Academic Essays and Papers

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

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

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

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

  5. “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.

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

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

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

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

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

  11. “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.

  12. “Danza Futurista: Giannina Censi and the Futurist ‘Thirties’.” In: Dance Theatre Journal 8:1 (Summer 1990), pp. 4-7, 34-37.

  13. “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.

  14. “Neoplatonic and Pythagorean Notions of World Harmony and Unity and Their Influence on Renaissance Dance Theory.” In: Dance Research 10:2 (Autumn 1992), pp. 43-70.

  15. 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.

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

  17. Dance and the Futurist Woman: The Work of Valentine de Saint-Point.” In: Dance Research 11:2 (Autumn 1993), pp. 27-42.

  18. Pop Art, Nouveau Réalisme, and Happenings.” In: The Drama Review 31:1 (T140) (Winter 1993), pp. 157-168

  19. Fulvia Giuliani: Portrait of a Futurist Actress.” In: New Theatre Quarterly 10 (1994), pp. 117-121.

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

  21. Tomas Schmit: A Fluxus Farewell to Perfection.” In: The Drama Review 38:1 (T141) (Spring 1994), pp. 79-97

  22. Oppositional Cabaret in Nazi Germany: Or Walking a Political Tightrope over the Abyss.” In: Performance Research 1: 2 (Autumn 1996), pp. 57-59.

  23. (with Ben Slater) Degraded: A Video Performance.” In: Studies in Theatre Production, no. 14 (December 1996), pp. 4-19. [ISSN 14682761]

  24. 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.

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

  26. 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.

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

  28. “Il secondo futurismo e il regime fascista.” In: Terzo occhio: Trimestrale d’arte contemporanea 23:4 (December 1997), pp. 3-7;  24:1 (March 1998), pp. 6-9. [ISSN 0390-0355]

  29. Ritual and Crisis: Survival Techniques of Humans and Other Animals.” In: Performance Research 3:3 (Winter 1998), pp. 62-73.

  30. Die futuristischen Abende: Theater, Film, Performance Art.” In: Forum Modernes Theater 14:1 (1999), pp. 63-73.

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

  32. 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

  33. (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.

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

  35. “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.

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

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

  38. The Futurist Banquet: Nouvelle Cuisine or Performance Art?.” In: New Theatre Quarterly 28:1 (February 2001), pp. 3-17.

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

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

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

  42. 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.

  43. 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.

  44. “Neo-Dada Performance Art.” In: David Hopkins, and Anna Katharina Schaffner, eds.: Neo-Avant-Garde. Amsterdam & New York: Rodopi, 2006, pp. 75-96.

  45. “Militant Politics and Avant-garde Performance Art in the Early Futurist Movement.” In: Arcadia 41:2 (2006), pp. 245-259.

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

  47. Avant Garde.” In: Ric Alsopp, and David Williams, eds.: A Lexicon. Special edition of Performance Research 11:3 (Sept. 2006), published as a contribution to Documenta 12, pp. 14-16.

  48. “F.T. Marinetti’s Concept of a Theatre Enhanced by Audio-Visual Media.” In: Forum Modernes Theater 22:2 (2007), pp. 105-116.

  49. “New Research on Futurism and its Relations with the Fascist Regime.” In: Journal of Contemporary History 42:1 (2007), pp. 149–160.

  50. “I banchetti futuristi come performance art.” In: Trasparenze. Supplemento non periodico a Quaderni di poesia 31-32 (2007), pp. 10-24. [ISSN 1723-9362]

  51. 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.

  52. 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.

  53. 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.

  54. 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.

  55. Marinetti e il suo utopico progetto di Teatro Totale.” In: Walter Pedullà, ed.: Futurismo e letteratura. Special issue of L’Illuminista 9:27 (September-December 2009). Roma: Ponte Sisto, 2009, pp. 453-457.

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

  57. “Futurism and Women.” In: Modern Language Review 105:2 (April 2010), pp. 401-411.

  58. “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 28:1 (March 2010), pp. 21-35.

  59. “La ricezione del futurismo nel secondo dopoguerra: Rimozione o recupero?” In: Avanguardia: Rivista di letteratura contemporanea 16:45 (2010), 45-66.

  60. “Violencia, purgativo final del mundo.” Juan José Gómez, and Ángel Llorente, eds.: Cultura y violencia. Sevilla: Doble J, 2010. 63-84.

  61. “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.

  62. “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 56:3 (2010), pp. Budapest: Akadémiai Kiadó, 2010. pp. 321-341.

  63. “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.

  64. “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.

  65. “Futurist Tactile Theatre.” In: Paul J. Stoesser, ed.: Futurist Dramaturgy and Performance. Toronto: Legas, 2011. pp. 13-35.

  66. “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.

  67. “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.

  68. “Conferences Held on the Occasion of the Centenary of Futurism.” In: International Yearbook of Futurism Studies, vol. 1 (2011), pp. 365-408.

  69. “A Bibliography of Publications Commemorating 100 Years of Futurism.” In: International Yearbook of Futurism Studies, vol. 1 (2011), pp. 409-435.

  70. A Bibliography of Publications on Futurism Published in 2009–2011.” In: International Yearbook of Futurism Studies 2 (2012), pp. 421-457.

  71. 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.

  72. 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.

  73. “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.

  74. “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.

  75. “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.

  76. “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.

  77. “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.

  78. “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, 18: 3-4 (2013), pp. 205-216.

  79. “A Bibliography of Publications on Futurism Published in 2010–2012.” In: International Yearbook of Futurism Studies 3 (2013), pp. 447-471.

  80. “Azione/Reazione: Il futurismo in Belgio e Europa.” In: Incontri: Rivista europea di studi italiani, vol. 28, no. 2 (2013), pp. 99-102.

  81. “Valentine de Saint-Point: Performance, War, Politics and Eroticism.” In: International Yearbook of Futurism Studies 3 (2013), pp. 3-7.

  82. “Apulia Celebrates International Futurism.” In: International Yearbook of Futurism Studies, vol. 3 (2013), pp. 6-11.

  83. “Sound and Silence in Futurist Poetry.” In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 31-35.

  84. “Futurism and Modernist Magazines.” In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 49-60.

  85. “A Bibliography of Publications on Futurism Published in 2011–2013.” In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 507-533.

  86. “Serate and Gallery Performances.” In: Vivien Greene, ed.: Italian Futurism, 1909-1944: Reconstructing the Universe. In: New York: Solomon R. Guggenheim Museum, 2014, pp. 90-93.

  87. “Marinetti’s Technological Imagination.” In: Antonio Saccoccio, and Giancarlo Carpi, eds.: Marinetti 70. Roma: Armado, 2014, pp. 33-38.

  88. “Futurist Utopias.” In: International Yearbook of Futurism Studies 5 (2015), pp. 486-494.

  89. “A Bibliography of Publications on Futurism, 2012-2014.” In: International Yearbook of Futurism Studies 5 (2015), pp. 559-588.

  90. “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, pp. 52-68.

  91. “ ‘Le Futurisme mondial’: Reception and Adaptation in International Futurism.” In: Revista de história da arte 10 (April 2014), pp. 182-189.

  92. “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, pp. 21-37.

  93. “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, pp. 223-242.

  94. “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), pp. 219-220.

  95. “A Bibliography of Publications on Futurism Published in 2013-2015.” In: International Yearbook of Futurism Studies 6 (2016), pp. 477-492.

  96. “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, pp. 157-173.

  97. “A primeira conferência futurista no Teatro República (14 de Abril 1917): Uma serata futurista? In: Colóquio-Letras 194 (April 2017), pp. 22-36.

  98. “A Cultural Icon of Ill-Repute: Marinetti and Brazilian Antifascism.” In: International Yearbook of Futurism Studies 7 (2017), pp. 250-259.

  99. “A Bibliography of Publications on Futurism, 2014-2016. In: International Yearbook of Futurism Studies 7 (2017), pp. 435-452.

  100. “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 63:1 (2017), Budapest: Akadémiai Kiadó, 2017. pp. 29-43.

  101. “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, pp. 15-30.

  102. “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, pp. 49-58.

  103. “A Bibliography of Publications on Futurism, 2015–2017.” In: International Yearbook of Futurism Studies 8 (2018), pp. 439-454.

  104. “Futurist Theatre as a Synaesthetic Experience.” In: Ilona Fried, ed.: Prospettive culturali fra intersezioni, sviluppi e svolte disciplinary in Italia e in Ungheria. Convegno organizzato dal Dipartimento d’Italianistica della Facolta di Lettere dell’Università Eötvös Loránd, Budapest, con collaborazione con l’Istituto Italiano di Cultura di Budapest, 3-4 maggio 2017. Budapest:  Ponte Alapítvány; Eötvös Loránd Tudományegyetem, Bölcsészettudományi Kar, Olasz Nyelv és Irodalom Tanszék, 2018, pp. 297-312.

  105. “Futuristicheskaia kukhnia kak total’noe proizvedenie iskusstva.” In: Olga Sokolova, ed.: Povarennaia kniga futurista: Manifest F. T. Marinetti i Fillia “Futuristicheskaia kukhnia”. Sankt-Peterburg: Izdatel’stvo Evropeiskogo universiteta v Sankt-Peterburge, 2018, pp. 69-94.

  106. “The Futurista ‘serata’ at the Teatro República in Lisbon (14 April 1917).” In: Ricardo Marques, ed.: “Portugal futurista” e outras publicações de 1917. Lisboa: Biblioteca Nacional de Portugal, 2018, pp. 15-28.

  107. “Noise: A Category in Futurist Theatre and Music.” In: Zbornik radova Akademije umetnosti 6 (2018), pp. 15-35.

  108. “On Taste and Other Senses: Synaesthesia in Renaissance and Avant-garde Performance.” In: Performance Research 23:4-5 (November-December 2018). Special issue PR 100. London: Taylor and Frances, 2018, pp. 22-28.

  109. “The Historiography of Italian Futurism.” In: Günter Berghaus, ed.: Handbook of International Futurism. Berlin/Boston: Walter de Gruyter, 2018, pp. 3-27.

  110. “Fortunato Depero and the Theatre.” In: Italian Modern Art 1:1 (January 2019). Special issue on Fortunato Depero: Proceedings of a Symposium at the Center for Italian Modern Art, New York, Feb 21, 2014, pp. 1-25.

  111. “Lothar Schreyer a sztuka sceniczna ekspresjonizmu.” In: Pamiętnik Teatralny 68:1 (2019), pp. 22-37.

  112. “A Bibliography of Publications on Futurism, 2016–2019.” In: International Yearbook of Futurism Studies 9 (2019), pp. 441-467.


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.

  2. 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

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

  4. 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.

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

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

  7. 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.

  8. 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.

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

  10. 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.

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

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

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

  14. 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

  15. 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)

  16. 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.

  17. 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

  18. 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.

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

  20. 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

  21. 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.

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

  23. 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.

  24. 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.

  25. 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.

  26. Giuseppe Barletta, ed.: Futurismi. Atti del convegno, Bari: Palazzo Ateneo, 2009. In: International Yearbook of Futurism Studies, vol. 3 (2013), pp. 6-11.

  27. 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.

  28. María del Carmen Solanas Jiménez: La poética futurista. In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 31-35.

  29. 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.

  30. Aesthetics of Anarchy: Poetics and Politics of Early Russian Avant-garde. In: International Yearbook of Futurism Studies, vol. 4 (2014), pp. 61-68.

  31. 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 LuluPlays (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)

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

  3. 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”.

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

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

  6. 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”.

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