Relevant Publications by Members
of the Faculty of Philosophy

E. Sakellaridou

Professor of Drama, Department of English Literature and Culture, School of English Language and Literature



  • “Les ondes narratives dans le théâtre de Timberlake Wertenbaker.” S’ entreloger : Commentaire et discours dans la littérature anglophone. Ed. by Elisabeth Angel-Perez and Pièrre Iselin. Paris: PUPS, 207-226.


  • “Kill the Author; Kill the Auteur: Rebecca Prichard’s Yard Gal.” Contemporary Drama in English. 15: 47-56.
  • “The Right to Unpleasure as Social Critique and Creative Method: The Case of Contemporary American Theatre.” Reconstructing Pain and Joy: Linguistic, Literary and Cultural Perspectives. Ed. by Chryssoula Lascaratou et al. Newcastle: Cambridge Scholars Publ., 357-369.


  • “Interactive Space and Virtuality on the Pinter Stage.” The Pinter Review. 2005-2008: 115-123.


  • ‘Millennial Artaud: Rethinking Cruelty and Representation.” The Flesh Made Text Made Flesh: Bodies, Theories, Cultures. Ed. by Zoe Detsi et al. New York: Peter Lang, 43-54.
  • “Stretching Medea to Postmodern Sensibilities.” Staging International Feminisms. Ed. by Sue-Ellen Case and Elaine Aston. Houndmills, Basingstoke, Hampshire: Palgrave, 140-150.


  • [in Greek] Σύγχρονο Γυναικείο Θέατρο. Αθήνα: Ελληνικά Γράμματα.
  • “The Performativity of Corporeal Pain in Sοphocles’ Dramatic Discourse.” History and Drama. Ed. by Sigrid Rieuwerts. Trier: Wissenschaftlicher Verlag Trier, 275-284.
  • “I Have Called My Pain Dog: Wounding Texts and Artistic Figuration.” Theatre of Catastrophe: New Essays on Howard Barker. Ed. by Karoline Kgrithner and David Ian Rabey. London: Oberon, 167-183.
  • « J’ ai donné un nom à ma douleur et je l’ appelle ‘chienne’ : Blessures textuelles et figuration artistique.” Howard Barker et le théâtre de la Catastrophe. Ed. by Elisabeth Angel-Perez. Montreuil-sous-Bois : editions théâtrales, 91-129.


  • “The Seen and the Off-Scene: Staging Gender, Race and Sexuality.” Seeing Things: Literature and the Visual. Ed. by Peter Vernon. Tours: Presses Universitaires, 61-71.


  • “Working Bodies/Falling Words: Choreopoetry and Teatropoesia as Alternative Performance of Ethnicity and Gender.” The Periphery Viewing the World. Ed. by Christina Dokou et al. Athens: Parousia, 218-225.


  • ‘A Lover’s Discourse – but Whose? Inversions of the Fascist Aesthetic in Howard Barker’s Und and Other Recent English Plays,” European Journal for the Study of English, 7.1: 87-107.


  • [in Greek] «Το θεατρικό κείμενο ως πολυμοχλός στην εκπαιδευτική διαδικασία». Η λογοτεχνία σήμερα: Όψεις, αναθεωρήσεις, προοπτικές. Επ. έκδ. Αντα Κατσίκη-Γκίβαλου. Αθήνα΄Ελληνικά Γράμματα, 254-260.
  • “Exporting an Aesthetic, Importing Another? Experimental (Ad)ventures in Contemporary British Theatre,” Gramma 10: 157-70.
  • "Feminist Theatre and the Brechtian Tradition: A Retrospect and a Prospect," The Brecht Yearbook, 27: 179-98.


  • "Melodrama and the Anaesthetization of Social Criticism" (in Greek), in Melodrama: Ideological and Generic Prospects, ed. by A. Nikolopoulou and S. Patsalidis, Thessaloniki: University Studio Press, 453-72.
  • "Pinter's Phenomenological Mise-en-Scene," The Pinter Review, 106-20.
  • "Adrienne Kennedy: Odd-Woman-Out of Postmodernist Poetics," in What Revels Are in Hand: Assessments of Contemporary Drama in English in Honour of Wolfgang Lippke, ed. by Bernhard Reitz and Heiko Stahl, Trier: Wissenschaftlicher Verlag Trier, 183-94.


  • "Interview with Harold Pinter," The Pinter Review, 92-102.
  • "New Faces for British Political Theatre," Studies in Theatre and Performance, 20.1: 43-51.


  • "Hand-writing" (in Greek), Literature and Its Presuppositions, ed. by Tina Krontiris and K. Kitsi-Mytakou, Thessaloniki: University Studio Press, 25-30.
  • "Brecht and Women's Theatre" (in Greek), ΣύγχροναΘέματα, 71/72: 114-22.
  • "Religion as Strategy," Contemporary Drama in English, 6: 85-94.


  • "La qualité picturale des pièces récentes de Howard Barker," Alternatives Théâtrales, 57 : 69-72.
  • "Alternatives to Silence: Winsome Pinnock's Talking in Tongues." Daughters of Restlessness. Ed. by Sabine Coelsch-Foisner et al., Heidelberg: Universitatsverlag C. Winter, 203-213.


  • "On the Verges of Modernism: The Dramas of Kazantzakis and Sikelianos," in Greek Modernism and Beyond, ed. by Dimitris Tziovas, Savage, Maryland: Rowman & Littlefield, 71-86.
  • "David Hare: National Theatre's (Dissident?) Laureate." Anglistentag 1996 - Dresden, Trier: Wissenschaftlicher Verlag Trier, 259-266.


  • "Briefing 12: Books for Teaching Women's Drama," European English Messenger, 5.1: 30-33.
  • "Theatre and Women's Studies," (in Greek) Proceedings of Conference "Women's Studies in Greece and the European Experience", Thessaloniki: Paratiritis, 55-57.
  • "Awakening the Dead: Teaching Restoration Comedy to Contemporary Cross-cultural Audiences," Studies in Theatre Production, 13: 5-16.
  • "The Immaterial Presence of Women in Contemporary Greek Theatre," Byzantine and Modern Greek Studies, 20: 122-141.
  • "Levels of Victimization in the Plays of Loula Anagnostaki." Journal of Modern Greek Studies, 14: 103-122.


  • "Authorial Gender and Gender Representation in Contemporary Theatre," (in Greek) Proceedings of Conference "Woman and Literature", Komotini, 32-50.
  • "Hyper-/Sur-/Realism and the Postmodern Stage," Contemporary Drama in English, 3: 47-58.
  • "Interculturalism - Or the Rape of the Other: Some Problems of Representation in Contemporary British Theatre." Gramma, 3: 141-155.
  • "The 'Kore' of the 'Kore' - Or Persephone's Optics: The Case of Pam Gems's Deborah's Daughter," Women's Studies International Forum. 18.5/6


  • "Audience Control, British Political Theatre and the Pinter Method," Gramma, 2.: 159-170.
  • "A Response to Nicole Ward-Jouve," Proceedings of the Symposium "Women/Literature/Theory, Dept. of English, Aristotle University, 1994. 49-52.


  • "Women's Theatre in Britain: Strategies and Prospects," (in Greek) Θέσπις, Ä.1: 14-15.
  • "Reorientating the Spectator: The 'Other' Theatre and the Revisioning of the Theatrical Codes," (in Greek)Comparaison, 5: 118-130.
  • "The Problematics of History and Myth in the Female Theatrical Discourse: The Case of Timberlake Wertenbaker," (in Greek) Gramma, 1: 155-175.
  • "Feminist Heterologies: Contemporary British Women Playwrights and the Rewrite of Myth and History," in English Studies in Transition, ed. by Robert Clark and Piero Boitani, London and Íew York: Routledge, 306-319.
  • "Harold Pinter and the Gender of the Text,"Journal of Gender Studies, 2.1: 27-44.


  • "Aporia or Euphoria: British Political Theatre at the Dawn of the 1990s," Arbeiten aus Anglistik und Amerikanistik, 17.1: 51-70.


  • "An ESSE Dialogue with Contemporary British Theatre," The European English Messenger, 1.1: 12-13.


  • "NTQ Checklist No 6: Louise Page," New Theatre Quarterly, 6.22: 183-187.
  • "Louise Page: Emotion Is a Theatrical Weapon - An Interview," New Theatre Quarterly, 6.22: 174-182.
  • "From Epic Theatre to the Theatre of Propaganda," (in Greek) Δρώμενα, 13: 87-106.
  • "Pinter's Existential Doors," (in Greek) Δρώμενα, 13: 27-33.


  • "1968-1988: The Twenty-year Ideological War of British Political Theatre," Rostocker Forschungen zur Sprach- und Literatur-wissenschaft, 6: 56-58.
  • "The Dead Ends of the Feminist Discourse," Annual Journal of the School of English, Aristotle University, 437-451.
  • "How Absurd?: Some Reflections on Pinter's Position in the Contemporary Theatre," Annual Journal of the School of English, Aristotle University, 423-433.
  • "The Rhetoric of Evasion: Some Preliminaries on Pinter's Political Language," The Pinter Review, 3: 43-47.


  • Pinter's Female Portraits, London: Macmillan.


  • "Mr. Ernest's Metatheatre: A Contemporary Approach to Oscar Wilde's Theatrical Work," (in Greek) Εκκύκλημα, 12, 19-24.


  • "The Glass Spectrum in Tennessee Williams's The Glass Menagerie," Annual Journal of the School of Philosophy, Aristotle University, 347-355.


  • "God and the Poet in the 17th-century English Religious Poetry," Annual Journal of the School of Philosophy, Aristotle University, 309-319.