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. Sâo Paolo, Brasil: Denise Stoklos Produçoes Artísticas Ltda., 1992.

Teatro Essencial. Sâo 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.

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