You can download the full version of most of my published work by visiting my Academia page
“And May the Best… Thing Win!”: Posthuman Actor-Networks in RuPaul’s Drag Race.” Queer Studies in Media and Popular Culture 8 (2023): 15–29, special issue on “Posthuman Drag” edited by Kai Prins and Florian Zitzelsberger. https://doi.org/10.1386/qsmpc_00085_1. In plain words on Kudos.
“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.
“Echoes of Theatre Past in Blasco Ibañez’s El comediante Fonseca and Cozarinsky’s El rufián moldavo.” The Routledge Companion to Theatre-Fiction. Edited by Graham Wolfe. New York: Routledge, 2023. Forthcoming.
“Pirandello in Latin America.” In Pirandello in Context, edited by Patricia Gaborik. Cambridge: Cambridge University Press, 2023. 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.
“An Interview with the Director of Violet.” April 26, 2023. University of Nevada, Las Vegas.
“An Interview with May Liang, Director of She Kills Monsters.” February 17, 2023. University of Nevada, Las Vegas.
“An Interview with ‘Crumbs from the Table of Joy’ Director Clinton Turner Davis.” University of Nevada, Las Vegas.
“An Interview with ‘The Cherry Orchard’ Director Michael Lugering.” University of Nevada, Las Vegas.
“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.” PSA 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.