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| Looking: the experience of seeing | |
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| Appearance and reality | |
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| The simile of the cave | |
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| The draughtsman's contract: how an artist creates an image | |
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| The camera obscura and its subject | |
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| Meditations on a hobby horse or the roots of artistic form | |
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| From Camera Lucida | |
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| The most concealed object | |
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| Fascination and obsession | |
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| Space and place | |
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| Of other spaces | |
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| From The Production of Space | |
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| For a hierarchy of means of expression on the stage | |
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| A taxonomy of spatial function | |
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| 6 axioms for environmental theatre: axiom three | |
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| Site-specifics | |
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| Dancing in the streets: the sensuous manifold as a concept for designing experience | |
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| Grounding | |
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| Towards an aesthetic of virtual reality | |
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| The house. From cellar to garret. The significance of the hut | |
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| Making and contesting time-spaces | |
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| The designer: the scenographic | |
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| Postmodern design 145 | |
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| "Oh, to make boardes to speak!" | |
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| Stage designs of a single gesture: the early work of Robert Edmond Jones | |
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| Foreword to The Stage is Set | |
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| Hope, hopelessness / presence, absence: scenographic innovation and the poetic spaces of Jo Mielziner | |
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| Brecht and stage design: the B�hnenbildner and the B�hnenbauer | |
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| The diseases of costume | |
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| My idea of the theatre | |
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| Visual composition, mostly | |
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| Defining and reconstructing theatre sound | |
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| On performance writing | |
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| Bodies in space 231 | |
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| Docile bodies | |
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| Eye and mind | |
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| Of language and the flesh | |
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| From Adorned in Dreams | |
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| The actor and the �ber-marionette | |
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| Man and art figure | |
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| From Towards a Poor Theatre | |
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| Woman, man, dog, tree: two decades of intimate and monumental bodies in Pina Bausch's Tanztheater | |
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| The will to evolve | |
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| Glow: an interview with Gideon Obarzanek | |
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| Making meaning | |
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| The work of art in the age of its technological reproducibility: second version | |
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| Interaction between text and reader | |
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| Semiotics | |
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| Limits of analysis, limits of theory and Pavis's questionnaire | |
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| Sound design: the scenography of engagement and distraction | |
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| Olfactory performances | |
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| The naturalistic theatre and the Theatre of Mood | |
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| Theatre and cruelty | |
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| The humanist theatre/The catastrophic theatre and The cult of accessibility and the Theatre of Obscurity | |
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| Drawing in rehearsal | |
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| Speech introducing Freud | |
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| From The Secret of Theatrical Space | |
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