| 出版年 | 標題 | 作者 | 系所 |
| 2016 | 一九二、三〇年代臺灣知識分子新劇與中國戲劇的關係探討
On the Relationship between Taiwan's New Drama by the Culturally Enlightened and China's Drama in the 1920s and 1930s | 解佳蓉; Chia-Jung Hsieh | 戲劇學系 |
| 2015 | 《七日鬼差》、《馴蝶人》及其創作說明
One Week Messenger and The Dream Tamer | Chun-Hua Yang; 楊純華 | 戲劇學研究所 |
| 2017 | 三一八之後：台灣戲劇作為事件反饋
Dramatic Theatre as Evental Response in Post-318 Taiwan | Ger-Er Tsai; 蔡格爾 | 戲劇學研究所 |
| 2024 | 世俗的啟迪：從辯證意象重探殘酷劇場的寓言性
Profane Illumination: Reinvestigating the Allegorical Significance of the Theatre of Cruelty through Dialectical Image | 徐妙凡; Miao-Fan Hsu | 戲劇學系 |
| 2019 | 五反田寬家庭劇的創傷印記
The Inscription of Trauma in Philip Kan Gotanda's Family plays | Yueh-Chi Chang; 張月綺 | 戲劇學研究所 |
| 2011 | 亞里斯多芬尼斯《利西翠妲》、《地母節婦女》及《集會婦女》中的陰性身體與怪誕笑聲
The Feminine Body and the Grotesque Laughter in Aristophanes’Lysistrata, Women at the Thesmophoria, and Assemblywomen | Yi-Ping Wu; 吳依屏 | 戲劇學研究所 |
| 2008 | 京劇楊家將女性群像—從傳統到當代
Portraits of the Yang-Clan Heroic Women of Beijing Opera—From the Traditional to the Contemporary | Shi-Yi Kuo; 郭斯貽 | 戲劇學研究所 |
| 2024 | 「人生如戲」與晚明清初的劇作實踐
The Concept of “Life Is Like a Drama” and Dramatic Practices in the Late Ming and Early Qing Periods | 翁茂格; Mao-Ge Weng | 戲劇學系 |
| 2010 | 以語言建構的性別認同與後殖民敘事：比較《蝴蝶君》與《九重天》
The Language Constructed Gender Identifications and Post-colonial Narratives in David Henry Hwang's M. Butterfly
and Caryl Churchill's Cloud Nine | Yen-Chun Chou; 周妍君 | 戲劇學研究所 |
| 2011 | 休閒與事業：清末民初的京劇票界（1871-1929）
Leisure and Career：Late Nineteenth and Early Twentieth Century Chinese Opera’s Piao Community（1871-1929） | Kuan-Li Tsao; 曹官力 | 戲劇學研究所 |
| 2016 | 《保持清醒》
Stay Awake | Tien-Kuan Wang; 王天寬 | 戲劇學研究所 |
| 2024 | 傑西．威廉斯《為什麼結婚？》劇本翻譯及作品分析
Translation and Analysis of Jesse Williams’ “Why Marry?” | 游佳縉; Chia-chin Yu | 戲劇學系 |
| 2011 | 共謀與抵制：當代美國家庭劇中的家庭圖像與女性角色
Complicit and Resistant: Family Image and Female Character in Contemporary American Family Drama | Tzu-Chun Liu; 劉姿君 | 戲劇學研究所 |
| 2022 | 劇以言懷：清代女曲家王筠傳奇研究
Drama for Expressing Aspiration:Research on Chinese Drama by Wang Yun of a Female Playwright in Qing Dynasty | Sheng-chia Kuei; 桂勝嘉 | 戲劇學研究所 |
| 2010 | 劇場是生活的實踐──從「石岡媽媽劇團」看
台灣社區劇場的戲劇創作與社會參與
Theatre as Practice of Life: A Perspective on Taiwan Community Theatre’s Creation and Social Participation from Shigang Mama Theatre Troupe | Li-An Ko; 柯俐安 | 戲劇學研究所 |
| 2019 | 劇本：《關於一場葬禮》及其創作說明
About the Funeral | Shu-Kai Yang; 楊書愷 | 戲劇學研究所 |
| 2008 | 動畫文藝復興：迪士尼動畫之戲劇美學溯源
The Animation Renaissance:
Tracking Down the Performing Aesthetics of Disney Animation | Hsiao-Chiao Yin; 尹筱喬 | 戲劇學研究所 |
| 2010 | 台灣小劇場論述研究──翻譯現代與想像國族
Discourse on Little Theatre in Taiwan—
Translating the Modern and Imagining the Nations | Wei-Chih Wang; 王威智 | 戲劇學研究所 |
| 2007 | 史特林堡後地獄劇作的原型與自我
Archetype and Selfhood in Strindberg's Post-Inferno Plays | Mei-Yin Pu; 蒲美吟 | 戲劇學研究所 |
| 2006 | 史達帕《羅增侃與紀思騰已死》、《諜變》與《愛的創造》的雙重性
Tom Stoppard’s Doubleness: Rosencrantz and Guildenstern Are Dead, Hapgood, and The Invention of Love | Fei-Pi Liao; 廖非比 | 戲劇學研究所 |
