Clockwise-Counterclockwise (The Vowelless Revolution)," in Theatre Journal, May 2004.
The Remains of the Day for Night," an invited article to be published in a special edition of the journal Discourse devoted to the theme of "Death and Resurrection." Publication date, 2003.
Atom, Bomb," an invited essay on the theme of "Energy" for the journal Frakcija, published bilingually in Croatia (fall 2001).
Chapter on "Russian Theatre in the Silver Age" in History of the Russian Theatre, Cambridge University Press (1999).
Two Acts of the Illimit," in Of Borders and Thresholds, ed. Michal Kobialka, University of Minnesota Press (1999).
Infinity (Stage). Ann Arbor: University of Michigan Press, 1999.
Moscow Is Watching," in Slavic and East European Performance (spring 1997).
21 new entries plus revisions of my 119 previous entries and addition to my general essay for The Cambridge Guide to Theatre, 2nd edition (1995). Also revisions and additions to the shortened paperback edition of the GUIDE (1995).
[missing]," in The Journal of Dramatic Theory and Criticism, December 1995.
The Recurrence of Fate: Theatre and Memory in Twentieth-Century Russia. Iowa City: University of Iowa Press, 1994. Awarded the Joe A. Callaway Prize (1996) by the Departments of English and Drama, New York University, for the best book published in drama and theatre, 1994-95.
A Kiss Is Not A Kiss: Evreinov and the Illusion of Desire," in Wandering Stars: Russian Emigré Theatre, ed. Laurence Senelick, University of Iowa Press, 1993.
The Taganka in the Hamlet Gulag," in Foreign Shakespeare: Essays on Contemporary Performance Outside of English, ed. Dennis Kennedy, London and New York: Cambridge University Press, 1993.
Revolutionizing Galatea: Iconic Woman in Early Soviet Culture," in Gender in Performance, ed. Laurence Senelick, University Press of New England, 1992.
The Curtainless Stage and the Procrustean Bed: Socialist Realism and Stalinist Theatrical Eminence," in Theatre Survey, May 1991: 64-84.
O'Neill and the Poetics of Modernist Strangeness," in The O'Neill Century, Westport, CT: Greenwood Press, 1991.
Charlie Chaplin, Soviet Icon," in The Performance of Power: Theatrical Discourse and Politics, ed. Sue-Ellen Case and Janelle Reinelt, University of Iowa Press, 1991.
Russian Theatre and Drama entries (119 individual entries and a general essay--a total of 30,000 words) for The Cambridge Guide to World Theatre. London and New York: Cambridge University Press, 1989.
The Subject Stripped Bare: Rózewicz's 'Things as Things-in-Themselves.'" Slavic and East European Drama and Theatre. Winter/Spring 1985: 23-32.
Evreinov: The Theatre of Paradox and Transformation. Ann Arbor: UMI Research Press, 1984.
Nikolai Evreinov." The Modern Encyclopedia of Russian and Soviet Literature. Gulf Breeze, Florida: Academic International Press, 1984. Cited in Wolfgang Kasack, Dictionary of Russian Literature, New York: Columbia University Press, 1986.
Mysteries of the Self: The Visionary Theatre of Nikolai Evreinov." Theatre History Studies, vol. II (1982): 15-36.
Le Monodrama, Structure de Base pour l'Etude de Nicolas Evreinov." Nicolas Evreinov L'Apôtre Russe de la Théâtralité. Revue des Etudes Slaves. Paris: L'Institut d'Etudes Slaves (1981): 15-26.
Acting on the Run: Efros and the Contemporary Soviet Theatre," and "Energy, Enervation and the Mathematics of Intrigue," an article and interview, respectively Theatre Quarterly. London: TQ Publications. 26 (Summer 1977): 18-33.
Incapacity: Wittgenstein, Anxiety and Performance Behavior. Evanston, IL: Northwestern University Press (2014).
The Baroque Night. Evanston, IL: Northwestern University Press (2018).