“Radical Ridicule: Political Satire post-9/11,”
in Radical Society:  Review of Culture and Politics. New York: The Center for Social Research and Education, London: Routledge, 29: 3 (October 2002):  10-12.

Reactions to 9/11, and musings on the role of satire in the post-9/11 environment.

“Tactical Carnival:  Social Movements, Public Space and Dialogical Performance,” in A Boal Companion
eds. Jan Cohen-Cruz and Mady Schutzman.  London: Routledge Press, 2006:  46-58.

Why demonstrate?  What is the different between occupying space and opening space in social movement mass demonstrations?  What role can creative performance, irony, satire, and carnival play in rejuvenating and galvanizing social movements?

“A Place for Protest: The Billionaires for Bush Interrupt the Hegemonologue,”
in Performance and Place,
eds. Hill, Leslie and Helen Paris.
Palgrave Macmillan, 2006:  170-179.

An account of the creative protests against the Republican National Convention in New York City in 2004.  This piece focuses on the increasingly threatened right to peaceable assembly, and by groups like Billionaires for Bush to get around those restrictions and denials with tactical performance.

“The Revolt of the Senses: Hallucination, Revelation and Resistance in Antonio Buero-Vallejo’s The Foundation,”
in Images of Mental Illness through Text and Performance, ed. Sarah Randolph.
Lewiston, NY: Mellen Press, 2005:  63-71.

Antonio Buero-Vallejo was the Vaclav Havel of Fascist Spain, a powerful dissident playwright and a great dramatic innovator.  This piece discusses his “immersion effect” with which he embedded the audience in the delusions and subjectivities of his protagonists.

“Radical Simulacrum, Regulation By Prank: The Oil Enforcement Agency,”
in Contemporary Theatre Review, Vol. 17(2), 2007, p261

“Upstaging the Establishment,”
in UC Davis Alumni Magazine, Spring 2007 issue.

A brief overview of trends and challenges in tactical performance.