• Pamela Karantonis, Francesca Placanica, Anne Sivuoja & Pieter Verstraete. Cathy Berberian: Pioneer of Contemporary Vocality. Oxford: Routledge 2014.
  • Carolyn Birdsall, Maria Boletsi, Itay Sapir & Pieter Verstraete, eds. Inside Knowledge: (Un)doing Ways of Knowing in the Humanities. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009.
  • Verstraete, Pieter. The Frequency of Imagination: Auditory Distress and Aurality in Contemporary Music Theatre. Enschede: Ipskamp, 2009.



  • “‘Acting’ under State of Emergency: A Dialogue with Kurdish Theatre Artists on their Performance Praxis in Times of Crisis”, with Gülcan Irmak Aslanoğlu, Performance Matters (under peer-review).
  • “The Secret Theatre Revisited: Eavesdropping on Locative Media Performances”, Journal of Sonic Studies, 5 (Dec., 2017/2).
  • “Türkiye’de Sembolik Siyaset ve Protesto Kültürü: Gezi’den Sonra Yeni Bir Performativite mi?” [Symbolic Politics and Protest Culture in Turkey: A Post-Gezi Performativity?], PRAKSIS, 42 (Nov., 2016/3).
  • “Drama and Performance Studies”, co-authored with Daniël Ploeger. In: The Years Work in Critical and Cultural Theory (YWCCT), Vol. 23, (2015), ed. Neil Badmington & David Tucker. The English Association: 351-72.
  • Curtin, Adrian & David Roesner, eds. “Sounding Out ‘the Scenographic Turn’: Eight Position Statements”. With statements from Ross Brown, Adrian Curtin, George Home-Cook, Lynne Kendrick, David Roesner, Katharina Rost, Nicholas Till and Pieter Verstraete. In: Theatre & Performance Design, 1:1-2 (2015): 107-125.
  • “The Listener’s Response”. In: Performance Research 3, On Listening (October, 2010), ed. Catherine Laws: 88-94.



  • “Still Standing? A Contextual Interview with ‘Standing Man’ Erdem Gündüz”. In: Jahrbuch Türkisch-Deutsche Studien 2014, In der Welt der Proteste und Umwälzungen: Deutschland und die Türkei, Vol. 5. Göttingen: V&R Unipress 2015: 121-36.
  • “Structuren in de Waarneming: Duizelingwekkende indrukken in Serendipity van Ann Veronica Janssens”. [Trans. Structures in Perception: Vertiginous Impressions in Serendipity by Ann Veronica Janssens]. In: De Witte Raaf 24.142 (November-December, 2009): 19-20.
  • “Het verlangen van het luisteren: Over de esthetiek van verstoring in de installatiekunst van Granular Synthesis” [Trans. The Desire of Listening: About the Aesthetics of Distress in the Installation Art of Granular Synthesis]. In: nY, Tijdschrift voor literatuur, kritiek en amusement, voorheen yang & freespace Nieuwzuid (June, 2009): 209-19.
  • “De slag om muziek in het theater: Omtrent definities tussen cultuurbeleid en artistieke vorm” [Trans. Claiming Music for the Theatre: About Definitions between Cultural Policy and Artistic Practice]. In: Courant 89, (May-July, 2009): 4-9.
  • “Het exces in het luisteren: Performativiteit van geluid in theater” [Trans. The Excess in Listening: Performativity of Sound in Theatre]. In: Etcetera 108 (September, 2007): 25-30.
  • “Eric Sleichim’s Men in Tribulation: A Total Theatre of Sound and Extended Voice”.  In: E-View 2 (2004).



  • “Die Demaskierung der körperlose Stimme: Eine sozio-ästhetische Betrachtung interaktiver Bewegungs-Musik” [Trans. Unmasking the Disembodied Voice: A Socio-Aesthetic Approach to Interactive Gesture Music]. Disembodied Voice, ed. Anton Rey Germán Toro-Pérez. Berlin: Alexander Verlag Berlin 2015. (=subTexte, Institute for the Performing Arts and Film Zürich, Vol. 10)
  • “Cathy Berberian’s Stripsody: An Excess of Vocal Personas in Score and Performance”. Cathy Berberian: Pioneer of Contemporary Vocality, ed. Pamela Karantonis, Francesca Placanica, Anne Sivuoja & Pieter Verstraete. Oxford: Routledge 2014: 67-85.
  • “Introduction / Overture”. Cathy Berberian: Pioneer of Contemporary Vocality, ed. Pamela Karantonis, Francesca Placanica, Anne Sivuoja & Pieter Verstraete. London: Ashgate 2014: 3-18.
  • “Turkish Post-Migrant ‘Opera’ in Europe: A Socio-Historical Perspective on Aurality”. The Legacy of Opera: Reading Music Theatre as Experience and Performance, ed. Clemens Risi & Pamela Karantonis. Amsterdam: Rodopi 2013: 185-207.
  • “Radical Vocality, Auditory Distress and Disembodied Voice in Performance: The Resolution of the Voice-Body in The Wooster Group’s La Didone”. In: Theatre Noise: The Sound of Performance. Eds. Lynne Kendrick & David Roesner. UK, Newcastle upon Tyne: Cambridge Scholars Publishing, 2012: 82-96.
  • “Vocal Extensions: Disembodied Voices in Contemporary Music Theatre and Performance”. Department of Public Sound. Ed. Including Vinyl Record. Ed. Peter Fengler. The Netherlands, Rotterdam: De Player 2012: 1-20.
  • “Claiming Music for the Theatre”. Music Theatre in Flanders: Perspectives on the Landscape. Flanders Music Centre & Flemish Theater Institute 2009: 41-53.
  • “Introduction”. In: Inside Knowledge: (Un)doing Ways of Knowing in the Humanities. Eds. Carolyn Birdsall, Maria Boletsi, Itay Sapir & Pieter Verstraete. UK, Newcastle upon Tyne: Cambridge Scholars Publishing 2009: 1-13.
  • “Lod, een lunch rendez-vous dat langer duurde dan gedroomd” [Trans. Lod, a lunch rendez-vous that lasted longer than imagined]. In: Lunch Op Donderdag: Kookboek ter gelegenheid van 20 jaar LOD, 1989-2009. Ghent: LOD 2009: 8-18.
  • “Auditory Imagination and Narrativization in Béla Bartók’s Bluebeard’s Castle”. In: Sonic Mediations: Body, Sound, Technology. Eds. Carolyn Birdsall & Anthony Enns. UK, Newcastle upon Tyne: Cambridge Scholars Publishing 2008: 243-57.
  • “Interactive Dance: Looking at Space through the Eyes of the Matrix”. In: Performing the Matrix. Mediating Cultural Performances. Eds. Meike Wagner & Wolf-Dieter Ernst. München: Epodium Verlag 2008: 157-73. (=Reihe Intervisionen Band 8)
  • “De microfoon als interface”. [ The Microphone as Interface]. In: Theater & Technologie. Eds. Henk Havens, Chiel Kattenbelt, Eric de Ruijter & Kees Vuyck. Amsterdam: Theatre Institute The Netherlands 2006: 214-25.
  • “Resonances of Audience Space: Ambience as the Interface”.  In: Beyond Aesthetics.  Eds. Christopher Balme & Meike Wagner.  Trier: Wissenschaftlicher Verlag Trier, 2004: 11-20.  (=Muse, Mainz University Studies in English 6).



  • “Duran Adam Etkisi”. İPM-Mercator Politika Notu. Istanbul: Istanbul Policy Center, Sabanci University, Stiftung Mercator Initiative 2013. Also available online.
  • “The Standing Man Effect”. Mercator-IPC Policy Brief. Istanbul: Istanbul Policy Center, Sabanci University, Stiftung Mercator Initiative 2013. Also available online.

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  • “Over het Spanningsveld tussen Theater en Politieke Macht in Turkije”, 0090 Newsletter (November, 2016).
  • “About the Tensions between Theatre and Political Power in Turkey”, 0090 Newsletter (November, 2016).
  • “Turkey Coalmine Disaster: Accident or Murder?”. ROAR Magazine (14 May 2014). Translated and republished as: “Turchia: Il disastro nella miniera di carbone, incidente o omicidio?”. Trans. Giuseppe Volpe, ZNET Italy (16 May 2014); “Désastre dans une mine de charbon en Turquie: ‘Ce n’est pas un accident, c’est un meurtre!”. Trans. Sylvia Nérina, Presse Gauche (20 May 2014); “Désastre dans une mine de charbon en Turquie: ‘Ce n’est pas un accident, c’est un meurtre!”. Trans. Sylvia Nérina, (15 May 2014).
  • “Uluslararası Sahnelerde Türkiye’nin Göç Hikâyeleri”. [Immigration Stories from Turkey on the International Stage]. Radikal – Anasayfa / Hayat (31 May 2013).
  • “Staging Migrant Stories between Turkey and Europe”. Istanbul Policy Center, Sabanci University, Stiftung Mercator Initiative.
  • “Een wieg voor Turkse opera in Nederland?”. [A Cradle for Turkish Opera in The Netherlands?] Online Blog “Turkish Opera in Europe” (18 April 2010).
  • “Yo! Operaflat: Een blog die De Operaflat 2009 als cultureel en kritisch fenomeen exploreert”. [Yo! Operaflat: A Blog that Explores De Operaflat 2009 as Cultural and Critical Experience]. Online Blog (November 2009). 



  • “Public Space as Secret Theatre: Eavesdropping with Locative Audio”. Proceedings of Performart ’14, Performing Arts and Public Space, Istanbul Bilgi University, Istanbul, 20-21 December 2014. Istanbul: DAKAM Publishing, 20-21 December 2014: 159-65.
  • “Contested Spaces of Acoustic Community in Post-Migrant Theatre”. Proceedings of ATMM 2012, Audio Technologies for Music and Media International Conference, Bilkent University, Ankara, 1-2 November 2012: 170-182.
  • “Vocal Distress on Stage: Voice and Diegetic Space in Contemporary Music Theatre”. Proceedings of MIT4 / Media in Transition Conference 4, The Work of Stories, MIT/Massachusetts Institute of Technology, Boston, 6-8 May 2005.
  • “Interfacing Dance: Choreographing (by) Gestural Controls”. Proceedings of Sound Moves: An International Conference on Music and Dance, Roehampton University, London, 5-6 November 2005: 197-203.



  • “Noise: Resistance or Potential”. [About the immersive installation performance <360> by Granular-Synthesis at the opening of The Art of Immersion exhibition, on 9 September 2017, at ZKM, Karlsruhe]. IAAC, 4th
  • “Is het muziektheater de toekomst van de opera?”. [Trans. Is Music Theatre Opera’s Future?]. Statement. With Guy Coolen, Etcetera (2 Oct. 2017).
  • “Festival / Europe Now: Uit de culturele marge”. [Trans. Europe Now Festival: From the Cultural Margins]. In: TM (May 2013).
  • “Dobberen op een zee van geluid”; “Heteluchtmuziek boven de Maasstad”. [Trans. Floating on an Ocean of Sound: Hot Air Music above the Maas City]. Program Book. Rotterdam Philharmonic Gergiev Festival 2012: Sea & You, 7-15 September 2012 (15 August, 2012): 18-9; 27-8.
  • “Turks-Nederlandse opera met een Koreaanse noot”. [Trans. Turkish-Dutch opera in a Korean key]. In: TM5 (summer, June 2010): 59-60. Republished as Online Blog (1 June 2010).
  • “Bruce D. Mcclung: Lady in the Dark”. Forum Modernes Theater 2 (2009): 164-66.
  • “Schubert met SS-ers”. [About the music theatre production Ruhe by Muziektheater Transparant]. In: TM 12, (March, 2008): 56.
  • “Liefde komt handen tekort”. [About the music theatre production Liefde / Zijn Handen by LOD]. In: TM 12, (March, 2008): 51-2.
  • “LOD / Muziektheater: Een besmettingsbodem voor hedendaags muziektheater” [Trans. LOD / Music Theatre: A Testing Grounds for Contemporary Music Theatre]. In: TM 11 (May, 2007): 12-14.
  • “PALACE bij Zuidpool”.  De Scène422 (April, 2003).
  • “Achter de blauwe heuvels. De Roovers spelen Blue Remembered Hills van Dennis Potter”. [About the theatre production Blue Remembered Hills by De Roovers]. De Scène419 (January, 2003).
  • “Tirasila speelt KRSK! Berichten uit een zeemansgraf”. [About the music theatre production KRSK! by Tirasila]. De Morgen (04-11-2002).
  • “Een iglo aan het nulpunt”. [Interview with the producers of the disability theatre production Ergens staat er nu een iglo leeg at Theater STAP]. De Scène418 (December, 2002).

Most of my publications can be accessed from or The Digital Repository of the University of Amsterdam also keeps most of my earlier publications from my time at the UvA.

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