“Samuel Beckett’s Come and Go“, Educational Theatre Journal, December 1966, 439-442. https://www.jstor.org/stable/3205271
The Theatrical Approach to the Plays of Molière, Macquarie University Monographs for Teachers of French, II:1, March 1969, 28pp. https://catalogue.nla.gov.au/catalog/2819552
Beaumarchais: Plagiarist and Innovator; a study of Le barbier de Seville, Ibid., III:1, July 1970, 37pp.
“Language and theatre in Le Malade Imaginaire“, Australian Journal of French Studies, XI:1,1974, 4-18. https://doi.org/10.3828/AJFS.11.1.4
“The problem of identity: form and theatrical method in Les Nègres, Kaspar and Old Times“, Southern Review, VIII:1, 1975, 51-65.
“Theatre teaching in a university literature department”, Australian Journal of French Studies, XV:1-2, 1978, 54-64. https://doi.org/10.3828/AJFS.1978.7
“The spatial dynamics of Britannicus: text and performance”, Ibid., XX:3, 1983, 340-360. https://doi.org/10.3828/AJFS.20.3.340
“Freedom and constraint: reflections on aspects of film and theatre”, Proceedings of AULLA XXIII, Australian National University, Canberra, 1984, 212-224.
“Performance Studies: a personal view”, Australasian Drama Studies, VII, 1985, 4-22.
“Preserving the traces: the impossible task of recording theatrical performance”, The Documentation of Performance, Sydney Association for Studies in Society and Culture, Working Papers I, 1986, 3-25.
“Cave and prison: Corneille’s view of the social functions of theatre”, From Page to Stage: L’Illusion Comique, Sydney, Theatre Studies Service Unit, 1987, 72-85.
“Movement within the scenic space and segmentation of the performance continuum”, in: André Helbo (Ed), Approches de l’Opéra, Paris, Didier Erudition, 1987, 105-120.
“Paradigmatic structures in text and performance: movement and gesture in four performances of Les Bonnes“, Kodikas/Code: International Journal of Semiotics, X:1-2, 1987, 3-25
“Exploring the paradoxes: on comparing film and theatre”, Continuum, I:2, 1988, 45-55. https://freotopia.org/readingroom/1.2/McAuley.html
“Body, space and language: the actor’s work on/with text”, in: Tim Fitzpatrick (Ed) Performance: from Product to Process, Sydney, Frederick May Foundation, 1989, 113-144.
Also published in Kodikas/Code: An International Journal of Semiotics, Tubingen/Amsterdam, XII:1, 1989, 57-80
And in Degrés: Revue de Synthèse à Orientation Sémiologique, Brussels, 18:63, 1990, b-b32.
Translation of texts by André Helbo, in Helbo, Ubersfeld, Pavis & Johansen, Approaching Theatre, Indiana University Press, 1991, 1-21 and 185-195. https://iupress.org/9780253113726/approaching-theatre/
“The actor’s work with text in rehearsal and in performance”, in: Elaine Nardocchio (Ed), Reader Response to Literature: the Empirical Dimension, Berlin/New York, Mouton de Gruyter, 1992, 95-116.
“Interpreting the languages of theatre: space and the performance experience”, in: Alison Richards & Hilary Crampton (Eds), Interdisciplinarity in Performance, Deakin University Press, 1993, pp.20-46.
“The video documentation of theatrical performance for archival purposes”, in: New Theatre Quarterly, No 38, May 1994 (Cambridge University Press), pp.183-194. https://doi.org/10.1017/S0266464X00000348
“Performance indicators in playtext and performance”, in: Margaret Sankey et al (Eds), Mediations: Sydney Essays in Honour of Ivan Barko, Queensland, Boombana Publications, 1994, pp.81-116
“Translation in the performance process”, in: About Performance, No.1, Centre for Performance Studies, University of Sydney, 1995, pp.111-125.
“Introduction: Translation and Performance”, in: Ibid., pp.iii-iv.
“Performance Studies – a Reply”, Australian Drama Studies, No. 27, October 1995, pp. 151-2.
“Multiple agenda: theatre and theatre studies at school and in the universities”, NADIE Journal, Vol 19, No. 2, 1995, pp.71-79. https://search.informit.org/doi/abs/10.3316/ielapa.960807750
“Theatre practice and critical theory”, Australian Drama Studies, No.28, April 1996, pp.140-145. https://search.informit.org/doi/10.3316/IELAPA.970100661
“Drama, theatre, performance: the changing research paradigm”, in Margaret Stoljar (Ed), Creative Investigations: Redefining Research in the Arts and Humanities, Canberra, Australian Academy of the Humanities, 1996, pp.47-61. https://catalogue.nla.gov.au/catalog/2984793
“Whose rights? What rights? Ethical and political issues involved in video documentation of live performance”, in: Rachel Fensham and Chris Worth (Eds), Dis/Orientations: Conference Proceedings, Monash University, 1997, pp.182-7.
“The politics of documentation”, Writings on Dance, 17, 1997, pp.61-69. https://writingsondance.com/17.htm
“Towards an ethnography of rehearsal”, New Theatre Quarterly , No. 53, February 1998, pp.75-85. https://doi.org/10.1017/S0266464X00011751
“Acting”, entry in Paul Bouissac (Ed), Encyclopedia of Semiotics, New York, Oxford University Press, 1998, pp.11-13 https://www.oxfordreference.com/display/10.1093/acref/9780195120905.001.0001/acref-9780195120905-e-6
“Theater”, in: Ibid. pp.611-613. https://www.oxfordreference.com/display/10.1093/acref/9780195120905.001.0001/acref-9780195120905-e-281
“Performance analysis: theory and practice”, About Performance, No. 4, University of Sydney, 1998, pp.1-12. https://search.informit.org/doi/10.3316/INFORMIT.160039571750700
“The gravity of Dante: a photo essay (with Tracey Schramm)”, About Performance, No. 4, University of Sydney, 1998, pp. 85-105.
Literal translation of Beaumarchais, Le Mariage de Figaro which formed basis of the Neil Armfield and Geoffrey Rush adaptation, performed at the Queensland Theatre Company, August 1998.
“The actor and the spectator in contemporary theatre practice”, Industrial Relations: Proceedings from the 1999 Australasian Drama Studies Association Conference, Queensland University of Technology, pp. 155-61.
“Performance Studies: definitions, methodologies, future directions”, Australasian Drama Studies (“Performance Studies in Australia”), No.39, October 2001, pp.5-19. https://search.informit.org/doi/10.3316/ielapa.200115960
“Body Weather in the Central Desert of Australia”, in: Christine Hamon-Siréjols and Anne Surgers (Eds), Théâtre: Espace Sonore, Espace Visuel, Lyon, Presses Universitaires de Lyon, 2003, pp.231-242. https://presses.univ-lyon2.fr/product/show/9782729707378/theatre-espace-sonore-espace-visuel
“Place in the Performance Experience”, Modern Drama (special issue “Space and the Geographies of Theatre” edited by Joanne Tompkins), Vol XLVI, No. 4, Winter 2003, pp.598-613. https://doi.org/10.3138/md.46.4.598
Review of Mike Pearson and Michael Shanks, Theatre/Archaeology, In: Theatre Survey, Vol.44, No.2, November 2003, pp.276-278. https://doi.org/10.1017/S0040557403230143
“Body Weather at Hamilton Downs: a Photo Essay” (with Russell Emerson and Garry Seabrook), About Performance No. 5, University of Sydney, 2003, pp.101-109. https://search.informit.org/doi/10.3316/informit.125140016584092
“Introduction”, About Performance No. 5, University of Sydney, 2003, pp.vii-xi. https://search.informit.org/doi/10.3316/informit.124525128532571
Review of David Wiles, A Short History of Western Performance Space, in: Modern Drama, Vol. XLVII, No.1, Spring 2004, pp.159-61. https://doi.org/10.1353/mdr.2004.0054
“Site-specific performance: Place, Memory and the Creative Agency of the Spectator”, Arts (The Journal of the Sydney University Arts Association), Vol.27, 2005, pp.27-51. https://openjournals.library.sydney.edu.au/ART/article/view/5667
“Translation in the rehearsal room: serious play at the cultural interface”, in Michael Wintle (Ed), Image into Identity: Constructing and Assigning Identity in a Culture of Modernity, Amsterdam/New York, Rodopi, 2006, pp.255-269. https://doi.org/10.1163/9789401203333_021
“The emerging field of rehearsal studies”, About Performance, No. 6, University of Sydney, 2006, pp.7-13. https://search.informit.org/doi/10.3316/INFORMIT.087631845441335
“Introduction”, in Gay McAuley (Ed), Unstable Ground: Performance and the Politics of Place, Brussels/Berlin/New York, Peter Lang, 2006, pp.15-24. https://www.peterlang.com/document/1104441
“Remembering and Forgetting: Place and Performance in the Memory Process”, in Gay McAuley (Ed), Unstable Ground: Performance and the Politics of Place, Brussels/Berlin/New York, Peter Lang, 2006, pp.149-176. https://www.peterlang.com/document/1104441
“State of the Art: Performance Studies”, SemiotiX, No. 10, November 2007, (semioticon.com/sx-old-issues/semiotix10/sem-10-05.html).
“Not magic but work: rehearsal and the production of meaning”, Theatre Research International (Special Issue on Genetics of Performance, edited by Josette Féral),Vol 33, No 3, September 2008, pp.276-288. https://doi.org/10.1017/S0307883308003970
[This article was awarded the Marlis Thiersch prize for best academic article in 2008 by Australasian Drama Studies Association]
“Unsettled country: coming to terms with the past”, About Performance (Playing Politics: Performance, Society, Community), No. 9, 2009, pp.45-65.
“Interdisciplinary field or emerging discipline: performance studies at the University of Sydney”, in: Jon McKenzie, Heike Roms, CJW-L. Wee (Eds), Contesting Performance: Emerging Sites of Research, New York/London, Palgrave Macmillan, 2010, pp.37-50. https://link.springer.com/chapter/10.1057/9780230279421_3
“Gebündelte Energie: Sydneys Theaterräume und die Entstehung einer ‘Empfindungsmatrix’”, in Erika Fischer-Lichte and Benjamin Wihstutz (eds), Politik des Raumes: Theater und Toplogie, Munich, Wilhelm Fink Verlag, 2010, pp.93-108.
“The Sydney Trinity: Performance Space and the Creation of a ‘Matrix of Sensibility’” Australasian Drama Studies, No. 58, April 2011, pp.71-87. https://search.informit.org/doi/10.3316/ielapa.029714884580715
“The National Apology Three Years Later”, Australian Studies, Vol. 3, 2011. (Journal of British Australian Studies Association) Published on-line https://web.archive.org/web/20120419012714/http://www.nla.gov.au/openpublish/index.php/australian-studies/article/view/2101
“What is Sydney About Sydney Theatre? Performance Space and the Creation of a ‘Matrix of Sensibility’”, in: Erika Fischer-Lichte and Benjamin Wihstutz (eds), Performance and the Politics of Space: Theatre and Topology, London/New York, Routledge, 2013, pp.81-99.
“Place, Time and Performance in the Memory Process” Australian Studies, Vol 5, 2014
“Performing Sydney: inhabiting the edge”, in Nicolas Whybrow (ed), Performing Cities, London, Palgrave Macmillan, 2014, pp.141-158. https://link.springer.com/chapter/10.1057/9781137455697_8
“Editing: in the rehearsal room”, in Maria M. Delgado and Joanne Tompkins (eds) The Politics, Processes and Practices of Editing, Contemporary Theatre Review, Vol. 25, No. 1, 2014, pp.35-8. Available online http://www.tandfonline.com/eprint/Kv5ynprEdD3N6Npv7cQJ/full
and on
http://www.nla.gov.au/openpublish/index.php/australian-studies
“Participant observation of the rehearsal process: practical considerations and ethical dilemmas” / “Observacao participante do processo de ensaio: consideracoes praticas e dilemas eticos” (published in English and Portuguese), Revista Aspas (Brazil), Vol. 7, No. 2, 2017.
https://www.revistas.usp.br/aspas/issue/view/10620
“Observation et analyse du processus de création théâtrale.
L’apport de l’ethnographie”, in Bénédicte Boisson, Marion Denizot, Sophie Lucet (Eds), Fabriques, expériences et archives du spectacle vivant, Presses Universitaires de Rennes, 2020. https://chamanisme.hypotheses.org/6218