Articles

  • 1. ‘The Formation of Symbols - a Study in Bidmi Yameah by Agnon’. Maalot (Special Issue), 1970 (Hebrew).

  • 2. ‘A Structural Approach to Lorca's Metaphorics in the Romancero Gitano’. Scripta Hierosolymitana, XXVI, 1974.

  • 3. ‘Drama in the Shadow of Literature’. Hasifrut, 22, 1976 (Hebrew).

  • 4. ‘Federico Garcia Lorca’s Tragedies’. Bamah, 73-74, 1977 (Hebrew).

  • 5. ‘Allegorical and Mythical Characters in Lorca’s Tragedies’. Bamah, 77-78, 1978 (Hebrew).

  • 6. ‘The Poetic and Linguistic Metaphors’. Hasifrut, 27, 1978 (Hebrew).

  • 7. ‘Theatre as a Language’. Semiotica, Vol. 45, 1/2, 1983.

  • 8. ‘Generic Transformation in Drama’. Assaph - Studies in the Theatre, C, 1, 1984.

  • 9. ‘The Vocabulary of Theatrical Language’. Assaph - Studies in the Theatre, C, 2, 1985.

  • 10. ‘Theatrical Irony’. Theatre Research International, Vol. 11, 2, 1986.

  • 11. ‘Symbol (2)’. Essays in Poetics, Vol. 11, 2, 1986.

  • 12. ‘The Syntax of Theatrical Language’. Assaph - Studies in the Theatre, C, 3, 1986.

  • 13. ‘Acting - A Study in Theatrical Reference’. In A. Helbo (ed.), Approches de l'Opera. Paris: Didier, 1987.

  • 14. ‘The Languages of the Jews and the Jewish Theatre’. Theatre Research International, Vol. 13, 2, 1988.

  • 15. ‘The Interpretative Function of the “Seagull” Motif in Chekhov's The Seagull’. Assaph - Studies in the Theatre, C, 4, 1988.

  • 16. ‘On the Apparent Double Reference of Theatrical Texts’. Degrés, 56, 1988.

  • 17. ‘Stage Metaphor’. Theatre Research International, Vol. 14, 1, 1989.

  • 18. ‘On Discourses on the Dramatic Poem by Pierre Corneille’. In Pierre Corneille, Discourses on the Dramatic Poem. Tel Aviv: Hakibutz Hameuhad, 1989 (Hebrew).

  • 19. ‘La Ironía Teatral’. Conjunto, 81, 1989; (Spanish version of No.10).

  • 20. ‘Theatrical Speech Acts - A Theatre Semiotics Approach and the Theory of Theatrical Communication’. Kodicas/Code, Vol. 12, 1-2, 1989.

  • 21. ‘The Generation of Life is a Dream from Oedipus the King’. In H. Scolnicov & P. Holland (eds.), The Play Out of Context. Cambridge University Press, 1989.

  • 22. ‘Towards a Methodology of Play Analysis - A Theatrical Approach’. Assaph - Studies in the Theatre, C, 6, 1990.

  • 23. ‘Theatrical Conventions - A Semiotic Approach’. In H. Schmid & H. Kral (eds.), Theorie - Methode - Geschichte. München: Sagner, 1991.

  • 24. ‘The Common Roots of Dreams and the Theatre’. Assaph - Studies in the Theatre, C, 7, 1991.

  • 25. ‘Looking at and Living with our Own Ugliness’. In C. Schumacher & D. Fogg (eds.), Small is Beautiful. Glasgow: Theatre Studies Publications, 1991.

  • 26. ‘La Vida es Sueño como Recreación de Edipo Rey’. In H. Scolnicov y P. Holland (eds.) La Obra de Teatro fuera de Contexto. Mexico y Madrid: Siglo Veintiuno, 1991 (Spanish version of No.21).

  • 27. ‘Plot Analysis and Speech Act Theory’. In G. Deledalle (ed.), Signs of Humanity - L'Homme et ses Signes. Berlin: Mouton de Gruyter, 1992.

  • 28. ‘On Rina Yerushalmi's Production of The Chairs’. Bamah, 128, 1992 (Hebrew).

  • 29. ‘The Sepharadi Roots of Parody in Ashkenazi Purim-shpil’. Bamah, 127, 1992 (Hebrew).

  • 30. ‘Theatrical Conventions’. Semiotica, Vol. 89, 1/3, 1992 (revised version of No.23).

  • 31. ‘Metaphorical Hand Gestures in the Theatre’. Assaph - Studies in the Theatre, C, 8, 1992.

  • 32. ‘The Ironic Treatment of Color Symbolism in Lorca's Drama’. Bamah, 132, 1993 (Hebrew).

  • 33. ‘The Functions of Language in the Theatre’. Theatre Research International, 18, 2, 1993.

  • 34. ‘Categorization of Speech Acts in Play and Performance Analysis’. Dramatic Theory and Criticism, Vol. VIII, 1, 1993.

  • 35. ‘Les Gestes Metaphoriques de la Main au Théâtre’. Protée, Vol.21, 3, 1993 (French version of No.31).

  • 36. ‘Guernica in Theatre and Art’. Mothar, 1, 1993 (Hebrew).

  • 37. ‘Woyzeck 91 - Directed by Rina Yerushalmi’. Bamah, 135, 1994 (Hebrew).

  • 38. ‘Stage Metaphor: With or Without - On Rina Yerushalmi’s Production of The Chairs by Ionesco’. Theatre Research International, Vol. 19, 2, 1994.

  • 39. ‘The Notion of “Reference” - A Key to the Nature of the Theatrical Experience’. South African Theatre Journal, Vol. 8, 1, 1994.

  • 40. ‘Poetic Metaphor’. Semiotica, Vol. 102, 1/2, 1994.

  • 41. ‘Neutral Space/Time and “Literary” Theatre’. Assaph - Studies in the Theatre, C, 10, 1994.

  • 42. ‘Lady Macbeth: in the Making of a Tragic Hero’. Essays in Poetics, Vol. 19, 2, 1994.

  • 43. ‘Pictorial Metaphor’. Kodicas/Code, Vol.27, 1/4, 1994.

  • 44. ‘Las Raices Sefaradíes del Purim-shpil Ashkenazi’. Diálogo, 24, 1994. (Spanish version of No.29).

  • 45. ‘A Diary of the Intifada by The Kibbutz Dance Company’. Contemporary Theatre Review, 3, Part 2, 1995. (revised version of No.25)

  • 46. ‘Theatre Notation: Possible and Impossible’. Kodikas/Code, Vol. 18, 1-3,1995.

  • 47. ‘Is Ornament a Structural Element?’ Mothar , 3, 1996 (Hebrew).

  • 48. ‘Iconicity or Mimesis: Reading Sémilogie du Théâtre by Tadeusz Kowzan’. Semiotica, Vol. 108, 1/2, 1996.

  • 49. ‘Isaac Sacrifices Abraham in The American Princess’. In Linda Ben-Zvi (ed.), Theater in Israel. Ann Arbor: The University of Michigan Press, 1996.

  • 50. ‘L'Ellipse et les Structures Superficielles des Métaphores Verbale et Non Verbale’. Protée, Vol. 24, 1, 1996 (French version of No.62).

  • 51. ‘Multiple Metaphorical Characterization in Le Roi se Meurt’. Nottingham French Studies, Vol.35, 1, 1996.

  • 52. ‘Theatre at One of its Borderlines - Reflections on Suz/o/Suz by La Fura dels Baus’. Theatre Annual, 49, 1996.

  • 53. ‘Mythical Thought - From Holy Scriptures to Drama’. Assaph - Studies in the Theatre, C, 12, 1996.

  • 54. ‘Female Characters in Drama as Representation of Suppressed Drives in the Male Psyche’. Mothar, 5, 1997 (Hebrew).

  • 55. ‘The Common Deep Structure of Verbal and Nonverbal Metaphor’. In Ulla-Britta Lagerroth, Hans Lund and Erik Hedling (eds.), Interart Poetics - Essays on the Interrelations of the Arts and the Media. Amsterdam-Atlanta, Rodopi, 1997.

  • 56. ‘Pictorial Metaphor in Commercial Advertising’. In Winfried Nöth (ed.), Semiotics of the Media - State of the Art, Projects and Perspectives. Berlin-New York: Mouton de Gruyter, 1997.

  • 57. ‘All the World’s not a Stage - A Revision of Goffman’s Theory of Self-presentation in Terms of Theatre’. European Journal of Semiotic Studies, Vol. 9 (3-4) 1997.

  • 58. Erika Fischer-Lichte, Elena Levshina, Freddie Rokem, Eli Rozik and Maria Shevtsova, ‘The International Symposium on Problems of Teaching Performance Analysis - Berlin, February 1997 - A Questionnaire’. Assaph - Studies in the Theatre, C, 13, 1997.

  • 59. ‘Mask and Disguise in Ritual, Carnival and Theatre’. South African Theatre Journal, Vol. 11, 1&2, 1997.

  • 60. ‘Word as Image: The Dramatic Arts as Test Case’. Mothar, 6, 1998 (Hebrew).

  • 61. ‘The Book of Job: A Dialogue between Cultures’. In A. Ovadiah (ed.), Hellenic and Jewish Arts - Interaction, Tradition and Renewal. Tel Aviv: Ramot, 1998.

  • 62. ‘Ellipsis and the Surface Structures of Verbal and Nonverbal Metaphor’. Semiotica, Vol. 119 - 1/2, 1998.

  • 63. ‘Non-Theatrical Space as Metaphor - Some Speculations on H.G., an Installation by Hans Peter Kuhn and Robert Wilson’. In Ernest W.B. Hess-Lüttich, Jürgen E. Müller and Aart van Zoest (eds.), Signs & Space / Raum & Zeichen. Tübingen: Gunter Narr, 1998.

  • 64. ‘Sisera’s Mother and The Trojan Women: On Universal Aspects of the Jewish/Israeli Theatre’. Israel Affairs, Vol. 4, 3&4, 1998.

  • 65. ‘Playscript and Performance: The Same Side of Two Coins - Play Analysis from the Viewpoint of Performance Analysis’. Gestos, 26, 1998.

  • 66. ‘Intertextuality and Deconstruction in The Death of Molière [by Robert Wilson and Heiner Müller]’. Assaph - Studies in the Theatre, C, 14, 1998.

  • 67. ‘The Empty Chair [in The Death of Molière by Robert Wilson and Heiner Müller]’. Assaph - Studies in the Theatre, C, 14, 1998.
  • 68. The Performance-text as a Macro Speech-act’. South African Theatre Journal, Vol.12, 1&2, 1998.

  • 69. ‘Universality and Actualization the Israeli Theatre Way’. Mothar, 7, 1999 (Hebrew).

  • 70. ‘Creative Interpretation in Theatre’. Catalogue of the Exhibition: 3 = 1? - Three Directional Interpretations of One Play: Waiting for Godot By Samuel Beckett. Tel Aviv University, 1999.

  • 71. ‘Interaction or Communication’. Semiotica, Vol. 123 - 1/2, 1999.

  • 72. ‘Sisera’s Mother and The Trojan Women: On Universal Aspects of the Jewish/Israeli Theatre’. In Dan Urian and Efraim Karsh (eds.), In Search of Identity - Jewish Aspects in Israeli Culture. London and Oregon: Cass, 1999 (reprint of No.64).

  • 73. ‘Intertextualité et Decostruction [in La Mort de Molière by Robert Wilson and Heiner Müller]’. Protée, Vol. 27, 1, 1999 (French version of No.66).

  • 74. ‘The Adoption of Theatre by Judaism despite Ritual: A Study in the Purim-shpil’. The European Legacy, Vol. 4, 2, 1999.

  • 75. ‘The Corporeality of the Actor/Actress Body: The Boundaries of Theatre and the Limitations of Semiotic Methodology’. Theatre Research International, Vol.24, 2, 1999.

  • 76. ‘La Metáfora Escénica en Esperando a Godot de Samuel Beckett’. Beckettiana, 7/8, 1999 (Spanish).

  • 77. ‘The Nietzschean Anti-Aristotelian Revolution in Dramatic Theory and its Assimilation in Modern and Post-modern Theatre.’ Assaph - Studies in the Theatre, C, 15, 1999.

  • 78. ‘Word as Image : The Dramatic Arts as Test Case’. Gestos, 14, 28, 1999. (revised version of No. 60).

  • 79.‘Creative Interpretation in Theatre’. In Nurit Yaari (ed.), On Interpretation in the Arts. Tel Aviv University, Assaph Book Series, 2000.

  • 80. ‘Speech Act Metaphor in Theatre’. Journal of Pragmatics, 32, 2000.

  • 81. ‘Intention and Purpose in Rina Yerushalmi’s Woyzeck 91’. Theatre Research International, Vol.25, 1, 2000.

  • 82. ‘The Pragmatic Nature of Theatrical Discourse: The Performance-text as a Macro Speech Act’. Journal of Literary Semantics, 29, 2000.

  • 83. ‘Linguistic Metaphor and Poetic Metaphor: A Misleading Polysemy’. European Journal for Semiotic Studies, Vol.12, 3, 2000.

  • 84. ‘Is the Notion of “Theatricality” Void?’ Gestos, 30, 2000.

  • 85. ‘Recreation or Adoption of Theatre within Medieval Christian Ritual’. Mothar, 8, 2000 (Hebrew).

  • 86. ‘Stage Metaphor’. La Escalera, IX, 2000 (reprint of No.17)

  • 87. ‘Stage Play’. In Andrzej Nowak and Leszek Sosnowski (eds.), Dictionary of Roman Ingarden's Philosophical Concepts. Krakow, 2001 (Polish).

  • 88. ‘Deep structure and Surface Structures Shared by Verbal and Nonverbal Metaphor’. In Ziva Ben-Porat (ed.), An Overcoat for Benjamin. Tel Aviv: Hakibbutz Hameuchad, Vol.2, 2001 (Hebrew).

  • 89. ‘Actualization of Classical Plays in the Israeli Theatre’. In Proceedings of the Sixth Conference of the International Society for the Study of European Ideas, Haifa, August 1998 (CD), 2001.

  • 90. ‘The Chorus: Matrix of Theatrical Conventions’. Maske und Kothurn, Year 45, 3-4, 2001.

  • 91. ‘The Origin of Theatre’. Theatron, 6, 2001 (Hebrew).

  • 92. ‘Segmentation of the Theatrical Performance-text’. Semiotica, 135, 1/4, 2001.

  • 93. ‘A Silent Theatrical Production Representing a Speaking Fictional World: Analysis of A Fleeting Shadow’. Theatre Research International, Vol. 27, 1. 2002.

  • 94. ‘The Interpretative Function of the “Seagull” Motif in Chekhov's The Seagull’. Trans. J. Vikard. In Israeli Theatre Scholars. Saint Petersburg: The Saint Petersburg Academy of Theatre Arts, 2002 (Russian version of No. 15).

  • 95. ‘Acting: The Quintessence of Theatricality’. Substance, Vol. 31, 2&3, 2002.

  • 96. ‘Mapping the Complex Relations between Theatre and Religion: A Reading of Theatre and Holy Script’. Semiotica, Vol. 142, 1/4, 2002.

  • 97. ‘Framing, Decoding and Interpretation: On the Spectator’s Vital Role in Creating Theatrical Meaning’. Gestos, 17, 34, 2002.

  • 98. ‘The Jephthah’ Daughter Narrative - Breaching Models in Yerushalmi’s Vayomar, Vayelekh’. Mothar, 10, 2002 (Hebrew).

  • 99. ‘Symbiotic Pictorial/Verbal Metaphor in Goya’s “Los Caprichos”’. European Journal for Semiotic Studies, 14, 3.4, 2002.

  • 100. ‘Origins of Theatre’. The Oxford Encyclopedia of Theatre & Performance. Oxford University Press, Vol.2, 2003.

  • 101. ‘Dreams and Theatre’. The Oxford Encyclopedia of Theatre & Performance. Oxford University Press, Vol.1, 2003.

  • 102. ‘Religion and Theatre’. The Oxford Encyclopedia of Theatre & Performance. Oxford University Press, Vol.2, 2003.

  • 103. ‘Gesture in A Fleeting Shadow, A Silent Theatrical Production Representing a Speaking Fictional World’. In M. Rector, I. Poggi & N. Trigo (eds.), Gestures, Meaning and Use. Ediçóes Universidade Fernando Pessoa, Porto, 2003.

  • 104. ‘The Ritual Origin of Theatre - A Scientific Theory or Theatrical Ideology?’ The Journal of Religion and Theatre, Vol. 1, 1, 2003.

  • 105. ‘Metaphorical Bodily Movements on Stage’. Zeitschrift für Semiotik, Band 25, 1-2, 2003 (German).

  • 106. ‘Theatrical Experience as Metaphor’. Semiotica, 149, 1-4, 2004.

  • 107. ‘Defamiliarization in Theatre: A Rhetoric Device’. Assaph - Studies in the Theatre, C, 19-20, 2005.

  • 108. ‘From the Innate Image-making Capacity of the Brain to a Redefinition of the Iconic Arts, the Theatre Medium in Particular’. In Klaus Sachs - Hombach (ed.), Bildwissenschaft - Zwischen Reflexion and Anwendung. Keln: Herbert von Halem, 2005.

  • 109. ‘“A Garden Inclosed is my Sister, my Spouse; a Spring Shut up, a Fountain Sealed”: A Study of Productions of Nissim Aloni’s The Bride and the Catcher of Butterflies’. In Nurit Yaari (ed.), On Kings, Gipsies and Actors. Tel Aviv: The Porter Institute, 2005.

  • 110. ‘The Interpretative Function of the “Seagull” Motif in The Seagull’. In Th. J. Schoenberg and L. J. Trudeau (eds.), Twentieth Century Literary Criticism, Detroit, New York, San Francisco: Thomson, Vol. 163, (no date [2005]) reprint of No.15).

  • 111. ‘Defamiliarization in Theatre: A Rhetoric Device’. In G. Kaynar and L. Ben-Zvi (eds.), Bertolt Brecht: Performance and Philosophy. Tel Aviv: Assaph Book Series, 2005 (reprint of No, 107).

  • 112. ‘Back to “Cinema is Filmed Theatre”’. Semiotica, 157, 1-4, 2005.

  • 113. ‘The Pragmatic Nature of Dialogue in Theatre on both the Fictional and Theatrical Axes of Interaction’. Dialog, 8, 2006 (Polish).

  • 114. ‘Basic Kinds of Iconic Metaphor in Theatre and Other Iconic Arts’. Semiotica, 161, 1-4, 2006.

  • 115. ‘Pictorial Descriptions of Fictional Worlds’. In Ch. B. Verzar & G. Fishhof (eds.), Pictorial Languages and their Meanings. The Faculty of the Arts, Tel Aviv University, 2006.

  • 116. ‘Ingarden’s Notion of Stage Play’. Maske und Khoturn, 52, 2, 2006 (English version of No. 87).

  • 117. ‘Are Directors Interpretations of Play-scripts always Justified? - Case Study: the Habimah Production of García Lorca’s Blood Wedding.’ Gestos, 22, 43, 2007.

  • 118. ‘A Silent Theatrical Production Representing a Speaking Fictional World: Analysis of A Fleeting Shadow’. Theatron, 30, 2007 (Hebrew version of No. 93).

  • 119. ‘Medium Translations between Fictional Arts’. In J. Arvidson, M. Askander, J. Bruhn & H. Führer (eds.), Changing Borders - Contemporary Positions in Intermediality. Lund: Intermedia Studies Press, 2007.

  • 120. ‘The Homogeneous Nature of the Theatre Medium’. Semiotica, 168, 1-4, 2008.

  • 121. ‘Theatre Illusion: A Contradiction in Terms’. Gestos, 24, 47, 2009.

  • 122. ‘The Preverbal Roots of Fictional Thinking’. The European Legacy, 14, 3, 2009.

  • 123. ‘Origins of Theatre’, In Dennis Kennedy (ed.) The Oxford Companion to Theatre and Performance. Oxford University Press, 2010.

  • 124. ‘On the Alleged Problem of Intermedial Relations in Theatre’. In J. Limon & A. Zukowska (eds.), Theatrical Blends - Art in the Theatre / Theatre in the Arts. Gdansk: 2010.

  • 125. ‘Equivalence of Word and (imprinted) Image in Theatre’. In Ellen Fricke & Maarten Voss (eds.), 68 Zeichen für Ronald Posner - Ein Semiotisches Mosaik / 68 Signs for Ronald Posner - A Semiotic Mosaic. Tübingen: Julius Groos Verlag, 2010.

  • 126. ‘Wielosc Mediow W Teatrze I Ich Wzajemme Relacje - Analiza Problemu’. In J. Limon & A. Zukowska (eds.), Amalgamaty Sztuki - Intermedialne Uwiklania Teatru. Gdansk: 2011 (Polish version of No.124).

  • 127. ‘Deconstruction of Archetypal Characterization: the case of Nina in Chekhov’s The Seagull’. International Journal of Jungian Studies. Vol. 3, No. 1, 2011.

  • 128. 'Sacred Narratives in Secular Contexts'. The European Legacy, 16, 6, 2011.

  • 129. 'Notes on the Need for a Rhetoric of Theatre'. Gestos, 26, 52, 2011.

  • 130. 'The Shared Cognitive Intent of Science and Theatre'. The European Legacy, 17, 8, 2012.

  • 131. 'The Vicarious Nature of the Theatre Experience'. Gestos, 56, 2013.

  • 132. 'Minimal Acting: On the Existential Gap between Theatre and Performance Art'. Semiotica, Vol. 202, 2014.

  • 133. 'Experiencing Metaphor in the Actualization of Canonic Play-Scripts'. In J. Limon & A. Zukowska (eds.), An Atomizing Theatre. Gdansk: 2014.

  • 134. 'Future Theatre Research'. Gestos, 60, 2015.

  • 135. 'Teaching Non-verbal Literacy – Imagistic Thinking'. In Nurit Yaari (ed.), Inter-Art Journey - Exploring the Common Grounds of the Arts. Studies in Honor of Eli Rozik. Brighton, Chicago, Toronto: Sussex Academic Press, 2015.

  • 136. 'Drama' (On the ritual origin of Theatre). In R. A. Segal & K. von Stuckrad (eds.) Vocabulary for the Study of Religion (Encyclopaedia), Vol. 1, A-E. Brill, Leiden-Boston: 2015.

  • 137. 'La Enigmática Atracción de Titus Andronicus'. Cuadernos de Picadero, 28, Instituto Nacional del Teatro, Buenos Aires, 2015 (Spanish).

  • 138. 'Comedy – An Introduction'. In Dan Urian and Leah Gilula (eds.), Comedy: From Aristophanes to Seinfeld. The Open University: 2015 (Hebrew).

  • 139. 'Metaphor of Sound – Lee Breuer's Gospel at Colonus' (Forthcoming)

Email: rozik@post.tau.ac.il
.