Daphne Lei | Publication

I.  Books:

Alternative Chinese Opera in the Age of Globalization: Performing Zero. Palgrave Macmillan, 2011.

Operatic China: Staging Chinese Identity Across the Pacific. Palgrave Macmillan, 2006.

II.  Journal Articles and Book Chapters:

"Butterfly and Locust:  Chinglish and Asian American Theatre in the Transnational Context."  The Theatre of David Henry Hwang, edited by Esther Kim Lee. Methuen Drama, an imprint of Bloomsbury Publishing, 2015.

“Dance Your Opera, Mime Your Words: (Mis)Translate the Asian Body on the International Stage.”  The Oxford Handbook of Dance and Theatre, edited by Nadine George.  Oxford University Press, 2015.

Orphan à la Crouching Tiger." Contemporary Theatre Review 24:4 (2014), the online version (http://www.contemporarytheatrereview.org)

“Interruption, Intervention, Interculturalism: Robert Wilson’s HIT Productions in Taiwan,” Theatre Journal 63, no. 4 (2011): 571-586.

 “The Public Life of Opera:  a Conversation with Daphne Lei and Mary Zimmerman,” edited by Patrick Anderson.  Theatre Survey 51, no. 2 (2010): 257-279.

“Homeland under Attack:  Looking for a New Theatrical Paradigm for Asian Americas.”  In Asian Canadian Theatre, edited by Nina Lee Aquino and Ric Knowles.  Toronto:  Playwrights Canada, 2011, 33-48.

“Ruptures Within and Without: Pageantry – A Work in Progress by Denise Uyehara and Sri Susilowati.” Theatre Research International 35, no. 2 (2010): 188–192.

“Blood-Stained Text in Translation: Tattooing, Bodily Writing and Performance of Chinese Virtue.” Anthropological Quarterly 82, No. 1 (2009), 99-127.

“物質與非物質之弔詭: 崑曲在海外的保存與發展”(The Paradox between Materiality and Intangibility: Preservation and Development of Kunqu Overseas). 文藝研究 (Arts and Literature Studies, no. 6, 2009): 78-86.

“Sung J. Rno.” Dictionary of Literary Biography: Twentieth-Century American Drama, Fifth Series, ed. Garrett Eisler.  Detroit: Gale Cengage Learning, 2008, vol. 341, 177-181.

 “變臉與變性:京劇在國際舞台上的呈現” (Face and gender metamorphosis:  Beijing opera on the world stage).  文藝研究 (Arts and Literature Studies, no. 9, 2007), 107-113.

"Lai Sheng-ch'uan." The Columbia Encyclopedia of Modern Drama. 2 vols. Eds. by Gabrielle H. Cody and Evert Sprinchorn. New York: Columbia University Press, 2007, 795-796.

"Liu Ching-min." The Columbia Encyclopedia of Modern Drama. 2 vols. Eds. by Gabrielle H. Cody and Evert Sprinchorn. New York: Columbia University Press, 2007, 827-828.

“A Transparent Mask:  ‘Chinese Opera’ on the Asian American Stage” (透明面具:美國亞裔舞台上的【中國歌劇】).  Asia-Pacific Arts Forum International Symposium Proceedings, eds. Lin Hui-Cheng et al. Taipei:  Taipei National University of the Arts, 2006, 519-538.  Article in both English and Chinese.

"The Virtual Chinatown and New Racial Formation: Performance of Cantonese Opera in the Bay Area."  Critical Theory and Performance, Revised and Enlarged Edition, eds. Janelle G. Reinelt and Joseph R. Roach (Ann Arbor: University of Michigan Press, 2006).

“一場未排好的戲:中美戲劇在十九世紀加州的第一次接觸” (An ill-rehearsed play: the first Sino-American encounter on the nineteenth-century Californian stage).  香港戲曲的現狀與前瞻 (The present and future of Chinese opera in Hong Kong), eds. Li Shaoen et al.  (Hong Kong: Chinese University of Hong Kong, 2005), 31-44.

“Staging the Binary: Asian American Theatre in the Late Twentieth Century." Blackwell Companion to Twentieth-Century American Drama, ed. David Krasner (Oxford, UK; Malden, MA:  Blackwell Publishers, 2004), 301-317.

“The Production and Consumption of Chinese Theatre in Nineteenth-Century California.”  Theatre Research International (Vol 28, No 3, October 2003), 289-302.

“Can You Hear Me? Female Voice and Cantonese Opera in the San Francisco Bay Area.” The Scholar & Feminist Online (Barnard Center for Research on Women, http://www.barnard.edu/sfonline/ps/lei.htm)

“Envisioning New Borders for the Old China in Late Qing Fiction and Local Drama.” Political Frontiers, Ethnic Boundaries, and Human Geographies in Chinese History, ed. Nicola Di Cosmo and Don Wyatt (RoutledgeCurzon, an imprint of the Taylor and Francis Group, 2003), 373-397.

"Biography of Sung J. Rno."  Asian American Playwrights:  A Bio-Bibliographical Critical Sourcebook, ed. Miles X. Liu (Westport, CT:  Greenwood Press, 2002), 292-297.

 “Wang Zhaojun on the Border:  Gender and Intercultural Conflict in Premodern Chinese Drama.”  Asian Theatre Journal 13, no. 2 (Fall 1996), 229-237.

III. Book Reviews:

Brown Boys and Rice Queens: Spellbinding Performance in the Asias by Eng-Beng Lim (New York: New York University Press, 2014). Theatre Survey, 2015.

Mei Lanfang and the Twentieth-Century International Stage by Min Tian (Palgrave Macmillan, 2013).  Journal for Asian Studies, 2014.

Chinese Street Opera in Singapore by Tong Soon Lee (Urbana:  University of Illinois Press, 2009).  Theatre Research International 35.2 (2010): 210-211.

A History of Asian American Theatre by Esther Kim Lee (Cambridge: Cambridge University Press, 2006).  Theatre Survey 49, no. 2 (November 2008), 309-311.

IV. Performance Reviews:

“Rising from Ashes:  A Few Thoughts on The Flowery Princess

Hong Kong Opera Newsletter (Xianggang xiqu tongxun), vol. 17 (November 30, 2007), 4.

Peony Pavilion” (the Southern California tour 2006).  Editor’s Choice.  Association for Asian Performance Newsletter.  Fall, 2006.

VI. Dissertation

 “Performing the Borders:  Gender and Intercultural Conflicts in Premodern Chinese Drama (Ph.D. Dissertation.  Tufts University, 1999).