Essays

S. Bay-Cheng, “The Algorithms of Democracy” 100 Years of Now Journal of Haus der Kulturen der Welt (13.01.2017), http://journal.hkw.de/en/die-algorithmen-der-demokratie/.

S. Bay-Cheng, “Digital Historiography and Performance” Theatre Journal 68.4 (Dec 2016): 507-527. (draft: sbc-tj-dig-hist2016; full text with images is here.)

S. Bay-Cheng, “Unseen: Performance Criticism in an Age of Digital Recordings” Theater 46.2 (2016): 77-85. (http://theater.dukejournals.org)

S. Bay-Cheng, “Postmedia Performance” Contemporary Theatre Review: Interventions (May 2016). Online. http://www.contemporarytheatrereview.org/2016/postmedia-performance/

S. Bay-Cheng, “Virtual Realism: Dramatic Forays into the Future” Review Essay for Theatre Journal 67.4 (2015): 697-698. (67.4.bay-cheng)

S. Bay-Cheng, “Teachers Column: Doing History on Screens” Blik 9.0 (Jan. 2016): 20-22. (SBC Doing History on Screens)

S. Bay-Cheng, “Global Screen Shots” PAJ: A Journal of Performance and Art 37.1 (PAJ 109/January 2015): 56-63. (37.1.bay-cheng)

S. Bay-Cheng, “Ready for My Close Up” Rev. Theater 44.3 (2014): 86-93. (44.3Bay-Cheng)

S. Bay-Cheng, “’When This You See’: The (Anti) Radical Time of Mobile Self-Surveillance” Performance Research: A Journal of the Performing Arts 19.3 (2014): 48-55. (19.3Bay-Cheng2014)

S. Bay-Cheng. “Theatre is Media: Some Principles for a Digital Historiography of Performance” Theater 42.2 (2012): 27-41. (42.2.baycheng2012)

S. Bay-Cheng, J. Parker-Starbuck. “Ecologies of a Festival: Reviews from COIL, Under the Radar, and American Realness in New York 2012” Performance Research (Ecologies-Festival2012).

S. Bay-Cheng, A. S. Holzapfel. “The Living Theatre: A Brief History of a Bodily Metaphor” Journal of Dramatic Theory and Criticism 25.1 (fall 2010): 1-19. (25.1Bay-Cheng)

J. Anstey, A.P. Seyed, S. Bay-Cheng, J. Bono, D. Pape, S. Shapiro. “Agent Takes the Stage,” International Journal of Art and Technology 2.4 (2009): 277-296. (2.4Anstey.etal)

J. Anstey, S. Bay-Cheng, D. Pape, S. Shapiro. “Human Trials: An Experiment in Intermedia Performance,” Computers in Entertainment 5.3 (November 2007): 1-17. (a4-anstey 2007)

S. Bay-Cheng, “Typography, Translation, and the Avant-Garde’s Impossible Text,” Theatre Journal 59.3 (October 2007): 467-483. Reprinted in Avant-Garde Performance and Material Exchange: Vectors of the Radical, ed. Mike Sell (Palgrave, 2010), 103-121. (59.3bay-cheng)

S. Bay-Cheng, “Theatre Squared: Theatre History in the Age of Media,” Theatre Topics: Special Issue on Theatre History 17.1 (March 2007): 37-50. (17.1bay-cheng)

S. Bay-Cheng, “Transcendental American Verse Drama,” Journal of American Drama and Theatre17.2 (spring 2005): 17-29. (pdf here: 17.2baycheng2005)

S. Bay-Cheng, “Reality and Its Double in T.S. Eliot’s The Cocktail Party,” Yeats Eliot Review 22.4 (winter 2005): 2-14. (pdf here: 22.4baycheng2005)

J. Sennett and S. Bay-Cheng. “‘I am the Man!’: Performing Gender and Other Incongruities,” Journal of Homosexuality 43.3-4 (2002): 39-47. Reprinted in The Drag King Anthology. Eds. Donna Troka, et al. New York: Haworth Press, 2002. 39-47. (pdf here: 43.3-4Sennett 2002)

S. Bay-Cheng, “Atom and Eve: A Consideration of Gertrude Stein’s Doctor Faustus Lights the Lights,” Journal of American Drama and Theatre 12.2 (Spring 2000): 1-24. (pdf here: 12.2baycheng2000)

S. Bay-Cheng, “An Illogical Stab of Doubt: Avant-Garde Drama, Cinema, and Queerness,” Studies in the Humanities 28.1-2 (June-December 2001): 1-12. (pdf here: 28.1-2baycheng2001)

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