S. Bay-Cheng, “Modernist Afterlives in Performance: The Afterlife of Modernist Acting” Modernism/modernity Print+ Vol. 4, Cycle 3 (October 10, 2019).

S. Bay-Cheng, “Pixelated Memories: Performance, Media, and Digital Technology” Contemporary Theatre Review 27.3 (fall 2017): 324-339.

S. Bay-Cheng, “The Algorithms of Democracy” 100 Years of Now Journal of Haus der Kulturen der Welt (13.01.2017),

S. Bay-Cheng, “Digital Historiography and Performance” Theatre Journal 68.4 (Dec 2016): 507-527. (link available here.)

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

S. Bay-Cheng, “Postmedia Performance” Contemporary Theatre Review: Interventions (May 2016). Online.

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

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.

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

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.

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

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.

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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2 thoughts on “Essays

  1. Pingback: new publication | Sarah Bay-Cheng

  2. Pingback: Performance & Media: Notes on The Irishman & Cats | Sarah Bay-Cheng

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