Bibiography
Performances:
Circle on the Moon, Mud on the Street 1968.
The Week. 1969.
I See the Sun. 1970.
Sea Sweet Prison. 1971.
Canned Cadillac (adaptation). 1973.
Habeas Corpus (co-authorship). 1986.
Mary Stuart (original text and adaptations). 1987.
Des-Medea (De-construction of the Greek myth). 1989.
Casa. 1990.
500 Years - a Fax from Denise Stoklos to Christopher Columbus. 1992.
Tomorrow Will Be Late and the Day After Tomorrow Doesn't Even Exist. 1993.
Elegy (adaptation). 1995.
Heavier Than The Air/Santos Dumont. 1996.
Civil Disobedience (adaptation and original texts). 1997.
500 anos. Um fax de Denise Stoklos para Cristóvâo Colombo. Sâo Paolo, Brasil: Denise Stoklos Produçoes Artísticas Ltda., 1992.
The Essential Theatre. São Paolo, Brasil: Denise Stoklos Produçoes Artísticas Ltda., 1992.
Teatro Essencial. São Paolo, Brasil: Denise Stoklos Produçoes Artísticas Ltda., 1992.
“Excerpts from Essential Theatre.” Diana Taylor, ed. and trans. Holy Terrors: Latin American Women Perform. Women & Performance. A Journal of Feminist Theory. 11.2 (2000): 107-110.
Criticism about Her Work:
Capó Sobral, Suzi. The Essential Theatre of Denise Stoklos. Thesis for Master Degree in Performing Arts. New York University, 1992
Damasceno, Leslie and Florencia Garramuno Florencia. “´O Teatro Essencial' de Denise Stoklos.” Tramoya 40-41 (1994): 177-85.
---. “The Gestural Art of Reclaiming Utopia: Denise Stoklos at Play with the Hysterical-Historical.” Holy Terrors: Latin American Women Perform. Women & Performance. A Journal of Feminist Theory. 11.2 (2000): 111-143.
Nascimento, Claudia Tatinge. "Vozes Dissonantes [Play Review]." Theatre Journal 52.4 (2000): 555-7.
Taylor, Diana. “Denise Stoklos: The Politics of Decipherability.” With selections from Essential Theatre. TDR 44.2 (2000): 7-29.