Erin B. Mee

“Theatre Theory and Eco-Performance: Rasa.” Special edition of Critical Stages. ed. Elizabeth

Sakellaridou and Vicky Angelaki.

“Rasa In This Is Not A Theatre Company’s Experiential Productions.” In Experiential Theatres: Praxis-
Based Approaches to Training 21 st Century Theatre Artists, ed. Sean Bartley and William Lewis.
Routledge.

“Rasa in Kavalam Narayana Panikkar’s Theatre.” Sangeet Natak, New Delhi. Special 2-volume edition.

“Undefining the World: Anne Bogart.” In Great North American Stage Directors, Vol 5, ed Joan

Herrington. Methuen.

“Digital Performance During COVID.” Natarang. New Delhi. (In Hindi.)

“Relishing Performance: Rasa As Participatory Sense-Making.” In The Routledge Companion to Theatre, Performance, and Cognitive Science, Rick Kemp and Bruce McConachie, eds. October.

“Towards A Sustainable Aesthetic Theory.” HowlRound.

Roundtable Discussion on ethics of site-based theatre. Special issue of Theatre History, ed. Penelope

Cole and Rand Harmon.

“Dancing on the Tongue.” In Special Issue of Performance Research, ed. Josh Abrams.

“Rasa On Screen.” In Reti, Saperi, Linguaggi: Italian Journal of Cognitive Sciences.

“The Rasa of Immersive and Participatory Theatre” In Immersive Theatre: Engaging the Audience. Josh Machamer, ed. Common Ground.

“Hearing the Music of the Hemispheres.” Born-digital article for TDR. Winner of the 2016 ATHE-ASTR

Award for Excellence in Digital Theatre and Performance Scholarship.

“The Audience Is The Message: Blast Theory’s App-Drama Karen.” TDR 60:3, 165-171.

“Stage Managing Site Specific and Participatory Theatre,” HowlRound.

“The Neuroscience of Spectatorship.” In Reti, Saperi, Linguaggi: Italian Journal of Cognitive Sciences.

“Charles Mee’s (Re)Making of Greek Drama,” In The Oxford Handbook of Greek Drama in the Americas. Bosher, MacIntosh, McConell, and Rankine, eds.

“Actor,” “Spectator,” “Reception Theory,” “Hybridity,” “Performativity” in Reading Contemporary Performance, Cody and Cheng, eds. Routledge.

“Smartphone Plays: A New Theatrical Genre.” HowlRound. May.

“Immersive and Interactive Theatre: A Rasic Experience.” HowlRound. March.

 “The Audience Is The Message.” TCG’s Audience (Re)volution blog series curated by Caridad Svitch. July.

“Diverse Audiences for Smartphone Plays.” TCG’s Audience (Re)volution blog series curated by Caridad Svitch.

“Speaking A Thought in the World II: Garland Wright on Richard III.” Co-Written with Sari Ketter. SDC. July.

“Speaking A Thought in the World I: Garland Wright on The Misanthrope.” Co-Written with Sari Ketter. SDC. April.

“Rasa Is/As/And Emotional Contagion” In Natyasastra: Aesthetics, Epistemology & Performance Practice, edited by Sreenath Nair. McFarland Press.

“Standing Man and the Impromptu Performance of Hope” TDR 58:3 (223). Fall.

“Mindscapes of Palestine” in The Theatre of Naomi Wallace: Embodied Dialogues, edited by Scott Cummings. Palgrave MacMillan.

Editor of India entries (and author of many of the entries) for: Cambridge Encyclopedia of Stage Actors and Acting. General Editor: Simon Williams. Cambridge University Press.

“Hearing the ‘Music of the Hemispheres,’” a born-digital multimodal composition-article about “neuroperformance” for TDR 57:3, T219. Fall.

“Women Directors in India.” In International Women Stage Directors, edited by Anne Fliotsos and Wendy Vierow.

“The Cultural Intifada: Palestinian Theatre in the West Bank.” TDR 56:3 (T215). Fall 2012.

“The Freedom Theatre: Creation Under Occupation,” with Naomi Wallace and Ismail Khalidi. American Theater magazine. February issue.

Article on The Freedom Theatre’s production While Waiting. January 2012.

“Comment: Juliano Mer Khamis: Murder, Theatre, Freedom, Going Forward.” TDR 55:3 (T211). Fall.

“But is it Theatre? Colonial Culture‘s Impact on Theatrical History in India.” In Theatre History: Critical Questions, edited by Henry Bial and Scott Magelssen. University of Michigan Press.

“Classics, Cultural Politics, and the Role of Antigone in Manipur, NE India.” In India, Greece, and Rome 1757-2007 edited by Edith Hall and Phiroze Vasunia. London: Institute of Classical Studies, University of London.

“Mahesh Dattani: Invisible Issues.” In Mahesh Dattani’s Plays: Critical Perspectives, ed. Angelie Multani. New Delhi: Pencraft International.

Editor, India section, Columbia Encyclopedia of World Drama, ed. Gabrielle Cody and Evert Sprinchorn. Columbia University Press. Also author of general entry on Indian theatre, as well as entries on Kavalam Narayana Panikkar, Girish Karnad, Ratan Thiyam, Mahesh Dattani, Tripurari Sharma, Usha Ganguli, Ottayan, Theyyatheyyam, Hayavadana, Tughlaq, Chakravyuha, A Muggy Night in Mumbai, 30 Days in September, Rudali. 

“Hayavadana: Model of Complexity.”  In Girish Karnad’s Plays: Performance and Critical Perspectives, ed. Tutun Mukherjee.  New Delhi: Pencraft International.

“Mee on Mee.”  TDR 48,3 (T175).

“Star of India: Ratan Thiyam.”  American Theatre, July/August.

“Mahesh Dattani: Invisible Issues.”  Performing Arts Journal, Issue #55.

“Kavalam Narayana Panikkar: Meaning into Action.”  Performing Arts Journal, Issue #55.

“Tripurari Sharma: Out in the Open.”  Performing Arts Journal, Issue #55.

"Adding Texture To Text: Kerala Theatrical Techniques in Shakespeare's Timon Of Athens." Seagull Theatre Quarterly 5:54-59.

"The Use of Folk Philosophy in Kavalam Narayana Panikkar's Poetic Theatre of Transformation." Seagull Theatre Quarterly 7:58-62.