"Verfremdungseffekt or Entfremdungseffekt? A Study of Brecht’s Manuscripts on Chinese Theatre,” Theatre Survey 66.3 (2025): 294–318.

"Meyerhold’s Influence on Twentieth-Century Japanese Theatre,” in The Routledge Companion to Vsevolod Meyerhold, eds. Jonathan Pitches and Stefan Aquilina (London: Routledge, 2023), pp. 365-377.

"Mei Lanfang and Stanislavsky: The (De)construction of an Intercultural Myth on the International Stage,” Theatre Research International 45.3 (2020): 264-280.

"The 'Dis-/De-' in the Hyphen: The Matrix and Dynamics of Displacement in Intercultural Performance,” in The Methuen Drama Handbook of Interculturalism and Performance, eds. Daphne P. Lei and Charlotte McIvor (London: Bloomsbury, 2020), pp. 190-206.

"Lady Precious Stream: A Chinese Chinoiserie Anglicized on the Modern British Stage,” Comparative Drama 51.2 (2017): 158-186.

"How Does the Billy-Goat Produce Milk? Sergei Eisenstein’s Reconstitution of Kabuki Theatre,” New Theatre Quarterly 32.4 (2016): 318-332.

"Edward Gordon Craig’s Two Collaborators: Michael Carmichael Carr and His Dutch Wife Catharina Elisabeth Voûte,” Theatre Notebook 70.2 (2016): 123-144.

"Authenticity and Usability, or 'Welding the Unweldable': Meyerhold's Refraction of Japanese Theatre," Asian Theatre Journal 33.2 (Fall 2016): 310-346

"Theater of Transposition: Charles Dullin and the East Asian Theater," Comparative Drama 48.4 (Winter 2014): 333-370.

"Gordon Craig, Mei Lanfang and the Chinese Theatre," Theatre Research International 32.2 (2007): 161-177.

"Adaptation and Staging of Greek Tragedy in Hebei Bangzi (one of the traditional Chinese theatrical forms)," Asian Theatre Journal 23.2 (Fall 2006): 248-264.

"Stage Directions in the Performance of Yuan Drama," Comparative Drama 39.3/4 (Fall/Winter 2005-06): 397-443.

"Chinese Nuo and Japanese Noh: Nuo's Role in the Origination and Formation of Noh," Comparative Drama 37.3/4 (Fall/Winter 2003-04): 343-360.

"Male Dan: The Paradox of Sex, Acting, and Perception of Female Impersonation in Traditional Chinese Theatre," Asian Theatre Journal 17.1 (Spring 2000): 78-97.

"Meyerhold Meets Mei Lanfang: Staging the Grotesque and the Beautiful," Comparative Drama 33.2 (Summer 1999): 234-269.

"Collision and Convergence: Mei Lanfang's Cross-Cultural Performance Experience," Theatre InSight 9.2 (Fall 1998): 51-59.

"The Reinvention of Shakespeare in Traditional Asian Theatrical Forms," New Theatre Quarterly 55.3 (August 1998): 274-284.

"Who Speaks and Authorizes: the Aftermath of Brecht's Misinterpretation of the Classical Chinese Theatre," Theatre Symposium vol. 6, edited by Stanley V. Longman (The University of Alabama Press, 1998), 86-97.

"'Alienation-Effect' for Whom? Brecht's (Mis)Interpretation of the Classical Chinese Theatre," Asian Theatre Journal 14.2 (Fall 1997): 200-222.

Review of Adapting Western Classics for the Chinese Stage (by Shouhua Qi), Theatre Research International 45.3 (2020): 373-374.

Review of Worldly Stage: Theatricality in Seventeenth-Century China (by Sophie Volpp), Theatre Research International 38.2 (2013): 172-173.

梅兰芳与斯坦尼斯拉夫斯基：国际舞台上一个跨文化戏剧神话的建（解）构, in 《戏剧艺术》 (Theatre Arts), 第5期 (2021): 1-17.

布莱希特的 " '亚细亚' 模式": 梅兰芳还是卡尔·瓦伦汀? (Brecht's "'Asiatic' Model": Mei Lanfang or Karl Valentin?), in 《梅兰芳学刊》 (Mei Lanfang Studies), 第二辑 (2019): 137-162.

美国的中国戏剧研究 (Studies of Chinese Theatre in the United States), in 《北美中国学研究》 (Chinese Studies in North America), edited by 张海惠 (et al) (北京: 中华书局, 2010)

"Gorden Craig, Mei Lanfang and the Chinese Theatre," 《文艺研究》 (Literature and Art Studies) 5 (2008): 72-83.

"The Peopled Wound": Pinter and Shakespeare," 《书城》(Book Town) 2 (2008): 96-100.