IV. Scholarly Articles

1 "Tradition and Innovation in the Swedish Theatre during and after World War I", Hasifrut-Literature, 23, 1976, 88-96. (Hebrew)

2. "Linguistics, Poetics and Folklore: Applications of Roman Jakobson's Ideas", Nordnytt, 1976, 30-36. (Together with Galit Hasan-Rokem, Swedish)

3. "Hjalmar Bergman and the Royal Dramatic Theatre in Stockholm 1910-1921", Hjalmar Bergman Samfundet Arsbok, (Hjalmar Bergman Society Yearbook), Bonniers Forlag, Stockholm, 1977, 58-92. (Swedish)

4. "The Theatrical Institution", Proceedings of the 12th IASS Conference, Helsinki, 1979, 103-114.

5. "The Beginnings of the Hebrew Theatre in Palestine: A Repertoire Analysis 1890-1914", Hasifrut-Literature, 29, 1980, 76-81. (Hebrew).

6. "The Dialogue-Structure of the Opening Scene of Strindberg's The Dance of Death I", Tidskrift for Litteraturvetenskap, (Journal of Literary Theory), 1, 1981, 37-44. (Swedish)

7. "The Reception of An-Ski's The Dybbuk in Palestine: Theatre, Criticism, and the Emergence of Hebrew Culture", Cathedra, 20, 1981, 183-202. (Hebrew)

8. "On Scenography", Bamah-The Stage, 90, 1981, 87-91. (Hebrew)

9. "The Theatrical Movement in the Hebrew Theatre", Middle East Studies Association Bulletin, XVI, 2, 1982, 14-20.

9a. also in, Bibliographical Anthology of Theatrical Movement, ed. B. Fleshman, in Chapter VII "Theatrical Movement in Western Asia and North Africa", ed. Peter Chelkovski, The Scarecrow Press, Inc., Metuchen, N.J., & London, 1987, 545-550.

10. "The Dybbuk on the Haifa-Jedda Road: On the First Performance of The Dybbuk in Palestine", Cathedra, 26, 1982, 186-193. (Hebrew)

11. "The Stage and the Fictive World in the Modern Theatre", Alei Siah, 19-20, 1983, 333-345. (Hebrew)

12. "A Semiotic Definition of Scenography", Semiotics, 1983, 12 pp.

13. "Salzburg neu in Tel Aviv, Max Brod, Martin Buber, Hoffmansthal und die Habima; Drei Dokumente", Hoffmansthalblatter, Heft 30, Herbst 1984, 46-49. (German)

14. "Max Brod as Dramaturg of Habima", Bamah-The Stage, 100, 1985, 7-18. (Hebrew)

14a. also in, Proceedings of the Centenary Max Brod Symposium, ed. Margaretha Pazi, Peter Lang Verlag, Bern & New York, 1987, 177-192.

15. “The Motif of the Dead Son; The Dybbuk (1922), He Went through the Fields (1948), and Shitz (1973)" Proceedings of the Ninth World Congress of Jewish Studies, World Union of Jewish Studies, Jerusalem, 1986, 75-80. (Hebrew)

16. "The Death of the Apple - Contradictions between Visual and Verbal Elements in the same Aesthetic Frame: The Case of Negation", Semiotics, 1985, 139-148.

17. "Madness and Modernity; Ibsen and Strindberg", The Modern Breakthrough in Scandinavian Literature, Proceedings of the XVI IASS Conference, Gothenburg, 1986, 335-344.

18. "Acting and Psychoanalysis; Street Scenes, Private Scenes and Transference", Theatre Journal, Vol. 39, 2, May 1987, 175-184.

19. "The Hysterical Breakthrough - Paradigms of Personality and Character in the Drama of Ibsen and Strindberg", The Modern Breakthrough, ed. Bertil Nolin, Gothenburg University Press, Gothenburg, 18pp. (Swedish)

20. "Ideology and Archetypal Patterns in the Israeli Theatre", Theatre Research International, Vol. 13, 2, 1988, 122-131.

21. "Acting Knowledge", Entre, 1, 1988, 3-5. (Swedish)

22. "From Chaos to Order in the Rehearsal-process", Nya Teatertidningen, October 1988, 13pp. (Swedish)

23. "Memory and History: The Soul of a Jew by Jehoshua Sobol", Assaph, V, 1989, 139-164.

23a. also in, Dialog, Rok XXVI, Nr 7(418), 1991, 85-94. (Polish)

23b. also in, Babylon, in print. (German)

23c. Revised and expanded version also published in Jews and Gender: Responses to Otto Weininger, eds. Nancy A. Harrowitz and Barbara Hyams, Temple University Press, Philadelphia, 1995, 257-269.

24. "Dark Rays of Light: Strindberg in Performance in Sweden 1987-88", Strindbergiana: The Yearbook of the Strindberg Society, vol. VI, Stockholm, 1991, 121-139. (Swedish)

25. "Jehoshua Sobol's Theatre of The Ghetto", Small is Beautiful, ed. Claude Schumacher & Derek Fogg, Theatre Studies Publications, Glasgow, 1991, 140-146.

26. "Modern Theatre and the Desire for Knowledge", Don Juan and Faust in the XXth Century, ed. Eva Sormova, Czechoslovak Academy of Sciences, Prague, 47-56.

26a. also in, Divadelni Revue, 3, 1992, 15-21. (Czech)

27. "The Erotic, the Scientific and the Aesthetic Gazes in the Theatre", Assaph, VII, 1991, 61-73.

28. "A Walking Angel: On the performative function of the human body", Assaph, VIII, 1992, 113-126.

28a. also in Protee: theories et pratiques semiotiques, 21, 3, 1993, 102-110. (French)

29. "The Female Voice in the Theatre: Obstructions in the speech of Women Characters on the Stage and the Influence on the Theatrical Performance", Motar, I, July 1993, 7-12. (Hebrew)

30. "Strindberg's The Black Glove at The Royal Dramatic Theatre in Stockholm", Nordic Theatre Studies and Theatre Research International, volume 18, Supplementary Issue, 1993, 24-36.

30a. to be reprinted in Drama Criticism, vol 18, 2003.

31. "Strindberg's 'Optical Unconscious'", Strindberg's Post-Inferno Plays, Munksgaard/ Rosinante, ed. Kela Kvam, Copenhagen, 1994, 71-84.

32. "'What, has this thing appeared again tonight'", Theatre Research International, Volume 19, 2, 1994, 143-147.

33. "Hamlet's Struggle in his Mother's Closet: Screen-scenes in Shakespeare' Hamlet and the Architecture of Consciousness", Motar, II, 1994 85-92 (Hebrew)

34. "The Significance of the Screen-Scenes in Strindberg's Creditors", Scandinavica, 34, 1, May 1995, 37-60.

35. "The Female Voice: Greek and Hebrew Paradigms in the Modern Theatre", Journal of Dramatic Theory and Criticism, X, 2, 1996, 78-98, (A considerably extended version of IV.29)

36. "The Cinematographic as Visual Structure and Metaphor in the Theatre of August Strindberg", Strindbergiana, XII, 1997, 81-99. (Swedish)

37. "From One-Point Perspective to Circular Vision: Some Spatial Themes and Structures in the Modern Theatre", Forum Modernes Theater, Gunther Narr Verlag Tubingen, 1997, 1, 29-36.

38a. "To hold as 'twere a mirror up to the spectator: 'Katharsis' - A Performance Perspective", Assaph, XII,

38b. also in _____ (Polish).

39. "Vastana theatre narrates Hamlet - A Dramaturgical Project", Spillerom, 2, 1997, 24-29. (Norwegian)

40. "The Production of Hamlet at the Vastana Theatre in Sweden", Western European Stages, 9, 2, 1997, 57-60.

41. "Arbeit macht frei vom Toitland Europa at the Akko Theatre Centre", Theory and Criticism: An Israeli Forum, 11, 1999, 389-399. (Hebrew)

42a. "'Framing' Robert Wilson's The Death of Moliere: The opening scene of a 'video-elegy'", Assaph, 15, 57-62.

42b. also in Protee: théories et pratiques sémiotiques, 27, 1, 1999, 43-46.

43. "Theatrical Constructions of Consciousness in Hamlet", Performing Arts Journal, I,4, 13-24.

44. "Historiography, Biography and Theatrical Representation: Ingmar Bergman’s Aesthetics of Hiding”, Nordic Theatre Studies, Volume 12, 1999, 81-93.

45. “Revolutionary and Transgressive Energies", Assaph, 15, 1999, 19-38/

46. "The Bible and the Avant-Garde: The Search for a Classical Tradition in the Israeli Theatre", European Review, 9, 3, 2001, 305-317.

46a. also in Theatre, History and National Identities, eds., Helka Mäkinen, S.E. Willmer, W.B. Worthen, Helsinki University Press, Helsinki, 2001, 95-117. (Slightly expanded version)

47. “Strindberg’s Dreams and other Fictions”, Assaph: Studies in the Theatre, 16, 2001, 13-26.

47a. also in Strindbergiana: Strindberg Yearbook, 17, 2002, 11-26, (in Swedish).

48. "Witnessing Woyzeck: Theatricality and the Empowerment of the Spectator", Substance, 98/99, vol. 31, nos. 2 & 3, 2003, 167-183.

49. “Narratives without an Answer to the Question ‘Why?’ – Hanoch Levin’s Murder”, Hebrew Studies, XLIII, 2002, 201-215.

49a. also in Allt om Böcker, #4, 2002, 24-29, (in Swedish).

50. “Narratives of Armed Conflict and Terrorism in the Theatre: Tragedy and History

Hanoch Levin’s Murder”, Theatre Journal, 54, 4, 2002, 555-573. (Expanded version of 49.)