“Knowing Animals Now: The Unreliable Bestiary, a Multi-Part, On-Going Performance Project By Deke Weaver.” In Reading Contemporary Performance: Theatricality Across Genres. Edited by Gabrielle Cody and Meiling Cheng. Routledge, 2015.
“Ocean-Oriented Ontologies: Performing Interspecies Diplomacy in Anthropocenic Waters.” Routledge Companion to the Environmental Humanities, edited by Ursula Heise. Forthcoming
“Conference as Confluence: Fluid States in The Cook Islands.” 31 July 2015. PSi#21 Fluid States – Cook Islands – Oceanic Performance Biennal. http://www.fluidstates.org/article.php?id=178
“Anthropo-Scenes: Staging Climate Chaos in the Drama of Bad Ideas,” in Twenty-First Century Drama, edited by Siân Adiseshiah and Louise Emma LePage, London: Palgrave McMillan. 2016. Forthcoming.
Selections from Dear Climate. Scapegoat: Architecture/Landscape/Political Economy, Issue 08: Weather. Spring 2015.
“Include Everything.” An interview with Una Chaudhuri, by Bronwyn Preece and Jess Owen, in Special Issue of Performing Ethos: An International Journal of Ethics in Theatre & Performance. August 2015.
“The Sun’ll Be Hotter Tomorrow: Growing Up with Climate Chaos” in Resilience: A Journal of the Environmental Humanities Volume 2, Number 1. June, 2015.
“Anthropo-Scenes: Theater and Climate Change,” Journal of Contemporary Drama in English. Volume 3, Issue 1, May 2015. 12-27 (featured as a Research Highlight in the July 2015 issue of Nature Climate Change [http://www.nature.com/nclimate/index.html]).
“Embattled Animals and the Theatre of Species.” Performing Animality. Edited by Lourdes Orosco and Jennifer Parker-Starbuck. Palgrave McMillan, 2015.
“Becoming Rhinoceros: Therio-Theatricality as Problem and Promise.” The Routledge Human Animal Studies Handbook, eds. Susan McHugh and Garry Marvin, Routledge Books, 2014.
“Bug Bytes: Insects, Information, and Interspecies Performance” Commissioned article for special issue of Theatre Journal on Interspecies Performance. October 2013.
“Animals in War, Animals on War: New Perspectives from a Theatre of Species,” Society and Animals, Society & Animals 21 (2013) 105-110.
“The Silence of the Polar Bears: Performing (Climate) Change in the Theatre of Species,” in Readings in Performance and Ecology, edited by Wendy Arons and Theresa May, Palgrave, 2012.
“Queering the Green Man, Reframing the Garden: Marina Zurkow’s Mesocosm (Northumberland UK) and the Theatre of Species.” Scapegoat: Architecture/Landscape/Political Economy, Issue 02: Materialism. December 2011.
“Animals in the Performing Arts.” Entry in The Encyclopedia of Animal Rights and Animal Welfare, Greenwood Publishing Group, 2010.
“’Of all Nonsensical Things:’ Performance and Animal Life.” PMLA, Volume 124, Number 2, March 2009.
Commentary on “Polar Bear God” by Deke Weaver, Aspect Magazine: The Chronicle of New Media Art, Volume 12, 2008.
“(De)facing the Animals: Zooësis and Performance,” TDR: The Journal of Performance Studies, Mach 2007. [Translated into Japanese.]
“Animal Rites: Performing Beyond the Human,” in Critical Theory and Performance, ed. Joseph Roach and Janelle Reinelt, Revised Edition (Ann Arbor: University of Michigan Press, 2007.
“Caryl Churchill.” Entry in The Oxford Encyclopedia of British Literature, ed. David Scott Kasdan (Oxford: Oxford University Press, 2006).
“Hell in the Heartland: Mapping Post-Abu Ghraib America in Sam Shepard’s The God of Hell,” Contemporary Drama in English, Volume 13, 2006.
“Animal Geographies: Zooësis and the Space of Modern Drama,” Performing Nature: Explorations in Ecology and the Arts, eds. Gabriella Giannachi and Nigel Stewart, Peter 4 Lang, 2005. [Reprint of “Animal Geographies: Zooësis and the Space of Modern Drama,” Modern Drama (Volume XLVI, Number 4, Winter 2003) 646-662.]
“Animalizing Performance, Becoming-Theatre: Inside Zooēsis with the Animal Project at NYU,” co-authored with Shonni Enelow. Theatre Topics, March 2006.
“Animal Acts for Changing Times,” American Theater, October 2004.
“Zoo Stories: ‘Boundary-Work’ in Theatre History,” Redefining Theatre History ed. W.B. Worthen and Peter Holland (Palgrave, 2004).
“Different Hats,” Theater, 2004.
“AWK!” Extremity, Animality and the Aesthetic of Awkwardness,” in The Undiscovered Country: The Later Plays of Tennessee Williams ed. Philip Kolin, (New York: Peter Lang, 2002) 54-67.
“’Look at my bones:’ Theatre as Contact Zone in The Bodies Between Us,” in Roberta Uno, ed., The Color of Theatre (London: Continuum, 2002) 337-344.
“De Casibus,” Forum on Tragedy, Theatre Journal, March 2002.
“Beyond a ‘Taxonomic Theatre:’ Interculturalism after Postcolonialism and Globalization.” Review article, Theater, Spring 2002.
“The Birds are on Fire,” Village Voice, October 2001.
“Theater and Cosmopolitanism: New Stages, Old Stories, ” in Cosmopolitan Geographies : New Locations in Literature and Culture ed. Vinay Dharwadker (Essays from the English Institute) (New York and London: Routledge, 2001) 177-195.
“This Ignorant Present: Macbeth Today.” Joseph Papp Public Theater Stagebill, September 1998.
“Working Out (of) Place: Brook’s Mahabharata and the Problematics of Intercultural Performance,” in Jenny Spencer, ed. Staging Resistance (Ann Arbor: University of Michigan Press, 1998).
“The Poetics of Exile and the Politics of Home,” in Patrick Colm Hogan and Lalita Pandit (eds.), Literary India: Comparative Studies in Aesthetics, Colonialism, and Culture (Albany: SUNY Press, 1995).
“ ‘There Must be a Lot of Fish in that Lake:’ Theorizing a Theatre Ecology,” Theater, Summer 1994.
“Private Parts: Sex, Class and Stage Space in Miss Julie,” Theatre Journal, October 1993.
“The Spectator in Drama/Drama in the Spectator: Peter Shaffer’s Equus,” reprinted in C. D. Zimmerman and Hersh Zeifman (eds.), Contemporary British Drama: Essays from Modern Drama 1970-1985 (London: Macmillan, 1993).
“The Future of the Hyphen: Interculturalism, Textuality and the Difference Within,” in Bonnie Marranca and Gautam Dasgupta (eds.), Interculturalism and Performance: Writings From PAJ (New York: PAJ Publications, 1991), 192-207.
“When’s the Play? Time and the Theory of Drama,” Theater, (Summer-Fall 1991), 46-61.
“ ‘Who is Godot?’ A Semiotic Approach to Meaning Production in Beckett’s Play,” in Enoch Brater and June Schlueter (eds.), Approaches to Teaching Beckett’s Waiting for Godot (New York: Modern Language Association, 1991), 133-40.
“Marat/Sade and the Politics of Interpretation,” in Hanna Scolnicov and Peter Holland (eds.), Reading Plays: Interpretation and Reception (Cambridge: Cambridge University Press, 1991), 216-26.
“Writing the Raj Away,” Turnstile, 2, 1 (1990), 26-35.
“The Dramaturgy of the Other: Diegetic Patterns in Synge’s The Playboy of the Western World,” Modern Drama, 32, 3 (September 1989), 374-86.
“The Politics of Theatre: Play, Deceit, and Threat in Genet’s The Blacks,” Modern Drama, 8, 3 (September 1985), 362-76.
“From the Sixties to the Seventies and Beyond: My Dinner with Andre and the American Avant-Garde,” Indian Journal of American Studies, 15, 2 (Summer 1985), 15-23.
“Drama in the Spectator/The Spectator in Drama,” Modern Drama, 27, 3 (September 1984), 281-98.
“Seeing, Saying, and Knowing: Hamlet and the Tenuous Project of Drama Semiotics,” New Orleans Review, 11, 3/4 (1984), 119-27.