Performing Bodies in Pain: Medieval and Post-Modern Martyrs, Mystics, and Artists (in progress)
“Whipping up Community: Reworking the Medieval Passion Play, from Ron Athey to Mel Gibson,” in The Renaissance of Medieval Theatre, ed. Véronique Dominguez (Academia Bruylant / Université Catholique de Louvain, forthcoming 2009).
“Looking, Listening, and Remembering: Ways to Walk New York After 9/11,” Theatre Journal 58 (2006): 395-416. Shorter version forthcoming in Performance and the City, ed. D.J. Hopkins, Shelley Orr, and Kim Solga (Palgrave MacMillan). Gerald Kahan award (ASTR, 2007).
“Antigone’s Bodies: Performing Torture,” Modern Drama 46.3 (2003): 381-403.
“Painful Processions in Late-Medieval Paris,” European Medieval Drama 6 (2003): 65-81.
“Spectator Response to Images of Violence: Seeing Apollonia,” Fifteenth-Century Studies 27 (2001): 7-20.
“Acting and Answerability,” in Method Acting Reconsidered, ed. David Krasner (New York: St. Martin’s Press, 2000), 81-95.
“Performative Pornography: Annie Sprinkle Reads Her Movies,” Text and Performance Quarterly 19 (July 1999): 236-47.
“Impassive Bodies: Hrotsvit Stages Martyrdom,” Theatre Journal 50.4 (December 1998): 473-87. Excerpt included in Bedford Introduction to Drama, 4th ed., ed. Lee A. Jacobus (Boston: St. Martin’s Press, 2001).
“Torturing Culture: Performative Pain in 21st-Century Theatre and Law,” Association for Theatre in Higher Education, Denver, August 2008.
Theatre History Textbook Roundtable, Association for Theatre in Higher Education, Denver, August 2008.
“Stalking Cat: Other Bodies, Other Minds, Other Americas,” American Society for Theatre Research, Phoenix, November 2007.
“Regenerating Fear: Reviving the Holy War in Twenty-First Century Cities,” Association for Theatre in Higher Education, New Orleans, July 2007.
“Whipping up Community: Reworking the Medieval Passion Play, from Ron Athey to Mel Gibson,” Société Internationale pour l’Étude du Théâtre Médiéval, Lille, July 2007.
“Pain Research and Spectator Response,” American Society for Theatre Research, Chicago, November 2006.
“Writing Ground Zero,” American Society for Theatre Research, Toronto, November 2005.
“Remembering Trauma, Performing Memory,” Association for Theatre in Higher Education, San Francisco, July 2005.
“Tasting Compassion, Spitting it Out?” American Society for Theatre Research, Las Vegas, November 2004.
“Theorizing Spectator Response to the Body in Pain: Le Geu Saint Denis,” Société Internationale pour l’Étude du Théâtre Médiéval, Elche, August 2004.
“Building Theories About Medieval Bodies, Part 2,” Association for Theatre in Higher Education, Toronto, July 2004.
“Mediating Gina Pane: Body Art Documentation,” American Society for Theatre Research, Durham, November 2003.
“Popular Conceptions of ‘Medieval’ Cruelty,” Convivium Conference: Popular Culture Then and Now, Siena College, October 2003.
“Pain, Sex, and Transformation,” Association for Theatre in Higher Education, New York, August 2003.
“Building Theories About Medieval Bodies, Part 1,” Association for Theatre in Higher Education, New York, August 2003.
“Hrotsvit and Harlotry: Making Sense of Tenth-Century Women, Wealth, and Sexuality,” Authenticity and Revision in Performance: the Case of Hrotsvit and Terence, University of California, Santa Cruz, May 2003.
“Le Geu Saint Denis and
the Birth of
“Pain and Performativity,” Association for Theatre in Higher Education, San Diego, July 2002.
“Hrotsvit’s Dramatic Structure: Charting the Movement of Souls in Gallicanus,” International Congress on Medieval Studies, Kalamazoo, May 2002.
“Cut and Response: Framing Marina Abramovic and Valie Export in Theory,” Association for Theatre in Higher Education, Chicago, August 2001.
“Painful Processions,” Société Internationale pour l’Étude du Théâtre Médiéval, Groningen, July 2001.
“Taking Antígona from
“Re-Framing Antígona,” Mid-America Theatre Conference, Chicago, March 2001.
“Using Apollonia: Pain as
Spectacle in Late Medieval
“The Suffering Body and
Utopia: Angels in
“Antigone’s Bodies: Staging
Torture in
“Spectacular Suffering: Erotic Response and the Saint’s Play,” International Medieval Congress, Leeds, July 1999.
“Impassive Bodies: Hrotsvit Stages Martyrdom,” Société Internationale pour l’Étude du Théâtre Médiéval, Odense, August 1998; earlier version presented at multidisciplinary arts conference Subject to Desire: Refiguring the Body, State University of New York at New Paltz, November 1997.
“Body Against Voice: Performance and Bakhtin’s ‘Word with a Loophole’,” American Society for Theatre Research, San Antonio, November 1997.
“Entering Into a Mirage: Choreographer Ann Carlson at the Brooklyn Bridge Anchorage,” Association for Theatre in Higher Education, Chicago, August 1997.
“Tragedy and Law in Ancient Athens: Representation and the Problem of Women,” Viva Voce: Echoes of Performance in Ancient Texts, Brown University, February 1997.
“Marina Abramovic Repeats: Pain, Art, and Theater,” HotReview.org (December 2005).
The Angel Project by Deborah Warner, Lincoln Center Festival, New York, Theatre Journal 56.1 (March 2004): 125-27.
Jody Enders, Death by Drama and Other Medieval Urban Legends, Theatre Journal 56.1 (March 2004): 133-34.
Barbara A. Hanawalt and Michal Kobialka, eds., Medieval Practices of Space, Theatre Journal 54.3 (October 2002): 519-20.
Mitchell B. Merback, The Thief, the Cross, and the Wheel: Pain and the Spectacle of Punishment in Medieval and Renaissance Europe, Studies in Iconography 22 (Spring 2001): 191-93.
Medieval Theatre Festival
in Odense,
Sponsus at the Cloisters, Early Drama, Art, and Music Review 19.2 (Fall 1996): 62-64.
Mariellen R. Sandford, ed., Happenings and Other Acts, and Sally Banes, Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body, Theatre Journal 48.2 (May 1996): 246-48.