You can download the full version of most of my published work by visiting my Academia page
“An Egyptian Play in Italian: James Sanua’s Nomadic Pedagogy in The Unfaithful Husband.” Being revised for Modern Drama.
“And Let the Best… Thing Win!”: Post- and Non-Human Actors in RuPaul’s Drag Race. In preparation for Posthuman Drag, edited by Kai Prins (University of Wisconsin-Madison, United States) and Florian Zitzelsberger (University of Passau, Germany)
“Theatre’s Labor’s Lost: Racial Tensions and the Censorship of Ethiopia under the Federal Theatre Project.”
“Dramatic Tropes and Assemblage Repair in Gordon Ramsey’s 24 Hours to Hell and Back”
“Jorge Lavelli and Pirandello: A Director on Edge with Six Characters between France and Argentina.”
“Clothes (Don’t) Make the (Wo)Man: Costume as Mask and Identity in Enrico IV and Nostra Dea.” Peer reviewed. PSA (Pirandello Society Annual) 24 (2011): 43-62.
“The Synthetic Bard: Dramatic Synthesis from the Futurists to The Reduced Shakespeare Company.” Peer reviewed. Polymath, 1 (2011): 1-29.
“The Short Play and Postmodernist Stage Directing: A Virtual Experiment with Pirandello’s Cecè.” Peer reviewed. Quaderni d’Italianistica 32.2 (2011): 159-82.
“The Italian Linguistic Continuum for the Stage: The Challenges of Translating Carta canta by Raffaello Baldini.” Peer reviewed. TSJ Translation: A Translation Studies Journal 3 (2011): 32-46. University of California-Santa Barbara. Full text here.
“The Intertextual Short Play: An Example Using Verga’s Cavalleria rusticana and Capuana’s Il piccolo archivio.” Peer reviewed. This article first appeared in MLN (Modern Language Notes) 126 (2011): 47-73. Copyright © 2011 The Johns Hopkins University Press.
“Planes of Reality: Modernist One-Act Plays by Verga, D’Annunzio, and Pirandello.” Peer reviewed. L’anello che non tiene, 23.1-2 (2011): 69-86.
“Stage Directions in Translation: George Bernard Shaw and the Italian versions of the Plays Pleasant and Unpleasant” [in Italian: “Le didascalie tradotte alla prova: George Bernard Shaw e le versioni italiane dei Plays Pleasant e Unpleasant.”. Peer reviewed. Testo a fronte 44 (2011): 97-126.
“Virtual Theatres in Miniature Rooms: The Early Italian Dialogic Sonnets.” Peer reviewed. Italica 88.4 (2011): 499-514.
“The Multiple Realities of the One-Act Play in Translation: Pirandello’s The Man with the Flower in His Mouth.” Peer reviewed. Journal of Italian Translation 5.2 (2010): 8-41.
“Pirandello in Latin America.” In Pirandello in Context, edited by Patricia Gaborik. Cambridge: Cambridge University Press, 2021. Peer reviewed. Forthcoming.
“Before the ‘Rashomon Effect’: Pino Masnata and the Francesca da Rimini Experiment.” In L’Altro e l’Altrove nella cultura italiana, edited by Fulvio Orsitto, 148–57. Cuneo, Italy: Nerosubianco, 2011. Peer reviewed. [in Italian]
“Translation for the Theatre” (“La traduzione teatrale”). Peer reviewed. Testo a fronte 15 (1996): 63-80. Republished in Buffoni, Franco, ed. Traduttologia: La teoria della traduzione letteraria. Roma: Istituto poligrafico e Zecca dello Stato, Libreria dello Stato, 2006. 625-42.
“Theater and Theatricality in Italian Literature and Visual Media.” L’anello che non tiene, 24.1-2 (2012): 9-11.
“The Pirandello Society’s Website.” Pirandello Society Annual 23 (2010): 7-9.
“The Liar: Walking on Water.” The Prompter, 46.3 (2009): 2-3.
Production notes on Màcbèth in Pre-visioni – I registi di domani alla prova, School of Dramatic Art Paolo Grassi, 1998.