S. Bay-Cheng, “Inside/Out: Kris Verdonck and the Ontology of the Box,” Kris Verdonck Anthology, ed. Peter Eckersall and Kristof van Baarle. London: Performance Research Books (forthcoming 2019).
S. Bay-Cheng, “Ready for My Close Up,” M. Lamar: Negrogothic, ed. M. Lamar. New York: Participant Press (2019): 88-93.
S. Bay-Cheng, “The (Not So) Deep Time of Social Media Theater: An Afterword,” Deep Time of the Theatre: Archaeology/Technology of the Senses, ed. Nele Wyants. New York and Basingstroke: Palgrave, 273-283.
S. Bay-Cheng, “Knowledge Transmission: Media and Memory,” in A Cultural History of Theatre: Modern Age, ed. Kimberly Solga. Series edited by Tracy Davis and Christopher Balme. London: Bloomsbury Press (2017): 201-220.
S. Bay-Cheng, “Preface: Performance in the Age of Intelligent Warfare,” Performance in a Militarized Culture, eds. Lindsey Mantoan and Sara Brady. New York and London: Routledge (2017): xiv-xvi.
S. Bay-Cheng, “Digital Culture” in Performance Studies: Key Words, Concepts, and Theories, ed. Bryan Reynolds. New York: Palgrave (2014): 39-49. (pdf here: sbc-digital-culture-2014)
S. Bay-Cheng, “T.S. Eliot’s 1950s Drama” The Decades of Modern British Playwriting: Voices, Documents, New Interpretations. Ed. David Pattie. London: Methuen (2012): 95-118. (pdf: sbc-eliot50s)
S. Bay-Cheng, “Intermediate Bodies: Media Theory in Theatre,” Playing with Theory in Theatre Practice. Eds. Megan Alrutz, Julia Listengarten, and M. Van Duyn Wood. New York: Palgrave (2011): 63-74. (pdf here: SBC Intermediate Bodies 2012)
S. Bay-Cheng, “Theatre History and Digital Historiography,” Theater Historiography: Critical Interventions. Eds. Henry Bial and Scott Magelssen. Ann Arbor, University of Michigan Press (2010): 125-136. (pdf here: SBC Digital Historiography 2010)
- Citations of chapter in reviews Theater Historiography: Critical Interventions
- Theatre Survey (April 2012), p. 130: 53.1.schweitzer
- Theatre Journal (March 2012), 131: 64.1.lasik
S. Bay-Cheng, “Network of Terms,” “Temporality,” “Telematic,” “Virtuality,” “Instance: Richard Foreman,” “Interactivity,” “Intertextuality,” Mapping Intermediality in Performance. Eds. Sarah Bay-Cheng, et al. (Amsterdam University Press/University of Chicago Press, 2010): 24-26, 85-90, 99, 142, 163-170, 186, 187. (pdf of book here: Mapping Intermediality in Performance)
S. Bay-Cheng, “Old Possum’s Practical Book of Cats and Andrew Lloyd Webber’s Cats,” A Companion to T.S. Eliot. Ed. David Chinitz. Wiley-Blackwell (2009): 228-238. (pdf here: SBC Away We Go 2009)
S. Bay-Cheng, “Avant-Garde Drama: Western Europe,” Columbia Encyclopedia of Modern Drama. Eds. Gabrielle Cody and Evert Sprinchorn. Columbia University Press (2007): 107-109. (pdf here: SBC WE avant-garde 2007)
S. Bay-Cheng, “Following the Gaze: The Influence (and Problems) of Feminist Film Theory in Theatre Criticism,” Theatre and Film: A Comparative Anthology. Ed. Robert Knopf. Yale University Press (2005): 162-171. (pdf here: SBC Following the Gaze 2005)
S. Bay-Cheng, “Famous Unknowns: The Drama of Gertrude Stein and Djuna Barnes,” Blackwell Companion to Twentieth-Century American Drama. Ed. David Krasner. Blackwell Publishing (2004): 127-141. (pdf here: SBC Famous Unknowns 2007)
S. Bay-Cheng, Introduction to Gertrude Stein’s Doctor Faustus Lights the Lights, Theatre of the Avant-Garde, 1890-1950: A Critical Anthology. Eds. Bert Cardullo and Robert Knopf. New Haven: Yale UP (2001): 422-424. (excerpted from longer essay in Journal of American Drama and Theatre, 2000) (pdf here: SBC Stein Intro 2001)