A Constellation of Imagined Theatres: Technology and Performance 
in Theatre Journal 68, no. 3 (2016)
A selection of ten imagined theatres and ten glosses from Imagined Theatres: Writing for a Theoretical Stage, written by a range of artists and scholars, all dealing with the intersection of technology and performance. An original introduction frames the collection.
Some Imagined Theatres: selections for a theoretical stage
in Theater, Vol. 44, no. 3 (2015). Read.
Imagined Theatres and theoretical reflections, all written by Daniel Sack. Based on a series of workshops and public performance lectures, this was the first iteration of the Imagined Theatres project published.
On Losing One’s Voice: Two Performances from Romeo Castellucci’s e la volpe disse al corvo
in Theatre Forum Vol. 46 (Winter 2014). Read.
An expansion and variation upon the essay in Quaderno 5: Canto del Cigno (Swan Song). This text considers the longer program that the city of Bologna hosted in honor of Castellucci in 2014. It focuses on a discussion of the voice in Castellucci's performances Giulio Cesare: pezzi staccati and Giudizio, Possibilità, Essere.  
White Cube, Black Room, Sweet Scent: Gregor Schneider in Edinburgh 
in PAJ: A Journal of Performance and Art, Vol. 36: 3 (September 2014). Read.
An account of the German artist's controversial installation at the Edinburgh Festival in August 2013 and how it exposes the white cube of the modernist art gallery as an inherently racialized space, irrevocably implicating the spectator as a participant in that logic.
The Brilliance of the Servant without Qualities: Bare Life and the Horde Offstage
in Studies in Theatre and Performance, special issue on Howard Barker, edited by Sarah Goldingay and Mick Mangan, Vol. 32: 3 (November 2012). Read.
British playwright Howard Barker's work as a tragedy on the traditions of characterlogical thinking. What happens when a figure loses all distinguishing features and exposes him or herself to a world without character?
The Rabbit and its Double
in Theater, special section on Romeo Castellucci, Vol. 37: 3 (October 2007). Read.
A theatre audience full of anthropomorphic stuffed black rabbits prompts a reflection on the role of the witness in the theatre. An episode from Castellucci's Tragedia Endogonidia cycle.


Theatrical Performance in the Margins: Imagined Theatres on Page and Stage

in Closet Drama: History, Theory, and Genre. Edited by Catherine Burroughs (New York/London: Routledge, 2019).

An essay on the development and aftermath of Imagined Theatres, the book and e-journal, framed in relation to the Closet Drama. 
Strip-showing and the Suspension of a Naked End

in Showing Off, Showing Up: Studies of Hype, Heightened Performance, and Cultural Power. Edited by Laurie Frederik, Kimberly Marra, and Catherine Schuler (Ann Arbor: University of Michigan Press, 2017).

An essay on the Politics of Rehearsal series by Belgian-Mexican artist Francis Alÿs, focused on performances of withholding and the act of writing. A performative essay, this writing stages the kind of knowledge it discusses.
Romeo Castellucci's Hey Girl!
in Reading Contemporary Performance: Theatricality Across Genres, eds. Meiling Cheng and Gabrielle Cody (London/New York: Routledge, 2015).
An analysis of the iconography in a one-woman performance by the Italian director Romeo Castellucci.  The text is included in Cheng and Cody’s volume as an example of how to approach visually-based experimental theatre.
Una stanza dalla potenzialità sconfinata, o della futurità [A Room of Endless Potentiality, or on Futurity]

in Toccare il reale. L’arte di Romeo Castellucci, ed. and trans. by Piersandra di Matteo (Napoli, Italy: Cronopio, 2015). Italian.

A boy with a ball, alone in a white cube. The minimal movement of theatre as a play between creation and destruction, appearance and disappearance. Adapted from After Live: Possibility, Potentiality, and the Future of Performance.
Not Looking into the Abyss: the Potentiality to See
in On Not Looking: The Paradox of Contemporary Visual Culture, ed. Frances Guerin (London/New York: Routledge, 2015). Read.
The whiteout of sight in fog installation performances by Antony Gormley, Kurt Hentschlager, and the Grand Canyon. By not looking at a particular thing, might we discover our potential to see? This chapter extends some of the ideas from After Live: Possibility, Potentiality, and the Future of Performance in new directions.
Walking In and Out of Place: the Pedestrian Performances of Tim Robinson
in Ireland, Performance, and the Historical Imagination, eds. Mary P. Caulfield and Christopher Collins (New York: Palgrave Macmillan, 2014). Read.
The cartographer and walking artist Tim Robinson becomes the basis for an investigation of walking in the rural landscape. Using the artist’s maps as the ground for my own wanders through Ireland, I attempted to retrace his steps and embody the limit cases of marking the land.
Guilio Cesare: pezzi staccati / Julius Caesar: spared parts
in Quaderno 5: Canto del Cigno (Swan Song), eds. Romeo Castellucci and Piersandra Di Matteo (Mantua, Italy: Corraini Edizioni, 2014). English and Italian.
One in a collection of 5 booklets on Romeo Castellucci, published alongside the program celebrating his work in Bologna 2014. Here I read the restaging of his landmark performance of Guilio Cesare from 1997 as an inquiry into the actor as prophet via the vehicle of the voice.