stealing the Scene: Simon McBurney’s All My Sons in New York” in Theatre and National Identity, ed. Nadine Holdsworth, Routledge, 2014.
“House” In Performance Studies: Key Words, concepts and theories, ed. Bryan Reynolds, Palgrave, 2014
“Visual Communication in the Theatre” in Visual Communication ed. David Machin De Gruyter Mouton 2014
“Charles Dickens and the Invention of the Modern Stage Ghost” in Theatre and Ghosts, Ed. Mary Luckhurst and Emilie Morin, Palgrave, 2014
“Living History, Re-enactment,” in Performance Studies: Key Words, Concepts and  Theories, ed. Bryan Reynolds, Palgrave, 2014
“Introducción” and “Teatro e Islam en el norte de Africa durante la época colonial,” with Khalid Amine, Investigación Teatral (Verazruz, Mexico) 4:6 (2014).
“Foreward” to Twentieth Century Italian Drama, ed. Jane House, Columbia, 2014
“Preface” to Martin Esslin, The Theatre of the Absurd, Bloomsbury Edition, 2014
“Medieval Arabic Performance” in Performance Studies: Sources and Perspectives, ed.Juliusz Tyszka, Kontekst, Poland, 2014
“Drama and Theatre” in The Encyclopedia of Islam and the Muslim World, Oxford, 2015Various entries in The Cambridge Encyclopedia of Stage Actors and Acting, Cambridge,2015
“Theatre, Performance, and Revolution” in Creativity and Revolution, Cairo University,2014
“Editor” in Contemporary Theatre Review, 25:1 (Feb., 2015)
“Theatre in New York City: Total Immersion,” Theatre and Performance Design 1May 2015
“Mnouchkine’s Macbeth at the Cartoucherie,” European Stages 4 (Spring 2015)
A Mad World My Masters at the Barbican. European Stages 4 (Spring 2015)
“Postdramatic Theatre and Postdramatic Performance,” Brazilian Journal on Presence Studies (Summer, 2015)
“Jalila Baccar of Tunisia: A Portrait of an artist,” African Theatre 14”Contemporary Women (2015)
“Contemporary American Theatre Criticism,” Theatre Arts (Shanghai) (Oct. 2015)
“Issam Mahfouz’s The Dictator presented in New York,” Arab Stages 2 (Fall 2015)
“An 1868 Egyptian Helen of Troy published,” Arab Stages 2 (Fall 2015)
“Troubling Cross-currents in the Budapest National Theatre, European Stages 5 (Fall2015)
“The 2015 Theatertreffen,” European Stages 5 (Fall 2015)
“Jalila Baccar and the Tunisian Theatre, ‘We Will not be silent,’” Theatre and Human
 Rights after 1945, ed. Mary Luckhurst. Palgrave, 2015
“Theatre of the Sixties—The German connection,” in The Sixties Center Stage, eds.
James Harding and Cynthia Rosenthal (Michigan, 2016)
“Drama and Theatre” in The Encyclopedia of Islam and the Muslim World (Gale, 2016)
John Gabriel Brokman Reconceived in Germany and Austria,” Ibsen News and Comment 35 (2015)
“A Necessary Angel at Toronto’s Canadian Stage,” Ibsen News and Comment 35 (2015)
“Jalila Baccar and Tunisia” in Cities of Memory (Palgrave)
“Immersive Theatre and the Reception Process,” in Theatre Research InternationalEssay on current reading for journal Sala Preta (Brazil)
“Twice have the Trumpets Sounded”




Andre Antoine’s Memories of the Theatre-Libre. University of Miami, 1964 (French)

Articles and Essays:

Adolphe Appia, “Living Art and Frozen Nature,” Players Magazine (January, 1962)(French)
Lope de Vega, “The New Art of Writing Plays,” in Theatre/Theory/Theatre, ed. Daniel
Gerould, Applause, NY, 2000 (Spanish)



The Distracted Lover, translation of Regnard’s Le Distrait, presented at the Salon
Theatre, New York, by The Acting Company, March, 1999 (French)
The Nightmare by Lenin El-Ramly, in Contemporary Theatre in Egypt, MESTC, 2000(Arabic)
(Presented Nov. 15, 2005, at UC Berkeley and Oct. 2006 at Yale University)
Christophe Columb by Pixérécourt in Four Plays by Pixérécourt, MESTC, 2001 (French)
The Heirs of Moliere: Four French Comedies of the 17th and 18th Centuries, MESTC,2003 (French)
The Fashionable Prejudice presented at the Metropolitan Theatre, New York, April,2004.
The Tragedy of Oedipus by Ali Ahmed Bakathir, in The Arab Oedipus, MESTC, 2005(Arabic)
The Veil by Abdelkader Alloula, in Four Plays from North Africa, MESTC. 2008(French)
The Folies Berbers by Tayed Saddiki, in Four Plays from North Africa, MESTC. 2008(French)
Three Plays from Medieval Cairo by Ibn Daniyal, with Safi Mahfouz, MESTC, 2013(Arabic)
The Evening Party for the Fifth of June, The Adventure of the Mamluk Jaber’s Head, The Drunken Days by Sad’allah Wannous, with Safi Mahfouz, MESTC, 2014 Arabic)
Amnesia, Tsunami by Jalila Baccar, MESTC, 2015 (French)



“Reading Performance Space: An Interview with Marvin Carlson,” (by Michael Barnes)Theatre Insight (Fall 1990)
“En Komplex Konstform,” (interview) Hufrudstadsbladet,  (Helsinki, Finland) 22(August 1993)
“Produktivan kozmi…ki krug: Razgovor s Marinom Carlsonom,” Frakcija (Zagreb,Croatia), (Spring 1999)
“Hourah maa Dr. Marvin Carlson,” Al-Misrah (Cairo, Egypt), (October 1999)
“A Call to Revolution: A Round Table Interview with Marvin Carlson, Jill Dolan, Sandra Richards, and Joseph Roach,” Theatre InSight 20 (Fall 1998)
“Wir möchten lieber nicht beunruhigt werden,” Theater der Zeit (November, 2001)
“Sota synnytti poliittisen teatterin,” (by Hannu Harju), Hufvudstadsbladet,  (Helsinki,Finland). (May, 2003)
“Kaikki on esitystä,” (by Suna Vuori) Helsingin Sanomat (Helsinki, Finland, Jan., 2006)
Interview with Dagmar Walser, Schweizer Radio, May, 2007
“Ibsen Today,” on What’s the Word, MLA Series on PBS, June, 2007 (also on web
“Donia El Thakafa” (by Sanaa Seleiha), Al-Ahram (Cairo, Egypt), November 9, 2008.
“Rajan ylittäjä,” by Pirkko Koski, Teatrii 6/20 (Helsinki, Finland, Winter, 2008)
Interview on recent work with Liyan Shi, Theatre Arts 5 (Shanghai Theatre Academy),2016



“Antoine and the Theatre of Life,” SAES Convention, 1963.
“Hugo’s Staging of Hernani,” ATA Convention, Chicago, 1971.
“A Fresh Look at Hogarth’s BEGGAR’S OPERA,” ATA Convention, Minneapolis, 1974.
“Ristori in America,” Guelph Bernhardt Conference, 1976.
“Manzoni and the Lettre a M. Chauvet,” Society for the Humanities Conference, Ithaca,1977.
“Giotto’s Cappella degla Scrivegni: A Possible Source for Theatre Historians?” ATA Convention, New Orleans, 1978.
“Goethe and Shakespeare: Marriage of Genius or Misalliance?” Bloomington, 1978.
“The First Night of Maria Stuart“, ASTR Conference, New York, 1979.
“Hamlet Italian Style,” Shakespeare Conference, Ithaca, 1979.
“Lear Italian Style,” Theatre History Conference, Columbus, Ohio, 1980.
“Venetian Theatre in the Sixteenth Century,” Renaissance Society, Bloomington, 1980.
“What Semiotics Can Learn from Stanislavsky,” Semiotics Conference, Bloomington,1983.
“The Semiotics of the Physical Theatre,” ATA Convention, San Francisco, August, 1984.
“Multidisciplinary Research and the Semiotics of the Opera House,” Royaumont, France,September, 1984.
“Toward a New Historiography,” ASTR Convention, New York, November, 1985.
“Italian Language Shakespeare on the American Stage,” NET Conference, New York,August, 1986.
“Artaud and the Actor,” NET Conference, New York, August, 1986.
“Aims of Theatre History in the Ph.D. Program,” NET Conference, New York, August,1986.
“The Old Vic in Historic Perspective,” ASTR Convention, New York, 1985.
“Semiotics and Theatre Historiography: Problems and Opportunities,” MLA Convention,NY, December,1986.
“Local Semiosis and the Interpretative Process in Theatre,” Local Semiosis Conference,
Rochester, NY, April, 1987.
“Popula Entertainment and the Field of Theatre Studies,” IFTR Symposium, NY, Oct.,1987.
“David’s Oath of the Horatii: Painting and Performance,” Humanities Institute, Toledo,Ohio, March, 1988.
“The Theatre in the Urban Text,” Environmental Psychology Program, CUNY GraduateCenter, March,1988.
“Peter Brook’s Mahabharata and Ariane Mnouchkine’s L’Indiade: Western Views of India,” Conference on Cross-Cultural Theatre, Bad Homburg, Germany, May,1988.
“Purposes and Structures of the Ph.D. Programs in Theatre,” NAST Conference, San Diego, August, 1988.
“Bridging the Academic and Professional Theatre,” ATHE Convention, San Diego, Aug.,1988.
“Publishing in Theatre History,” ATHE Convention, San Diego, August, 1988.
“The Semiotics of Theatre Architecture,” Brown University, November, 1988 and SUNY Stonybrook, November, 1988.
The Heidi Chronicles: A Semiotic Perspective,” ATHE Convention, New York, Aug.4, 1989. “The Use of Critical Theory in History,” ATHE Convention, New York, August 4, 1989.
“The State of the Profession,” ASTR Convention, Williamsburg, VA, November 19,1989.
“Ibsen for the 90’s,” Arena Stage, Washington, DC, April 1, 1990.
The Wild Duck:Lies of the Mind,” Los Angeles Theatre Center, July 7, 1990.
“Theatre Across Linguistic Boundaries,” Barcelona, Spain, March 29, 1991.
“Networks of the University Theatre,” Keynote address for the Alumni Conference,Lawrence, KS, May 2,1991.
“Intercultural Theatre–New Idea or New Jargon?” ATHE Convention, Seattle, August10, 1991.
“Family and Fate in Ibsen’s Dramas,” National Theatre, Oslo, Norway, August 31, 1991.
“Invisible Presences–Performance Intertextuality,” Semiotic Society of America, Oct. 26,1991.
“Is There a Real Inspector Hound?” ARTWEEK, University of Colorado, February 12,1992.
“The Citizen in the Theatre,” Conference on the French Revolution, CUNY GraduateCenter, May 8, 1992.
“Text and Performance,” ATHE Conference, Atlanta, Georgia, August 10, 1992.
“Some Modern Trends in Continental European Shakespeare,” Indian Shakespeare Society, New Delhi, India, January 22, 1993.
“Contemporary American Theory” and “Contemporary American Theatre Production,” University of Cairo, Cairo, Egypt, February 9 and 10, 1993.
“The Semiotics of Surprise:  Postmodernism in the Comedy Thriller,” Indiana University, May 9, 1993.
“Theatre History, Methodology and Distinctive Features,” Historiography Symposium, Helsinki, Finland, August 16, 1993.
“Body and Sign in Marat/Sade” Performance Symposium, University of Helsinki, Aug.17, 1993.
“The Haunted Stage: Recycling in the Theatre,” University of Washington, Seattle, Walker-Ames Lecture, January 11, 1994.
“Identity Crisis in the Theatre,” Student Forum, University of Washington, Seattle,January 14, 1994.
“En Garde Arts,” Conference on Site-Specific Theatre, Amsterdam, January 29, 1994.
published in Polish in Teatr w Miejscach Nieteatralnych (WFH, 1998)
“Theatre Architecture of Helsinki and the Baltic States,” Architecture on Stage, New York, May 2, 1994.
Respondent, “Activism and Aesthetics,” ATHE Conference, Chicago, July 28, 1994.
“Class and Gender in the late 18th Century Opera Buffa,” Opera Buffa Conference,
Cornell University, Sept. 9, 1994.
Moderator/Panelist, “The Future of History,” Performance Studies Conference, NYUMarch 24, 1995
“Person and Body On and Off Stage,” IFTR Conference, Montreal, 23 May, 1995
Respondent/Moderator, “Objects in Performance,” ATHE Conference, San Francisco,Aug. 9, 1995
“From Positivism to Postmodernism in Detective Drama,” ATHE Conference, SanFrancisco, Aug. 11, 1995
“The Digby Killing of the Children,” Medieval Guild Conference, Columbia U, NY, Oct.14, 1995
“International Theatre: Problems and Promise,” Keynote address, WHY THEATRE
Conference, University of Toronto, Nov. 1, 1995
“The Eternal Instant: Some Reflections on Theatre and Religion,” Keynote address, FIRT    Conference, Tel Aviv, Israel, June 16, 1996
“The Marriott Marquis and the New York Theatre,” ATHE Convention, NY, Aug. 10,1996
“The Object of Performance,” Performance Analysis Conference, Berlin, February, 1997
“Current Trends in the Western European Theatre,” Burian Lecture, SUNY Albany, April7, 1997
“The Current Scene in Theatre Research,” Keynote Address, Japan Society for Theatre Research, Seijo University, Tokyo, Japan, May 31, 1997
The Ghosts of Versailles and the Performance of History,” FIRT Conference, Puebla,Mexico, June 27, 1997
“Current Theatre Theory,” ATHE Convention, Chicago, August 6, 1997
“Aleatory Art and the Frankfurt Police,” ATHE Convention, Chicago, August 9, 1997
“Booth, Lincoln and Theatrical Reception,” Norman and Jane Geske Lectureship, Lincoln, Nebraska, October 13, 1997
“Reconstructing Wars,” keynote address, Acts of Reconstruction Conference, UC Santa
Barbara, February 20, 1998
“Writing Theatre/History,” keynote address, Constructing Theatre/History Conference, UT Austin, April 18, 1998
“The Implementation of Theatre Criticism,” International Conference on Theatre
Criticism, Pula, Croatia, August 7, 1998
Peer Gynt–A National or International Figure?” University of Oslo, Oslo, Norway, Sept. 3, 1998.
“The Theatre and the City,” University of Helsinki, Helsinki, Finland, Sept. 18, 1998.
“The Macaronic Stage,” Finnish Cultural Center, Tallinn, Estonia, Sept. 23, 1998.
“Theatre Historiography from an International Perspective,” University of Stockholm,Stockholm, Sweden, Sept. 28, 1998.
“The Ambiguities of Ibsen,” Yale University, Oct. 14, 1998.
“Max Herrmann’s Influence in America,” Max-Herrmann-Symposion, Freie Universität,Berlin, Germany, Oct. 30, 1998.
“Theatre Languages,” Ludwig-Maximilians Universität, Munich, Jan. 22, 1999.
“New York’s Theatrical Culture and the Astor Place Riot,” Museum of the City of NewYork, May 8, 1999.
“Performance, Urban Semiotics, and Social Action, Jagiellon University, Cracow,Poland, Oct. 4, 1999
“Parameters of Performance,” Theatre Institute, Warsaw, Poland, Oct. 5, 1999.
“The Bait of Falsehood and the Carp of Truth,” Beyond Theatre Conference, LublinPoland, Oct. 7, 1999.
“Political Theatre, Political Performance,” Teatr Osmego Dnia, Poznan, Poland,  Oct.11, 1999.
“Performing the Past: Living History and Cultural Memory,” Berlin, Germany, Nov. 20,1999.
“Strindberg’s Haunted Houses,” Maymount Manhattan College, New York, Jan. 24,2000.
“Le théâtre et l’image de la peinture,” University of Valenciennes, France, March 4,2000.
“Theories of Performance,” University of Santiago de Compostela, Spain, March 7, 2000.
“Contemporary Theatre in Britain,” same, March 8, 2000.
“Contemporary Theatre in America,” same, March 9, 2000.
“Concerns of the Contemporary Egyptian Theatre,” ATHE Convention, Washington, DC,August 3, 2000
“Tim Miller’s My Queer Body,” FIRT Convention, Lyon, France, September 18, 2000.
Conference Respondant, MATC Convention, Chicago, March 11, 2001.
“Speaking in Tongues: Multiple Languages on the Modern Stage,” Keynote Address, Comparative Drama Conference, Columbus, Ohio, April 27, 2001.
“What Theatre Do We Need?,” OISTAT Conference, Berlin, Germany, May 12, 2001.
Theory Seminar Participant, ATHE Convention, Chicago, August 3, 2001.
“Theatre and Women’s Roles in Muslim Cultures,” Panelist, New Dramatists, NY, January 26, 2002
“Theatre and Performance as Cultural Paradigms,” University of Michigan, March 25,2002.
“Theatre in Contemporary Scandinavia,” CUNY Graduate Center, April 8, 2002.
“Shakespeare’s Languages,” Loyola University, April 23, 2002.
“The Modern International Theatre: Challenges and Opportunities,” Tel Aviv University,May 1, 2002.
“The Mother Tongue and the Other Tongue,” Universität Würzburg, Germany, May 10,2002.
“Tim Miller’s Queer Body,” Freie Universität, Berlin, May 15, 2002.
“Haunted Houses,” keynote address, FIRT Congress, Amsterdam, July 3, 2002.
“Language in the Theatre,” Fresh Ink Series, ATHE Convention, San Diego, July 25,2002.
“Theatre Historiography: The Last Fifteen Years,” ATHE, San Diego, July 25, 2002.
“Performance and the New World Order,” ATHE, San Diego, July 26, 2002.
“Perform or Else,” ATHE, San Diego, July 27, 2002.
“Mac Wellman’s Anything’s Dream,” Muhlenberg College, PA, Nov. 21, 2002
“The Experimental Tradition in Modern Arabic Theatre,” University of Aarhus,Denmark, April 24, 2003.  Also in Tallinn, Estonia, May 22, 2003.
“Multiple Languages on the Modern Stage,” University of Copenhagen, Denmark, April25, 2003.
“Contemporary Political Theatre in New York,” University of Helsinki, Finland, May 21,2003.
Unser Ibsen—Ibsen on the Contemporary German Stage,” Plenary address,
International Ibsen Conference, New York, June 5, 2003.
“Political Theatre in America,” University of Vienna, June 13, 2003.
“Multiple Languages of Theatre,” University of Vienna, June 16, 2003.
“Macaronic Theatre and Linguistic Capital,” ATHE Convention, New York, August 1,2003.
“Ghosts and Follies,” ATHE Convention, New York, August 2, 2003.
“Heiner Müller in Production,” Heiner Müller Conference, Cornell University,September 27, 2003.
“The Egyptian Oedipus, Comedy or Tragedy,” Conference on Tragedy as a Literary
Genre within Western and Arabic Drama, Ghent, Belgium December 16, 2003.
“Marivaux and the Theatre of His Times,” Pearl Theatre, New York, January 10, 2004.
“Dialogisme dans le theatre moderne et postmoderne,” Colloque international
“Dialoguer” Universite de Paris III, Paris, March 26, 2004.
“The Genealogy of Performance Studies,” ATHE Convention, Toronto, July 31, 2004.
Metamora and Americanism,” Metropolitan Playhouse, NY, October 17, 2004
“Theatre and Anthropology: Schechner and Turner, Barba and Hastrup,” Whitneylecture, Yale University, January 19, 2005
“Memory Theatres and Theatre Memories,” Keynote address, Early Modern Centerconference on Memory: 1500-1800, Santa Barbara, February 25, 2005
“National Theatres: Then and Now,” Keynote address, conference on National Theatres,
Trinity College, Dublin, Ireland, March 11, 2005
“Theatre Research in a Digital World,” Keynote address, Theatre History Conference,University of Lisbon, Lisbon, Portugal, April 26, 2005
“Yusif Idris’ Al-Farafir and the Search for an Egyptian Comic Theatre,” Conference on the Comic Condition in Arabic and Western Theatre, University of Tetouan, Tetuan, Morocco, April 28, 2005
“Modern Models of National Theatres,” ATHE Convention, University of Maryland,June 27, 2005.
“Theatre Perspectives in the New Century,” International Conference on Theatre Studiesin the 21st Century, Athens, Greece, September 28, 2005.
“Supertitles and Supertexts,” ASTA Convention, Toronto, November 11, 2005.
“Theatres and Memorialization,” Theatre Studies Conference, University of HelsinkiJanuary 27, 2006.
“When Musicians Come Up on the Stage,” University of Helsinki, January 28, 2006.
Panel participant, “Rachel Corrie and the Theatre of Public Opinion,” Barnard College, NY, April 7, 2006.
“Speaking in Tongues,” European College of the Liberal Arts, Berlin, May 18, 2006.
“Diasporic Negotiations in the Plays of Fatima Gallaire,” FIRT conference, Helsinki,August 10, 2006.
“The ‘Greatest Show:’ R. Murray Schafer’s Monumental Patria,” Conference on Site-Specific Theatre, Dubrovnik, Croatia, August 17, 2006.
“Ibsen in the 21st Century,” panel, Brooklyn Academy of Music, NY, Oct. 28, 2006.
“Introduction to Lenin El-Ramly’s The Nightmare,” Yale University, Nov. 12, 2006.
“Ibsen on the Contemporary Stage,” Scandinavian Center, NY, Nov. 13, 2006.
“Joseph Roach’s Surrogations and Memories,” ASTR conference, Chicago, Nov. 18,2006.
“The Theatre of Abdelkader Alloula,” ASTR conference, Chicago, Nov. 19, 2006.
“Languages at Play in the Theatre,” CUNY Graduate Center, Dec. 4, 2006.
“Performance Studies, Yesterday and Today,” Performance Conference, Wroclaw,Poland, Dec. 6, 2006.
“Opening Remarks,” Tehran Conference on Drama and Religion, Tehran, Iran, Jan. 6,2007.
“Current Trends in Ibsen Production,” Tsinghua University, Beijing China, April 3, 2007.
“The New Landscape in Ibsen Production,” Tsinghua University, Beijing China, April 5,2007.
“Recent Trends in Theatre and Performance Theory,” Fudan University, Shanghai,China, April 10, 2007.
“From Page to Stage: The Road Not (Yet) Taken,” Modern Drama celebration, Toronto,Canada, April 21, 2007.
“Exteme Acting,” Bauern Theater Project, Joachimsthal, Germany, May 5, 2007.
“Were We Made to Understand Each Other? Tayeb Saddiki’s Postcolonial Comedy,”FIRT Conference, Stellenbosch, South Africa, July 13, 2007.
“Religion and Theatre,” Panel Participant, ATHE Conference, New Orleans, June 27,2007.
“David Levine’s Bauerntheater: The Return of the Matrix,” PSi Conference, New York,November 10, 2007.
“2007 in the New York Theatre,” University of Vienna, January 18, 2008.
“Performance Studies: Its History and Uses,” UCLA, February 21, 2008.
“Theatre Studies and Performance Studies in the United States Today,” Congress on Languages and the Arts, University of Calabria, Italy, March 14, 2008.
“All-Conference Response,” Theatre:Crossroads of the Humanities Conference,Northwestern University, Chicago, April 12, 2008.
“Contemporary Egyptian-American Theatre in the United States,” Hanager Theater,  Cairo, Egypt, October 30, 2008.
“Arab-American Theatre Today in the United States,” American Center, Alexandria,   Egypt, November 1, 2008.
“Current Trends in Theatre and Performance Theory,” Ain-Shams University, Cairo,  Egypt, November ,2008.
“Egyptian Theatre Today from an International Perspective,” keynote address,   International Comparative Literature Conference, University of Cairo, Egypt, November 4, 2008.
“Space and the Theatre,” three lecture series, University of Warwick, England, Jan. 8-15,2009.
“Intercultural tensions in the modern Arabic theatre,” University of Warwick, Jan. 10,2009.
“Performing Interculturality: Arab Theatre and the West,” University of Vienna, June 5,2009.
“The Censorship Struggles of Jalila Baccar,” FIRT Conference, Lisbon, Portugal, July17, 2009.
”God is a DJ and so is Shakespeare:’ Steven Pucher’s Blended Bard,” Conference on Shakespeare and the Media, Gdansk, Poland, August 4, 2009.
“The/That One: Reading [Political] Culture,” ATHE Convention, New York, August 11,2009.
“The Theatre ici,” Keynote address, Conference on Politics of Space, Berlin, 22 October,2009.
“Discovering the Arab Theatre: One Western Scholar’s Journey,” keynote address,Theatrum Incognitum, Cairo, Egypt, April 2, 2010.
“Site-Specific Theatre in the Arab World,” keynote address, Tangier, Morocco, May 24,2010.
“Jewish theatre-makers in Germany Today,” FIRT conference, Munich, July 29, 2010.
“The Contemporary German Regietheater,” series of five lectures, University of Brussels.Belgium, Oct. 11-22, 2010.
“Current Theatre in New York,” University of Lille, France, Oct. 14, 2010.
“Digital space in the theatre,” Trinity College, Dublin, January 19, 2011.
“Challenges of translatimg Arabic drama,” keynote address, Translation Conference,Belfast, Northern Ireland, April 18, 2011
“Space and the theatre,” keynote address, Convention of AITR, Pecs, Hungary, April 30,2011
“What is (a)Theatre,” Architecture section, Prague Quadrennial, Prague, June 21, 2011
“Streets, Squares, and Strollers: The Performative City,” keynote address, Performacity Conference, Lisbon, Portugal, June 27, 2011
“Marley Was Dead to Begin With: Dickens’ Doubles and Pepper’s Ghost,” keynote Address, Ghosts and Theatre Conference, York University, England, July 1, 2011
“Perspectives on a Global Theatre History,” ATHE conference, Chicago, Aug. 13, 2011
“Ibsen’s Pivotal Play: Emperor and Galilean,” SUNY Buffalo, March 8, 2012
“The Unknown Arabic Theatre,” University of Washington, April 20, 2012
“Erika Fischer-Lichte and the Transformative Power of Scholarship,” keynote address,Performing Transformations Conference, Tangier, Morocco, June 1, 2012
“Baccar’s Khamsoun Locally and Globally,” Conference on Global Performance, CivicImagination and Cultural Diplomacy,” Washington, D.C., June 15, 2012
“Immersive Theatre and the Reception Process,” FIRT Conference, Santiago, Chile,July 24, 2012
“The Changing Spaces of Theatre,” Conference on Theatre Design, Rio de Janeiro,Brazil, August 28, 2012
“The Unknown Arabic Theate,” University of Massachusetts, Oct. 23, 2012
“Alfred Farag and the Egyptian Theatre,” Ambassador Theatre, Washington DC, Oct. 28
“Medieval Street Performers Speak,” ASTR Nashville, TN, Nov. 2, 2012
“Arabic Drama from a Global Perspective,” Beirut, Lebanon, Nov. 8, 2012
“The Troubled History of Arabic Theatre,” Ain Shams University, Cairo, Egypt, Nov. 12
“Revolution and Theatre,” Cairo University, Cairo, Nov. 13, 2012
“Rashad Rushdy,” New York University, Dec. 2, 2012
“Overview of American Theatre Journals,” Bologna, Italy, May
“Some Implications of the Post-Dramatic,” University of Florianapolis, Brazil, July 3, 2013
“The Immersive Theatre,” Blumenau Theatre Festival, Brazil, July 6, 2013
“Re-routing the Western Drama through the Arab World,” FIRT conference, Barcelona,July 23, 2013
“What is (A) Theatre?” Lodz, Poland, Oct. 9, 2013
“Medieval Arabic Performance,” Poznan, Poland, Oct. 12, 2013.
“Puppet Drama in Medieval Cairo,” Ballard Institute, Oct. 20, 2013, Storrs CT.
“Jalila Baccar, Khamsoun, and Tunisian Censorship,” San Diego, January 16, 2014.
“Performing the Past,” Aydin University, Istanbul, Turkey, Feb. 12, 2014
“What is (A) Theatre?” Ankara University, Ankara, Turkey, Feb. 14, 2014
“Arab-American Drama “ Lebanese-American University, Beirut, Lebanon, Feb. 17.2014
“The Performative City,” American University in Beirut, Feb. 18, 2014
“The Ibn Daniyal Project,” UNRWA University, Amman, Jordan, Feb. 20, 2014
“Documentary Drama: A Suitable Perforance Tool for Justice?” Conference onPerformance and Justice, John Jay College, New York, March 27, 2014
“Ón Arab Theatre,” Sciences PO, Paris, April 2, 2014
“Perspectives sur une Histoire du theatre mondiale,” University of Lille, France, April 3,2014
“Perspectives on Contemporary Performance,” Sorbonne, Paris, April 4, 2014
“Regnard and the Theatre of His Time,” CSC, New York, April 19, 2014
“Charles Ludlam’s Stage Blood,” Lucille Lortel Theatre, April 28, 2014
“What is Theatre?” Five-lecture series, Masaryk University, Brno, Czech Republic,May 19-23, 2014
“The Immersive Theatre,” Conference on Alternative Dramaturgies, Tangier,Morocco, May 28, 2014
“Faust and Solness,” Against the Grain, Buffalo, Aug. 3, 2014 (on Youtube)
Ibsen Festival, Lanesboro, Minnesota, April  18, 2015
“Thomas Ostermeier and Capitalist Realism,” London Ostermeier conference, Sept. 25,2014
“Theatre and Drama,” Shanghai Theatre Academy, China, Oct. 30, 2014
“The Unknown Arabic Drama, SAT, China, Nov. 1, 2014
“Le Phénomène des ‘War Re-enactments,’” Theatre de la Colline, Paris, Dec . 5, 2014
Available at       performance-dans-la-853.html[]
“Charles Ludlam’s Camille,” Red Bull, New York, Jan. 12, 2015
“Whose Space is it Anyway?,” keynote address, Southeast Theatre Conference, Decater, Georgia, April 10, 2015
“Faust and Solness,” Commonweal Ibsen Festival, Lanesboro, MN, April 19, 2015
“Immersive Theatre in New York,” Theatre Institute, Budapest, May 18, 2015
“Jalila Baccar and Tunisian Censorship,” Conference on Censorship, Cairo, May 27, 2015
“Theatre Criticism in the United States,” Shanghai Theatre Academy, Nov. 5, 2015
“The Field of Theatre Studies,” Shanghai Theatre Academy, Nov. 7, 2015
“Social and Literary Satire in Egyptian Drama,” Shanghai Theatre Academy, Nov. 11, 2015
“Hamlet’s Shattered Mirror,” keynote address, FOOT Conference, Toronto, Feb. 5, 2016.


Book Reviews


Dobree, Five Heroic Plays, Players Magazine, 39, 4 (January, 1963)
Southern, The Seven Ages of the Theatre, Players Magazine, 39, 7 (April, 1963)
Heywood, A Woman Killed with Kindness, Players Magazine, 40, 1 (October, 1963)
Van Abbe, Drama in Renaissance Germany and Switzerland, Players Magazine, 40,5 (February,1964)
Prudhoe, The Theatre of Goethe and Schiller, Nineteenth Century Theatre Research, 2, 1  (Spring, 1974)
Van Abbe, Goethe: New Perspectives, NCTR 2, 1 (Spring, 1974)
Performing Arts Resources, Vol. 1, Educational Theatre Journal, 27, 4 (Spring 1977)
Marker, The Scandinavian Theatre, NCTR, 5, 1-2 (Spring, 1977)
Johnson, August Strindberg: Plays of Confession and Therapy NCTR, 8, 1-2 (Spring,1977)
Durbach, Ibsen and the Theatre, NCTR, 9, 2 (Winter, 1981)
Reed, The Classical Centre: Goethe and Weimar, Theatre Survey, 22, 2 (November,
Carlson, Strindberg and the Poetry of Myth, NCTR, 11, 1 (Summer, 1983)
Brownstein and Daubert, Analytical Sourcebook of Concepts in Dramatic Theory,
Theatre Journal, 23, 1 (May, 1982)
De Marly, Costume on the Stage, 1600-1940, Theatre Survey, 14, 1-2 (May-November,1983)
Bauer and Wertheimer, Das End des Stegreifspiels: Die Geburt des National Theaters, Yearbook of Comparative and General Literature (1984)
Sogliuzzo, Luigi Pirandello: Director, Theatre Survey 25, 1 (May, 1984)
Williams, German Actors of the Eighteenth and Nineteenth Centuries, NCTR (1985)
Koller, The Theatre Duke: George II of Saxe-Meiningen and the German Stage,and
DeHart, The Meininger Theatre, Theatre Survey, 26, 1 (May, 1985)
Rokem, Theatrical Space in Ibsen, Chekhov and Strindberg, Genre (1985)
Huet, Rehearsing the Revolution, Theatre Survey (1985-86)
Wilshire, Role Playing and Identity, Nous., 19 (1986)
Bauer, Degraat and Wertheimer, Der Theatralische Neoklassisimus um 1800, YMCL, 36        (1987)
Vince, Historiographical Handbooks, Theatre Survey (November, 1988)
De Toro, Semiotica del Teatro, TRI (1988)
Chaim, Distance in the Theatre, TRI (1988)
Pavis, Marivaux a L’Epreuve de la Scene, Theatre Journal, (May-November, 1989)
Ozouf, Festivals and the French Revolution, and
Chazin-Bennahum, Dance in the Shadow of the Guillotine, 19th Century Theatre, 18, 1-2(Summer-Winter, 1990)
Donington, Opera and Its Symbols, Cambridge Opera Journal (1992)
Heuvel, Performing Drama/Dramatizing Performance, Theatre Journal, 44 (May, 1992)
Bennett, Theatre As Problem, Theatre Journal (1992)
Alter, A Sociosemiotic Theory of Theatre, The Drama Review (Summer, 1993)
Aston and Savona, Theatre As Sign System, The Drama Review (Summer, 1993)
Fischer-Lichte, Semiotics of Theatre, The Drama Review (Summer, 1993)
Pavis, Theatre at the Crossroads of Culture, Drama Review (Summer, 1993)
Grange, Partnership in the German Theatre, Theatre Survey (November, 1993)
Phelan, Unmarked, Theatre Journal (March, 1994)
Robinson, The Other American Drama, Theater (Spring, 1995)
Izenour, Roofed Theatres of Classical Antiquity, Theater Design, Theater Technology,
Theatre Journal (December, 1997)
Auslander, From Acting to Performance, Diamond, Unmaking Mimesis, Phelan,
Mourning Sex, The Drama Review (Summer, 1998)
Berghaus, Italian Futurist Theatre, 1909-1944, Theatre Survey (November, 2000)
Davis and Postlewait, Theatricality, Modern Drama, (Fall, 2004)
Fischer-Lichte, Theatre, Sacrifice, Ritual, PAJ (May, 2006)
Jaime Salom, Three Comedies, Bulletin of Spanish Studies (2006)
Bemjamin Bennett, Theater as Revolution, MLQ (September, 2006)
Hans-Thies Lehmann, Postdramatic Theatre, Theatre Research International (31.3)
Susan Maslan, Revolutionary Acts, TJ (November, 2006)
Jeffrey C. Alexander, Bernhard Giesen, Jason L. Mast, Social Performance: Symbolic
Action, Cultural Pragmatics, and Ritual, The Drama Review (Spring, 2007)
Laura Chakravarty Box, Strategies of Resistance in the Dramatic Texts of North African Women, Theatre Survey (May 2008)
Joseph Farrell and Paolo Puppa, A History of Italian Theatre, Journal of the Pirandello Society of America (2008)
Michael McKinnie, City Stages, Canadian Theatre Review (2009)
Gabrielle Cody and Evert Sprinchorn, The Columbia Encyclopedia of Modern Drama,TDR 53:4 (2009)
James Thompson, Jenny Hughes and Michael Balfour. Performance in Place of War. Comparative Drama 44:2 (2010)
Erin Mee and Helene Foley.  Antigone on the Contemporary World Stage, TDR, (2014)
Graham Ley, Ancient Greek and Contemporary Performance, Studies in Theatre andPerformance (2015)
Theatre in the Expanded Field” Arts Research Journal (Brazil, 2016)Karin von Nieuwkerk, Muslim Rap, Arab Stages 2 (Fall, 2015)


 Theatre Reviews

“The Yale Drama Festival,” Players Magazine, 38,7 (April, 1962)
“The Yale Drama Festival,” Players Magazine 39, 8 (May, 1963)
Ibsen, Peer Gynt, Ibsen News and Comment 5 (1984)
Brecht (RSC), Mother Courage and Her Children, Gestus (Spring, 1985)
Shakespeare (Bergman), King Lear, Theatre Survey (October, 1985)
Shakespeare (Mesguich), Romeo et Juliette, Theatre Journal (October, 1985)
Harrison, The Mysteries, RORD (1985)
Brecht, Austeig und Fall der Stadt Mahagonny, Gestus (Fall-Winter, 1985-86)
Bausch, The Seven Deadly Sins/Don’t Be Afraid, Gestus (Fall-Winter, 1985-86)
Brecht, The Threepenny Opera, Gestus (Winter, 1986)
Ionesco, Journeys Among the Dead, Theatre Journal (October, 1987)
Strindberg, To Damascus, Theatre Journal (October, 1989)
Ibsen, Peer Gynt, Ibsen News and Comment (1988)
Shakespeare (Chereau), Hamlet, Theatre Journal (October, 1989)
Chekhov, Three Sisters, Journal of Dramatic Theory and Criticism (Fall, 1989)
Buchner, Danton’s Death, Western European Stages (Fall, 1989)
Ibsen, Ghosts and Rosmersholm, Ibsen News and Comment, 10 (1989)
Gombrowicz, Operetta, Soviet and Eastern European Performance (Fall, 1989)
Shakespeare (Mesguich), Titus Andronicus, Western European Stages (Spring, 1990)
Ibsen, Hedda Gabler, Ibsen News and Comment, 11 (1990)
Shakespeare, The Tempest, Western European Stages Fall (1990)
Ibsen, The Lady from the Sea,Theatre Journal (Oct., 1990)
Mueller, Medea, Theatre Journal (March, 1991)
Irondale, The Uncle Vanya Show, JDTC (Spring, 1991)
Abdoh, Father Was a Peculiar Man, Journal of Dramatic Theory and Criticism (Spring,1991)
Brecht, Der Gute Mensch von Setzuan, Communications (1991)
Ibsen, When We Dead Awaken, Theatre Journal (October, 1991)
Goethe, Faust Frammenti, Theatre Journal (October, 1992)
O’Neill, S.S. Glencairn, Four Plays of the Sea, The Eugene O’Neill Review, 16:2 (Fall,1992)
O’Neill, The Emperor Jones (“Fish Story”, New York City), The Eugene O’Neill Review,16:2 (Fall, 1992)
Bond, In the Company of Men, Theatre Journal (May, 1992)
Mozart, The Magic Flute, Journal of Dramatic Theory and Criticism (Spring, 1993)
Shakespeare, Othello in Vienna, Shakespeare Quarterly (Summer, 1993)
Reprinted in Othello (Signet Classic Shakespeare) (1998)
Euripides, Iphigenia in Tauris, Journal of Dramatic Theory and Criticism (Fall, 1993)
Genet, Le Balcon, JDTC (Fall, 1993)
Margolin, Lesbians Who Kill, JDTC (Fall, 1993)
Ibsen, A Doll House, Ibsen News and Comment (1993)
Caliban, A Vast Wreck, INC (1993)
Brecht,  The Resistible Rise of Arturo Ui, Communications (May, 1994)
Abdoh, Tight, Right, White, JDTC (Spring, 1994)
Friel, Molly Sweeny, Theatre Journal (October, 1995)
Shakespeare, The Tempest, Slavic and East European Performance (Fall, 1995)
Toller, The Machine Wreckers, Western European Stages (Winter, 1995-96)
Ibsen, Hedda Gabler, Western European Stages (Winter, 1995-96)
Shakespeare, Midsummer Night’s Dream, Western European Stages (Winter, 1995-96)
Ionesco, The Chairs, Western European Stages (Winter, 1995-96)
Shakespeare, Measure for Measure, Journal of Dramatic Theory and Criticism, Spring(1996)
Guillaud, C’est la Vie and Chashama, Junior Black’s Office, Journal of Dramatic Theory and Criticism, Fall,( 1996)
Bond, The Bundle, Theatre Journal, March(1997)
Bogart, American Silents, Theatre Journal, (Fall, 1997)
Nekrosius, Hamlet, Slavic and East European Performance, (Spring, 1998).
Nekrosius, Hamlet,Theatre Journal, May( 1998).
Shakespeare, Measure for Measure (State Theatre, Istanbul), Theatre Journal, (October1999)
11th Annual Cairo Festival of Experimental Theatre, Theatre Journal, May( 2000)
Shakespeare, Hamlet, Western European Stages , Spring (2001)
Ibsen, Rosmersholm, Ibsen News and Comment  (2001)
Pollesch, Prater Trilogy (translated into Polish), Dialog 10 (2002)
Marting, Dead Tech, Ibsen News and Comment, 22 (2002)
Shakespeare, Twelfth Night, (dir. Holm), Western European Stages 14,1 (Winter, 2002)
Verdi, Aida (dir. Zeffirelli at Verona), Western European Stages 14,3 (Fall, 2003)
Williams, A Streetcar Named Desire, (dir. Castorf) Western European Stages 15,2(Spring, 2003)
O’Neill, Mourning Becomes Electra (National Theatre) The Eugene O’Neill Review 26(2004)
Mayakovsky, Mystery-Bouffe (Berlin Volksbuhne) Slavic and East European
Performance 24:3 (Fall, 2004)
Aladdin (Old Vic) Western European Stages (Winter, 2005)
Schiller, Don Carlos and Eldridge, Festen, Western European Stages 17:2 (Spring, 2005)
Ibsen, The Master Builder and Ghosts, Ibsen News and Comment 25 (2005)
Teatr ZAR, Gospels of Childhood, Slavic and East European Performance (Winter,2007)
Mouawad, Scorched, Ecumenia 1,2 (Fall,2008)
Ibsen, The Master Builder and An Enemy of the People, Ibsen News and Comment 28(2008)
Ibsen, The Master Builder, Ibsen News and Comment 29 (2009)
Adamson, Mrs. Affleck, Ibsen News and Comment 29 (2009)
Ibsen, Peer Gynt ,Ibsen News and Comment 29 (2009)
Ibsen, Hedda Gabler, Ibsen News and Comment 33 (2013)
Ibsen, An Enemy of the People, Ibsen News and Comment 33 (2013)
Ibsen, Ghosts, Ibsen News and Comment 34 (2014)
TgSTAN, JDX—A Public Enemy, Ibsen News and Comment 34 (2014)


Plays Directed

Steele, The Crock of Gold, University of Kansas, 1959.
Jonson, Volpone, Cornell University, 1961.
O’Neill, The Great God Brown, Cornell University, 1962.
Brecht, The Private Life of the Master Race, Cornell University Summer Theatre, 1962.
Masters, Spoon River Anthology, Cornell University Summer Theatre, 1962.
Sophocles, Oedipus Rex, Cornell University, 1963.
Brecht, Galileo, Cornell University, 1963.
Daly, Under the Gaslight, Cornell University Summer Theatre, 1963.
Ibsen, Rosmersholm, Cornell University, 1964.
Joyce, Finnegan’s Wake, Cornell University Summer Theatre, 1964.
Boucicault, The Willow Copse, Cornell University Summer Theatre, 1964.
Moliere, Tartuffe, Cornell University, 1965.
Duerrenmatt, The Physicists, Cornell University, 1965.
Beckett, Act Without Words, Cornell University Summer Theatre, 1966.
Ionesco, The Bald Soprano, Cornell University Summer Theatre, 1966.
Lagerkvist, The Difficult Hour, Cornell University Summer Theatre, 1966.
Shakespeare, Richard II, Cornell University, 1966.
Schiller, Mary Stuart, Cornell University, 1968.
Fielding, Lock Up Your Daughters, Cornell University, 1969.
Ibsen, The Wild Duck, Cornell University, 1970.
Calderon, Life is a Dream, Cornell University, 1971.
Kepel, The Good Soldier Schweik, Cornell University, 1972.
Ibsen, A Doll’s House, Cornell University, 1974.
Moliere, The Miser, Cornell University, 1975.
Tieck, Puss in Boots, Cornell University, 1976.
Turgenev, A Month in The Country, Cornell University, 1977.
Stoppard, Rosencrantz and Guildenstern Are Dead, Cornell University, 1979.
Goldoni, The Fan, Indiana University, 1980.
Wilde, The Importance of Being Earnest, Indiana University, 1981.
Masteroff, Caberet, Indiana University, 1983.
The Chester Ascension, Indiana University and Toronto, 1983.
Weiss, Marat/Sade, Indiana University, 1985.
The Fleury “St. Nicholas” Plays, Indiana University and Kalamazoo, 1986.



(Selected roles in University and Community theatres, Ithaca and Bloomington, 1960-85)
Autolycus in Shakespeare, The Winter’s Tale
Reverend Samuel Gardner in Shaw, Mrs. Warren’s Profession
Lord Edgard in Anouilh, Thieve’s Carnival
Nonancourt in Labiche, An Italian Straw Hat
Snorkey in Dale, Under the Gaslight
Firs in Chekhov, The Cherry Orchard
Roger Doremus in Williams, Summer and Smoke(New York City)
Andrew Jackson in The Trail of Tears by Willinger and Shaw, Theater for the New City,
June 8-June 24, 2000.  “Marvin Carlson is a powerful Andrew Jackson.”–Backstage: Show Guide


Plays Designed

(All at Cornell University)
The Time of Your Life, 1961.
The Great God Brown, 1961.
The Gondoliers, 1962.
Oedipus Rex, 1963.
As You Like It, 1963.
Galileo, 1963.
Under the Gaslight, 1963.
Lysistrata, 1964.
The Jew of Malta, 1964.
The Happy Haven, 1964
Tartuffe, 1965.
The Pirates of Penzance, 1965.
Patience, 1966
Perichole, 1968



French,           reading, writing, speaking
German,           reading, writing, speaking
Italian,          reading only
Danish,           reading only
Norwegian         reading only
Spanish,          reading only
Latin,            reading only
Arabic            reading only



Work Translated into the following languages:

Arabic, Bulgarian, Chinese, Croatian, Finnish, French, Galacian, German, Italian, Japanese, Korean, Macedonian, Polish, Portugese, Spanish, Slovak, Solvenian, Turkish


Biographical Listings

The Dictionary of International Biography
Who’s Who in America
Who’s Who in the East
Who’s Who in Entertainment
The World’s Who’s Who of Authors
Directory of American Scholars
Men of Achievement
Contemporary Authors
International Book of Honor
International Who’s Who of Public Service
Who’s Who of World Business Leaders