Publications

Martin, Carol, ed. Dramaturgy of the Real on the World Stage. Springer, 2010.

Bial, Henry, and Carol Martin, eds. Brecht sourcebook. Routledge, 2005.

Martin, Carol, ed. A sourcebook on feminist theatre and performance: on and beyond the stage. Routledge, 2002.

Martin, Carol J. Dance Marathons: Performing American Culture in the 1920s and 1930s. Univ. Press of Mississippi, 1994.

Martin, Carol. “Tables and the Offstage World: Stage Objects and Theatre of the Real” in Les théâtres documentaires edited by Beatrice Picon-Vallin, L’entretemps press (in French) 2017.

Martin, Carol. “The Theatrical Life of Documents” in Dokument in den Künsten edited by Daniela Hahn, Wilhelm Fink publishers, Berlin, 2016.

Martin, Carol. “History and Politics Onstage: The Theatre of the Real” in Not Just a Mirror. Looking for the Political Theatre of Today edited by Florian Malzacher, Alexander Verlag, Berlin & Live Arts Development Agency, London, 2015.

Martin, Carol. “The Politics of Telling and Workers' Rights: The Case of Mike Daisey” in Theatre and Human Rights after 1945: Thing Unspeakable edited by Mary Luckhurst and Emilie Morin, Palgrave, 2015.

Martin, Carol. “Table on Stage: The Rise of the Messenger” in Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century edited by Sharon Aaronson-Lehavi, Atay Citron and David Zerbib, Methuen, 2014.

Martin, Carol. “Living Simulations: The Use of Media in Documentary in the UK, Lebanon, and Israel” in Get Real edited by Alison Forsyth and Chris Megson, Palgrave/Macmillan, 2009.

Martin, Carol. “Reality Dance: American Dance Marathons” in Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader edited by Julie Malnig, University of Illinois Press, 2009.

Martin, Carol. “After Paradise: The Open Theatre’s The Serpent, Terminal, and The Mutation Show,” in Restaging the Sixties: Radical Theatres and Legacies edited by James Harding and Cindy Rosenthal, University of Michigan Press, 2006.

Martin, Carol. “Divine Memory and Abject Reality: Miyagi Satoshi’s Tenshu Monogatari and Simizu Shinjin’s Bye Bye: The New Primitive,” in Modern Japanese Theatre and Performance edited by David Jortner, Keiko Iwai McDonald, and Kevin J. Wetmore, Jr., Lanham MD: Lexington Press, 2006.

Martin, Carol. “Brecht, Feminism and Chinese Theatre,” in Brecht Sourcebook edited by Carol Martin and Henry Bial, Routledge, 2000.