Books / Author
Sharon Aronson-Lehavi, Street Scenes: Late Medieval Acting and Performance, New York: Palgrave Macmillan, New Middle Ages Series, 2011.
Reviewed in: The Medieval Review Online 13.09.41; Journal of English and Germanic Philology 112:4 (2013): 538-539; Medieval and Renaissance Drama in England 26 (2013): 267-268; Speculum 88:1 (2013): 249-251; Marginalia (2012): 30-34; Hortulus: The Online Graduate Journal of Medieval Studies 7:1 (2011);
Sharon Aronson-Lehavi, Gender and Feminism in Modern Theatre, Raanana: Open University Academic Press, 2013; Hebrew.
Books / Editor
Atay Citron, Sharon Aronson-Lehavi, and David Zerbib, Eds. + Introduction, Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century, London: Bloomsbury/Methuen, 2014.
Reviewed in: NTQ (New Theatre Quarterly) 31:1 (2015): 90-91; Platform 8:2 (2014): 88-92; theaterforschung.de 11.7.2014;
Sharon Aronson-Lehavi, Editor + Introduction, Wanderers and Other Israeli Plays, In Performance Series, Seagull Books / The University of Chicago Press, 2009.
Reviewed in: Israel Studies Review 27:1 (2012): 170-173.
Ruthie Abeliovich, Sharon Aronson-Lehavi, and Linda Ben-Zvi, eds. A Stage of Their Own: 7 Plays by American Feminists in Hebrew Translation, Tel Aviv University: Assaph Books, 2015 (Hebrew); the book includes Sharon Aronson-Lehavi's translation into Hebrew of Deb Margolin's Critical Mass and of Maria Irene Fornes's Mud (with Shlomi Lieberman); Hebrew
“Sexuality and Gender,” A Cultural History of Medieval Theatre, Ed. Jody Enders, London: Bloomsbury, forthcoming.
"Identity and Alterity in Biblical Theatre in Israel," The Israel Democracy Institute, forthcoming 2016 Hebrew.
"Dialectical Aesthetics of Change and Continuity in the 2010 Oberammergau Passion Play," Oberammergau 2010, ed. Kevin J. Wetmore Jr., New York: McFarland, forthcoming 2016.
"Comedy and Farce in Late Medieval Theatre," Comedy, eds. Dan Urian and Leah Gilula, Raanana: Open University Academic Press, forthcoming 2016 Hebrew.
"Religious Theatre and the Potentiality of Live Art," Inter-Art Journey: Exploring the Common Grounds of the Arts, ed. Nurit Yaari, Toronto: Sussex Academic Press, 2015; 163-179.
"Re: Location," Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century, eds. Atay Citron, Sharon Aronson-Lehavi, David Zerbib, London: Bloomsbury/Methuen, 2014; 105-118.
"Introduction" (with Atay Citron and David Zerbib), Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century, eds. Atay Citron, Sharon Aronson-Lehavi, David Zerbib, London: Bloomsbury/Methuen, 2014; 1-16.
"The Excess of Violence in Hamlet," Hamlet Handbuch: Stoffe, Aneignungen, Deutungen, ed. Peter W. Marx, Stuttgart: J.B. Metzler Verlag, 2014; 72-76.
"Hamlet in Israel," Hamlet Handbuch: Stoffe, Aneignungen, Deutungen, ed. Peter W. Marx, Stuttgart: J.B. Metzler Verlag, 2014; 317-320.
"Transformations of Religious Performativity: Sacrificial Figures in Modern Experimental Theatre," Performance and Spirituality 3:1 (2012): 57-70.
"Raising the Cross: Pre-Textual Theatricality and the York Crucifixion Play," The York Mystery Plays: Performance in the City. Ed. Margaret Rogerson. York: York Medieval Press, 2011; 165-179.
"Word and Action in Israeli Performance," with Freddie Rokem, Contesting Performance: Global Sites of Research, Eds. Jon McKenzie, Heike Roms, and C. J. Wan-ling Wee, New York: Palgrave Macmillan, 2010; 222-235.
"Wholly Unholy: Religious Iconography in Israeli Art and Performance," with Nissim Gal, Performance Research 13:3 (2009): 154-162.
"'The End': Mythical Futures in Avant-Garde Mystery Plays," TRI – Theatre Research International 34:2 (2009): 116-123.
"Introduction," Wanderers and Other Israeli Plays. Ed. Sharon Aronson-Lehavi. New York: Seagull Books, 2009; xiii-xxxi (8-31).
Encyclopedia Entry: "Avant-Garde Drama: Israel-Palestine," in The Columbia Encyclopedia of Modern Drama. Eds. Gabrielle H. Cody and Evert Sprinchorn, New York: Columbia University Press, 2007; 94-97.
Encyclopedia Entry: "Rina Yerushalmi," Jewish Women: A Comprehensive Historical Encyclopedia, eds. Paula E. Hyman and Dalia Ofer (Jerusalem: Shalvi Publishing Ltd.) 2006.
"‘Their Whole Art is Sheer Humbug’: The Doctor’s Part in Wilson’s Art," Assaph: Studies in the Theatre 14 (1998): 79-86.
"‘Tout leur art est pure grimace’: Le personnage du médecin dans l’oevre de Wilson," Protée: théories et pratiques sémiotiques 27:1 (1999): 81-86.
Reviews and other essays
"'We Are Deeds You Left Undone': Peer Gynt's Sole Searching Directed by Rina Yerushalmi and An Interview with the Director," Teatron 39 (2015): 13-22 Hebrew.
Book Review of Gad Kaynar and Zahava Caspi, eds., Another View: Israeli Drama Revisited (Ben-Gurion University Press and Bialik Institute, 2012), Teatron 37 (2014): 116-120 Hebrew.
Book Review of Elaine Aston and Sue-Ellen Case, eds., Staging International Feminisms (Hampshire UK: Palgrave Macmillan, 2007), The European Legacy: Toward New Paradigms 15:2 (2010): 242.
Old Wives' Tales at Bamat Meitzag. Teatron 19 (2007): 38-44 Hebrew.
Book Review of Claire Sponsler, Ritual Imports: Performing Medieval Drama in America (Ithaca: Cornell University Press, 2004), Theatre Journal 58:2: 2006: 361-62.
"Is the Living Theatre still Alive?" Teatron 14 (2005): 21-23 Hebrew.
"Rina Yerushalmi: Between Fringe and Center," Teatron 14 (2005): 30-34 Hebrew.
Book Review of Eli Rozik, The Roots of Theatre: Rethinking Ritual and Other Theories of Origin (Iowa: University of Iowa Press, 2002), Gestos 37 (2004): 1-5.
Book Review of David Wallace, ed. The Cambridge History of Medieval English Literature (Cambridge: Cambridge University Press, 2001), Theatre Journal 56:2 (2004): 333-34.
"'The Situation': on the Installation 'Bodies' and on Teaching Political Theatre," Teatron 12 (2004): 45-47 Hebrew.
Book Review of Chris Humphrey, The Politics of Carnival: Festive Misrule in Medieval England, (Manchester: Manchester University Press, 2001), Theatre Survey 44:1 (2003): 161-62.
Performance Review of Jean Paul Sartre's No Exit at the Room Theatre, Directed by Avi Gibson-Barel, Tel Aviv 2002, Theatre Journal 55:1 (2003): 153-54.
"Biblical Sheep with a Worldview: the Drama of Yossefa Even-Shoshan," Teatron 11 (2003): 56-59 Hebrew.
"Iphigenia in New Balance: Deconstruction in Rina Yerushalmi's Mythos," with Roy Levy, Teatron 10 (2003): 16-19 Hebrew.
"The Rebels: Women's Acting in HaMordim," Teatron 2 (1999): 70-75 Hebrew.
"Clues to Contemporary Israel in the Bible according to Rina Yerushalmi," Teatron 1 (1998): 68-73 Hebrew.