PUBLICATIONS

Academic Essays and Papers:

  1. “Nestroys Possen als politisches Volkstheater.” In: Programmheft “Freiheit in Krähwinkel”, Tübingen: Landestheater Württemberg-Hohenzollern, 1981, pp. 2-5.

  1. “Quellen zu Nestroys Weltanschauung und Lebensphilosophie.” In: Nestroyana, vol. 4 (1982), pp. 3-24.

  1. “A Case of Censorship of Milton in Germany: On an Unknown Edition of the “Pro Populo Anglicano Defensio”. In: Milton Quarterly, vol. 17 (1983), pp. 61-70.

  1. “Andreas Gryphius’ Carolus Stuardus: Formkunstwerk oder politisches Lehrstück?.” In: Daphnis, vol. 13 (1984), pp. 229-274

  1. “Rebellion, Reservation, Resignation: Nestroy und die Wiener Gesellschaft 1830-1860.” In: W.E. Yates & J.R.P. McKenzie, eds.: Viennese Popular Theatre: A Symposium, Exeter: University Press, 1985, pp. 109-122.

  1. “Georg Greflinger als Journalist und historisch-politischer Schriftsteller: Mit einem Anhang seiner Schriften über die englische Revolution.” In: Wolfenbütteler Barock-Nachrichten, vol. 12 (1985), pp. 1-14.

  1. “Dada Theatre, Or: The Genesis of Anti-bourgeois Performance Art.” In: German Life and Letters, vol. 38 (1985), pp. 293-312.

  1. “German Theatre in Exile.” In: Plays & Players, Sept. 1986, pp. 14-17, Dec. 1986, p. 2.

  1. “A Theatre of Image, Sound and Motion: On Synaesthesia and the Idea of a Total Work of Art.” In: Maske und Kothurn, vol. 32 (1986), pp. 7-28.

  1. ‘Girlkultur’: Feminism, Americanism and Popular Entertainment in Weimar Germany.” In: Journal of Design History, vol. 1 (1988), pp. 193-220.

  1. “Producing Art in Exile: Perspectives on the German Refugees’ Creative Activities in Great Britain.” In: G. Berghaus, ed.:Theatre and Film in Exile, Oxford: Berg, 1989, pp. 13-46.

  1. “Danza Futurista: Giannina Censi and the Futurist ‘Thirties’.” In: Dance Theatre Journal, vol. 8, No. 1, Summer 1990, pp. 4-7, 34-37.

  1. “The Emigrés from Nazi Germany and Their Contribution to the British Theatrical Scene.” In: Werner E. Mosse, ed.:Second Chance: Two Centuries of German-speaking Jews in the United Kingdom, Tübingen: Mohr, 1991, pp. 297-314.

  1. “Neoplatonic and Pythagorean Notions of World Harmony and Unity and Their Influence on Renaissance Dance Theory.” In: Dance Research, vol. 10, no. 2, Autumn 1992, pp. 43-70.

  1. “Theatre Performances at Italian Renaissance Festivals: Multi-media Spectacles or Gesamtkunstwerke?.” In: Ronnie Mulryne, ed.:Italian Renaissance Festivals and Their European Influence, New York: Edwin Mellen Press, 1992, pp. 3-55.

  1. “Happenings and Other Acts.” In: Performance Art into the `90s, London: Academy Publ. 1994, pp. X-XI.

  1. “Dance and the Futurist Woman: The Work of Valentine de Saint-Point.” In: Dance Research, vol. 11, no. 2, Autumn 1993, pp. 27-42.

  1. “Pop Art, Nouveau Réalisme, and Happenings.” In: The Drama Review, (T140), Winter 1993, pp. 157-168

  1. “Fulvia Giuliani: Portrait of a Futurist Actress.” In: New Theatre Quarterly, vol. 10 (1994), pp. 117-121. [ISSN 0266-464 X]

  1. “Happenings in Europe: Trends, Events and Leading Figures.” In: Mariellen Sandfort, ed.:Happenings and Other Acts, New York: Routledge, 1995, pp. 310-388.

  1. “Tomas Schmit: A Fluxus Farewell to Perfection.” In: The Drama Review, (T141), Spring 1994, pp. 79-97

  1. “Oppositional Cabaret in Nazi Germany: Or Walking a Political Tightrope over the Abyss.” In: Performance Research, vol. 1, no. 2 (Autumn 1996), pp. 57-59.

  1. (with Ben Slater) “Degraded: A Video Performance.” In: Studies in Theatre Production, no. 14 (December 1996), pp. 4-19.

  1. “Stagecraft in the Service of Statecraft: Early Renaissance Performances in Ferrara.” In: Christopher Cairns, ed.:Scenery, Set and Staging in the Italian Renaissance, Lampeter: Edwin Mellen Press, 1996, pp. 1-38.

  1. “Georg Greflinger.” In: James Hardin, ed.:German Writers of the Baroque, 1580-1720, New York: Gale Publishers, 1996, pp. 121-130.

  1. “The Ritual Core of Fascist Theatre.” In: Günter Berghaus, ed.: Fascism and Theatre: Comparative Studies on the Politics and Aesthetics of Performance in Europe, 1925-1945, Oxford: Berghahn Books, 1996, pp. 39-71.

  1. “O Expressionismo no teatro: Interpretação, cenografia e dança.” In: O percevejo: Revista de teatro e estética, vol. 5, no. 5, (1997), pp. 88-96. [ISSN 0104-7671]

  1. “Il secondo futurismo e il regime fascista.” In: Terzo occhio: Trimestrale d’arte contemporanea, vol. 23, no. 4, December 1997, pp. 3-7; vol. 24, no. 1 (March 1998), pp. 6-9. [ISSN 0390-0355]

  1. “Ritual and Crisis: Survival Techniques of Humans and Other Animals.” In: Performance Research, vol. 3, no. 3 (Winter 1998), pp. 62-73.

  1. “Die futuristischen Abende: Theater, Film, Performance Art.” In: Forum Modernes Theater, vol. 14, no. 1 (1999), pp. 63-73.

  1. “Ritualisme et esprit fin-de-sciècle.” In: Théâtre / Public, no. 146 (March-April 1999), pp. 68-73. [ISSN 0335-2927]

  1. “Futurism, Dada, and Surrealism: Some Cross-Fertilizations Among the Historical Avant-garde.” In: G. Berghaus, ed.: International Futurism in Arts and Literature, Berlin: De Gruyter, 2000, pp. 271-304

  1. (with Mario Verdone ) “Vita futurista” and Early Futurist Cinema.” In: G. Berghaus, ed.: International Futurism in Arts and Literature, Berlin: De Gruyter, 2000, pp. 398-421.

  1. “Futurism: A Bibliographic Reference Shelf.” In: G. Berghaus, ed.: International Futurism in Arts and Literature, Berlin: De Gruyter, 2000, pp. 487-597.

  1. “Obra total de arte e teatro modernista.” In: João Gabriel Teixera, ed.:Transe: Estudos transdisciplinares sobre a performance, Brasília: Editora Universidade do Brasília, 2000, pp. 15-27.

  1. “The Futurist Body on Stage.” In: Homo Orthopedicus: Le corps et ses prothèses à l’époque (post)moderniste, ed. by Nathalie Roelens, and Wanda Strauven, Paris: L’Harmattan, 2001, pp. 333-348.

  1. La Raucourt: A Libertine Actress of the Eighteenth Century.” In: Maske und Kothurn, vol. 42, nos. 2-4 (2000), pp. 259-277.

  1. The Futurist Banquet: Nouvelle Cuisine or Performance Art?.” In: New Theatre Quarterly, 28:1 (February 2001), pp. 3-17. [ISSN 0266-464 X]

  1. “Sironi’s Modernism.” In: Oxford Art Journal 24:1 (2001), 157-162.

  1. “Artaud’s Jet de Sang.” In: Studies in Theatre Production, 21:1 (2001), 4-17. [ISSN 14682761]

  1. “From Futurism to Neo-Futurism: Continuities and New Departures in Twentieth-Century Avant-garde Performance.” In: Avant-garde / Neo-Avant-garde, ed. by Dietrich Scheunemann, Amsterdam/New York: Rodopi, 2005, pp. 195-224.

  1. “Biographie und Anregungen eines Ausgewanderten I.” In: V. Thomas Haberkamm und Daniel Dettling, eds.: Der Kampf um die besten Köpfe: Perspektiven für den deutschen Hochschulstandort, Berlin: Altana, 2005, pp. 18-21.
  1. “The Futurist Political Party.” In: Sascha Bru, and Gunther Martens, eds.: The Invention of Politics in the European Avant-Garde, 1905-1940, Amsterdam & New York: Rodopi, 2006, pp. 153-182
  1. “Neo-Dada Performance Art.” In: David Hopkins, and Anna Katharina Schaffner, eds.: Neo-Avant-Garde, Amsterdam & New York: Rodopi, 2006, pp. 75-96.

  1. “Militant Politics and Avant-garde Performance Art in the Early Futurist Movement.” In: Arcadia, vol. 41, no. 2 (2006), pp. 245-259. [ISSN 0003-7982]

  1. “Violencia, purgativo final del mundo.” In: Cultura moderna (Sevilla) no. 2 (Autumn-Winter 2006), pp. 73-112. [ISSN 697-686-X]

  1. “Avant Garde.” In: Ric Alsopp, and David Williams, eds.: A Lexicon. Special edition of Performance Research, vol. 11, no. 3 (Sept. 2006), published as a contribution to Documenta 12, pp. 14-16. [ISBN 0415405106; ISSN 13528165]

  1. “F.T. Marinetti’s Concept of a Theatre Enhanced by Audio-Visual Media.” In: Forum Modernes Theater 22, no. 2 (2007), pp. 105-116.

  1. “New Research on Futurism and its Relations with the Fascist Regime.” In: Journal of Contemporary History, vol. 42, no. 1 (2007), pp. 149–160.

  1. “I banchetti futuristi come performance art.” In: Trasparenze. Supplemento non periodico a Quaderni di poesia 31-32 (2007), pp. 10-24. [ISSN 1723-9362]
  1. “From Video Art to Video Performance: The Work of Ulrike Rosenbach.” In: Alexander Graf, ed.: Avant-garde Film, Amsterdam/New York: Rodopi, 2007, pp. 321- 338.
  1. “The Use of Audio-Visual Media in Futurist Theatre.” In: Henri Schoenmakers, Stefan Bläske, Kay Kirchmann, Jens Ruchatz, eds.: Theater und Medien / Theatre and the Media: Grundlagen – Analysen – Perspektiven. Eine Bestandsaufnahme, Bielefeld: Transcript, 2008, pp. 133-139.
  1. “Futurism and the Technological Imagination: Poised between Machine Cult and Machine Angst.” In: G. Berghaus, ed.: Futurism and the Technological Imagination. Amsterdam / New York; Éditions Rodopi 2009. 1-39.
  1. “Variety, Music-hall and Futurist Theatre Aesthetics.” In: Gianni Eugenio Viola, ed.: Una bellezza nuova: Studi e ricerche nel Centenario del Manifesto di Fondazione del Futurismo di Filippo Tommaso Marinetti. Atti del Convegno internazionale di studi presso la Biblioteca Angelica di Roma, 15-17 gennaio 2009. Roma: Biblioteca d’Orfeo, 2009, pp. 111-143.
  1. “Marinetti e il suo utopico progetto di Teatro Totale.” In: Walter Pedullà, ed.: Futurismo e letteratura. Special issue of L’Illuminista, vol. 9, no. 27 (September-December 2009). Roma: Ponte Sisto, 2009, pp. 453-457.

  1. “Violence, War, Revolution: Marinetti’s Concept of a Futurist Cleanser for the World. Annali d’ italianistica, vol. 27 (2009), pp. 23-71.

  1. “Futurism and Women.” In: Modern Language Review, vol. 105, no. 2 (April 2010), pp. 401-411.

  1. “Artaud’s Jet de Sang: An Unperformable Surrealist Play? in: Thomas Crombez, and Barbara Gronau, eds.: Ritual and the Avant-garde. Special issue of Documenta: Tijdschrift voor theater. Mededelingen van het Documentatiecentrum voor Dramatische Kunst Gent, vol. 28, no. 1 (March 2010), pp. 21-35. [ISSN 0771-8640]
  1. “La ricezione del futurismo nel secondo dopoguerra: Rimozione o recupero? In: Avanguardia: Rivista di letteratura contemporanea, vol. 16, no. 45 (2010), 45-66. [ISSN 1128-2452]
  1. “Violencia, purgativo final del mundo.” Juan José Gómez, and Ángel Llorente, eds.: Cultura y violencia. Sevilla: Doble J, 2010. 63-84. [978-84-96875-340.]
  1. “Violencia, purgativo final del mundo.” F.T. Marinetti: Necesidad y belleza de la violencia. Ed. by Günter Berghaus. Sevilla: Editorial Doble J, 2010. i-xxxiii.
  1. “A futurizmus háború utáni fogadtatása: Elnyomás vagy visszavétel? [The Postwar Reception of Futurism: Recuperation or Repression?] In: Endre Szkárosi, ed.: A félre-értelmezett futurizmus / Il futurismo mal-interpretato / Futurism Mis-Interpreted. Special issue of Helikon: Irodalomtudományi Szemle, vol. 56, no. 3 (2010), pp. Budapest: Akadémiai Kiadó, 2010. pp. 321-341. [ISBN 0017-999X]
  1. “Futurism and the Genesis of Dada: Contacts, Contrasts and Continuities.” In: Walter Pedullà, ed.: Il futurismo nelle avanguardie. Atti del convegno internazionale di Milano: Palazzo Reale, Sala delle otto colonne, del 4-6 febbraio 2010. Roma: Ponte Sisto, 2010. pp. 137-156.
  1. “From Avant-garde to Mainstream: Futurist Theatre in the 1920s.” In: Peter Benoy, and Jaak van Schnoor, eds.: Historische avant-garde en het theater in het interbellum. Bruxelles: Academic & Scientific Publishers, 2011, pp. 75-90.
  1. “Futurist Tactile Theatre.” In: Paul J. Stoesser, ed.: Futurist Dramaturgy and Performance. Toronto: Legas, 2011, pp. 13-35.
  1. “Marinetti’s Volte-Face of 1920: Occultism, Tactilism and ‘Gli indomabili’.” In: Gino Tellini, and Paolo Valesio, eds.: Beyond Futurism: Filippo Tommaso Marinetti, Writer. For the Centennial Anniversary of the Italian Avant-Garde = Al di là del futurismo: Filippo Tommaso Marinetti, scrittore. Per il centenario dell’avanguardia italiana. Atti del convegno internazionale di studi, New York: Columbia University, 12-13 novembre 2009. Firenze: Società Editrice Fiorentina, 2011, pp. 47-76.
  1. “Avanguardia e fascismo: Teatro futurista tra le due guerre.” In: Davide Lacagnina, ed.: Immagini e forme del potere: Arte, critica e istituzioni in Italia fra le due guerre. Palermo: Edizioni di Passaggio, 2011, pp. 61-86.
  1. “Conferences Held on the Occasion of the Centenary of Futurism.” In: International Yearbook of Futurism Studies, vol. 1 (2011), pp. 365-408.
  1. “A Bibliography of Publications Commemorating 100 Years of Futurism.” In: International Yearbook of Futurism Studies, vol. 1 (2011), pp. 409-435.
  1. “A Bibliography of Publications on Futurism Published in 2009–2011.” In: International Yearbook of Futurism Studies 2 (2012), pp. 421-457.
  1. “The International Impact of Futurism: Absorptions, Assimilations, Adaptations.” In: Links: Rivista di letteratura e cultura tedesca = Zeitschrift für deutsche Literatur- und Kulturwissenschaft 12 (2012), pp. 11-22.
  1. “Die Bühnenkunst des Expressionismus.” In: Andrea von Hülsen-Esch, ed.: Der Sturm: Zentrum der Avantgarde. Vol. 2. Aufsätze. Wuppertal: Von der Heydt-Museum, 2012, pp. 397-437.
  1. “The Postwar Reception of Futurism: Repression or Recuperation? In: Geert Buelens, Harald Hendrix, and Monica Jansen eds.: The History of Futurism: The Precursors, Protagonists, and Legacies. Lanham/MD: Lexington Books, 2012, pp. 377-403.
  1. “The Futurist Conception of Gesamtkunstwerk and Marinetti’s Total Theatre.” In: Franciska Hervai d’Elhoungne, and Dávid Falvay, eds.: “Sul fil di ragno della memoria”: Studi in onore di Ilona Fried. Budapest: Eötvös Loránd Tudományegyetem, Bölcsészettudományi Kar, Olasz Nyelv és Irodalom Tanszék; Budapest: Ponte Alapítvány, 2012, pp. 283-302.
  1. “L’Art-Action: Les Pratiques performatives dans les soirées futuristes.” In: Jean-Paul Aubert, Patrick Marcolini, Serge Milan, Jean-François Trubert, eds.: Avant-Gardes: Frontières, Mouvements. Vol. 1. Délimitations, Historiographie. Sampzon: Éditions Delatour, 2013, pp. 177-200.
  1. Kokoschka’s ‘Murderer Hope of Women’: An Early Specimen of Expressionist Theatre Aesthetics.” In: Irene Chytraeus-Auerbach, ed.: Der Aufbruch in die Moderne: Herwarth Walden und die europäische Avantgarde. Stuttgart: Internationales Zentrum für Kultur- und Technikforschung (IZKT), 2013, pp. 42-50. [ISBN 978-3-643-12273-5]
  1. Futurist Performance, 1910-16.” In: Simona Storchi, and Elza Adamowicz, eds.: Back to the Futurists: The Avant-garde and Its Legacy. In: Proceedings of a Conference, Held 2-4 July 2009 at Queen Mary University of London. Manchester: Manchester University Press, 2013, pp. 176-194.
  1. Tristan Tzara: From pre-Dadaism to post-Futurism. Italian Influences in the Cabaret Voltaire.” In: Les Cahiers Tristan Tzara = Caietele Tristan Tzara: Publication internationale pour l’étude des avant-gardes contemporaines, vol. 18, nos. 3-4 (2013), pp. 205-216. [ISSN 1584-8825]
  1. “A Bibliography of Publications on Futurism Published in 2010–2012.” In: International Yearbook of Futurism Studies, vol. 3 (2013), pp. 447-471.
  1. “Azione/Reazione: Il futurismo in Belgio e Europa.” In: Incontri: Rivista europea di studi italiani, vol. 28, no. 2 (2013), pp. 99-102.
  1. “Valentine de Saint-Point: Performance, War, Politics and Eroticism.” In: International Yearbook of Futurism Studies, vol. 3 (2013), pp. 3-5.
  1. “Apulia Celebrates International Futurism.” In: International Yearbook of Futurism Studies, vol. 3 (2013), pp. 6-11.
  1. “Azione/Reazione: Futurism in Belgium and Europe. In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 44-48.
  1. “Sound and Silence in Futurist Poetry.” In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 31-35.
  1. “Futurism and Modernist Magazines.” In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 49-60.
  1. “A Bibliography of Publications on Futurism Published in 2011–2013.” In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 507-533.
  1. “Futurist serate and Gallery Performances.” In: Vivien Greene, ed.: Italian Futurism, 1909-1944: Reconstructing the Universe. In: New York: Solomon R. Guggenheim Museum, 2014. 90-93.
  1. “Marinetti’s Technological Imagination.” In: Antonio Saccoccio, and Giancarlo Carpi, eds.: Marinetti 70. Roma: Armado, 2014. 33-38.
  1. “Futurist Utopias.” In: International Yearbook of Futurism Studies, vol. 5 (2015), pp. 486-494.
  1. “A Bibliography of Publications on Futurism, 2012-2014.” In: International Yearbook of Futurism Studies, vol. 5 (2015), pp. 559-588.
  1. “P’uturizmi da politika, 1898-1944.” In: Bela Tsip’uria, and At’inat’ Mamats’ashvili-Kobakhidze, eds.: Shedarebit’i literaturis krebuli. Vol. 1. T’bilisi: Ilias sakhelmtsipo universitetis gamomts’emloba, 2013. 52-68
  1. ” ‘Le Futurisme mondial’: Reception and Adaptation in International Futurism.” In: Revista de história da arte 10 (April 2014): 182-189.
  1. “Futurist Utopias.” In: International Yearbook of Futurism Studies 5 (2015): 486-497
  1. “Impatto internazionale del futurismo: Assorbimenti, assimilazioni, adattamenti.” In: Mauro Ponzi, ed.: L’Europa futurista: Simultaneità, Costruttivismo, Montaggio. Atti del Convegno internazionale, Roma: La Sapienza, 25 novembre 2011.Milano: Mimesis, 2015. 21-37
  1. “F. T. Malinei di yu yidali weilai zhuyi, 1898 nian zhi 1944 nian: Nian de xianfeng pai yu zhengzhi.” In: Wang Jie, ed.: Makesi zhu yi mei xue yan jiu = Research on Marxist Aesthetics. Shanghai: Jiao Tong University Press; Guilin Shi: Guangxi shi fan da xue chu ban she, 2015. 223-242.
  1. “Naked as the Night: A Kammerspiel.” In: Cahiers Tristan Tzara = Caietele Tristan Tzara: Publication internationale pour l’étude des avant-gardes contemporaines 24-30 (#106-152) (2015): 219-220
  1. “A Bibliography of Publications on Futurism Published in 2013-2015.” In: International Yearbook of Futurism Studies. Vol. 6. Berlin/New York: Walter de Gruyter, 2016. 477-492
  1. “P’uturizmi da politika, 1898-1944.” In: Bela Tsip’uria, and At’inat’ Mamats’ashvili-Kobakhidze, eds.: Shedarebit’i literaturis krebuli. Vol. 1. T’bilisi: Ilias sakhelmtsipo universitetis gamomts’emloba, 2013. 52-68.
  1. ” ‘Le Futurisme mondial’: Reception and Adaptation in International Futurism.” Revista de história da arte 10 (April 2014): 182-189.
  1. “Futurist Utopias.” International Yearbook of Futurism Studies 5 (2015): 486-497.
  1. “Impatto internazionale del futurismo: Assorbimenti, assimilazioni, adattamenti.” Mauro Ponzi, ed.: L’Europa futurista: Simultaneità, Costruttivismo, Montaggio. Atti del Convegno internazionale, Roma: La Sapienza, 25 novembre 2011. Milano: Mimesis, 2015. 21-37.
  1. “F. T. Malinei di yu yidali weilai zhuyi, 1898 nian zhi 1944 nian: Nian de xianfeng pai yu zhengzhi.” Wang Jie, ed.: Makesi zhu yi mei xue yan jiu = Research on Marxist Aesthetics. Shanghai: Jiao Tong University Press; Guilin Shi: Guangxi shi fan da xue chu ban she, 2015. 223-242.
  1. “Naked as the Night: A Kammerspiel.” Cahiers Tristan Tzara = Caietele Tristan Tzara: Publication internationale pour l’étude des avant-gardes contemporaines 24-30 (#106-152) (2015): 219-220.
  1. “A Bibliography of Publications on Futurism Published in 2013-2015.” International Yearbook of Futurism Studies. Vol. 6. Berlin/New York: Walter de Gruyter, 2016. 477-492.
  1. From Mechanical to Electronic Theatre: Art and Technology on the Futurist Stage. In: Irene Chytraeus-Auerbach, and Georg Maag, eds.: Futurismus: Kunst, Technik, Geschwindigkeit und Innovation zu Beginn des 20. Jahrhunderts. Münster: LIT, 2017. 157-173.
  1. A primeira conferência futurista no Teatro República (14 de Abril 1917): Uma serata futurista? In: Colóquio-Letras 194 (April 2017): 22-36.
  1. A Cultural Icon of Ill-Repute: Marinetti and Brazilian Antifascism. In: International Yearbook of Futurism Studies 7 (2017): 250-259.
  1. A Bibliography of Publications on Futurism, 2014-2016. In: International Yearbook of Futurism Studies 7 (2017): 435-452.
  1. A dada eletkezéze: Futurista hatások Romániában, Németországban és a Cabaret Voltaire-ben. In: Györgyi Földes and András Kappanyos, eds.: A százévez dada. Special issue of Helikon: Irodalomtudományi Szemle, vol. 63, no. 1 (2017), Budapest: Akadémiai Kiadó, 2017. pp. 29-43.
  1. F. T. Marinetti’s Quest for an Art Inspired by Science. In: Harri Veivo, Jean-Pierre Montier, Françoise Nicol, David Ayers, Benedikt Hjartarson, and Sascha Bru, eds.: Beyond Given Knowledge: Investigation, Quest and Exploration in Modernism and the Avant-Gardes. Berlin: De Gruyter, 2018. 15-30.
  1. Entries on “Avant-garde” (36-39); “Bauhaus” (40-41); “Dada” (96-98); “Expressionism” (139-142); “Futurism” (160-164). In:The Edinburgh Dictionary of Modernism, ed. by Olga Taxidou, and Vassiliki Kolocotroni. Edinburgh: Edinburgh University Press, 2018.
  1. Prampolini and the Theatre of the 1920s: Exhibitions of Stage Design, Mechanical Theatre, and Dance. In: Przemysław Strożek, ed.: Enrico Prampolini: Futurism, Stage Design and the Polish Avant-garde Theatre. Łodz: Muzeum Sztuki, 2017. 49-58. [ISBN 978-83-63820-59-6]
  1. A Bibliography of Publications on Futurism, 2015–2017. In: International Yearbook of Futurism Studies 8 (2018): 439-454.

Review Articles:

  1. Frederick Burwick, Illusion and Drama: Critical Theory of the Enlightenment and Romantic Era. In: New Theatre Quarterly, vol. 8, no. 32 (November 1992), pp. 399.

  1. Helen Watanabe O’Kelly, Triumphall Shews: Tournements at German-speaking Courts in their European Context. In: Dance Research, vol. 12, no. 1 (Spring 1994), pp. 88-90

  1. Christopher Innes, Avant-garde Theatre, 1892-1992. In: New Theatre Quarterly, vol. 10, no 40 (November 1994), pp. 394-395.

  1. Rudolf Braun & David Gugerli, Macht des Tanzes, Tanz der Mächtigen: Hoffeste und Herrschaftszeremoniell 1550-1914. In: Dance Research, vol. 12, no. 2 (Autumn 1994), pp. 162-165.

  1. Pontus Hultén, Niki de Saint Phalle // Sidra Stich, Yves Klein. In: Performance Research, vol. 1, no. 1 (Spring 1996), pp. 114-117.

  1. Giovanni Lista, Loïe Fuller: Danseuse de la Belle Epoque. In: Theatre Research International, vol. 11, no. 2 (Summer 1996), pp. 177-178.

  1. Ute Daniel, Hoftheater: Zur Geschichte des Theaters und der Höfe im 18. und 19. Jahrhundert. In: Theatre Research International, vol. 22, no. 1 (Spring 1997), pp. 78-79.

  1. Kristiaan P. Aercke, Gods of Play: Baroque Festive Performances as Rhetorical Discourses. In: New Theatre Quarterly, vol. 13, no. 50 (May 1997), pp. 186-187.

  1. Cinzia Blum, The Other Modernism: F.T. Marinetti’s Rhetoric of Power. In: Modern Language Review, vol. 91, no. 1 (January 1998), pp.

  1. Jean Clottes and David Lewis Williams, Les Chamanes de la préhistoire: Transe et magique dans les grottes ornées. In: Performance Research, vol. 3, no. 3 (Winter 1998), pp. 124-125.

  1. Emily Braun, Mario Sironi and Italian Modernism: Art and Politics under Fascism. In: Oxford Art Journal, vol. 24, no. 1 (2001), pp. 157-162.

  1. Karin Friedrich, Festive Culture in Germany and Europa XVI – XX. C.. In: New Theatre Quarterly, vol. 17, no. 3 (August 2001), pp. 291

  1. Michael Balfour, Theatre and War, 1933-1945; John London, Theatre under the Nazis. In: Theatre Survey, vol. 43 (2002), pp. 273-275

  1. Willard Bohn, The Other Futurism: Futurist Activity in Venice, Padua, and Verona. In: Modern Language Review, vol. 100, no. 3 (July 2005), pp. 840-841

  1. Marja Härmänmaa, Un patriota che sfidò la decadenza: F. T. Marinetti e l’idea dell’uomo nuovo fascista, 1929-1944 // Patricia Chiantera-Stutte, Von der Avantgarde zum Traditionalismus: Die radikalen Futuristen im italienischen Faschismus von 1919 bis 1931. In: Journal of Contemporary History, vol. 43, no. 1 (January 2007)

  1. Alan Ackerman and Martin Puchner, Against Theatre: Creative Destructions on the Modernist Stage. In: Theatre Research International, vol. 32, no. 2 (July 2007), pp. 201-202.

  1. James M. Harding and John Rouse, Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance. In: Theatre Research International, vol. 32, no. 1 (2008), pp. 107-108

  1. François Livi and Silvia Contarini, Futurisme et surréalisme. In: Pierpaolo Antonello and Marja Härmänmaa, eds.: Future Imperfect: Italian Futurism Between Tradition and Modernization. Special issue of The European Legacy: The Official Journal of the International Society for the Study of European Ideas, vol. 14, no. 7 (December 2009) London: Routledge, 2009, pp. 883-884.

  1. Christine Poggi, Inventing Futurism: The Art and Politics of Artificial Optimism. In: Modern Language Review, vol. 105, no. 1 (January 2010), pp. 263-265.

  1. Mirella Bentivoglio, and Franca Zoccoli: Le futuriste e le arti visive. // Cecilia Bello Minciacchi, ed: Spirale di dolcezza + serpe di fascino: Scrittrici futuriste. // Silvia Contarini: La Femme futuriste. In: Modern Language Review 105:2 (April 2010), pp. 401-411

  1. Melissa Trimingham, The Theatre of the Bauhaus: The Modern and Postmodern Stage of Oskar Schlemmer.” In: Theatre Research International, vol. 36, no. 3 (September 2011), pp. 288-289.

  1. Franca Bruera and Barbara Meazzi, eds.: Plurilinguisme et avant-gardes. In: International Yearbook of Futurism Studies, vol. 2 (2012), pp. 14-19.

  1. Alena Pomajzlová: Růžena: Příběh malířky Růženy Zátkové = Story of the Painter Růžena Zátková. In: International Yearbook of Futurism Studies, vol. 2 (2012), pp. 7-13.
  1. Bart van den Bossche, et al., eds.: Azione/Reazione: Il futurismo in Belgio e in Europa. Incontri: Rivista europea di studi italiani, vol. 28, no. (2013), pp. 99-102.
  1. Adrien Sina, ed.: Tragédies charnelles: Valentine de Saint-Point. Performance, guerre, politique et érotisme.” In: International Yearbook of Futurism Studies, vol. 3 (2013), pp. 3-5.
  1. Giuseppe Barletta, ed.: Futurismi. Atti del convegno, Bari: Palazzo Ateneo, 2009. In: International Yearbook of Futurism Studies, vol. 3 (2013), pp. 6-11.
  1. Enrico Crispolti and Caterina Terzetti, eds.: La fortuna del futurismo in Belgio. // Bart van den Bossche, et al., eds.: Azione/Reazione: Il futurismo in Belgio e in Europa. In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 44-48.
  1. María del Carmen Solanas Jiménez: La poética futurista. In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 31-35.
  1. Peter Brooker, et al., eds.: The Oxford Critical and Cultural History of Modernist Magazines. Vol. 3. Europe 1880-1940. In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 49-60.
  1. Nina Gurianova: Aesthetics of Anarchy: Poetics and Politics of Early Russian Avant-garde. In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 61-68.
  1. Mladen Ovadija: Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre. In: International Yearbook of Futurism Studies, vol. 5 (2015), pp. 541-549.

Articles for Handbooks and Encyclopedias:

  1. The International Dictionary of the Theatre, ed. by Mark Hawkins-Dady, 3 vols, London: St James Press, 1992-95; Entries on Frank Wedekind’s Lulu Plays (vol. 1, pp. 444-446), Oskar Kokoschka’s Murder Hope of Women (vol. 1, pp. 544-545), Arthur Schnitzler’s La Ronde (vol. 1, pp. 684-686), Oskar Kokoschka (vol. 2, pp. 561-563), Max Reinhardt (vol. 3, pp. 640-651)

  1. German Writers of the Baroque, 1580-1720, ed. by James Hardin, New York: Gale Publishers, 1996, pp. 121-130. Entry on “Georg Greflinger”.

  1. Renaissance and Reformations, 1500-1620: An Interdisciplinary Dictionary, ed. by Jo Eldridge Carney, Westport/CT: Greenwood Press, 2000. pp. 308-309. Entry on “Hans Sachs”.

  1. The Oxford Encyclopedia of Theatre and Performance, ed. by Dennis Kennedy, Oxford: Oxford University Press, 2002. 18 Entries

  1. The Continuum Companion to Twentieth Century Theatre, ed. by Collin Chambers, London: Continuum, 2002. 35 Entries

  1. Europe 1789 to 1914: Encyclopedia of the Age of Industry and Empire, ed. by John Merriman and Jay Winter, vol. 2, Detroit: Charles Scribners Sons, 2006, pp. 915-921. Entry on “Futurism”.

  1. Dictionary of Modernism, ed. by Olga Taxidou, and Vassiliki Kolocotroni, Edinburgh: Edinburgh University Press, 2015. Entries on “Avant-garde; Bauhaus; Dada; Expressionism; Futurism.”

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