Books
Experiments in Stage Satire: An Analysis of Ben Jonson’s Every Man Out of His Humour, Cynthia’s Revels and Poetaster (Frankfurt a/M, Peter Lang, 1987).
Woman’s Theatrical Space (Cambridge, Cambridge University Press, 1994).
Adam de la Halle: Le Jeu de la feuillée, Hebrew verse translation from Picard French (with Samuel Scolnicov), Introduction, dramatic editing and notes (Jerusalem, Carmel, 1999).
The Experimental Theater of Harold Pinter (Newark, University of Delaware Press, 2012).
Editing
The Play Out of Context: Transferring Plays from Culture to Culture, ed. by Hanna Scolnicov and Peter Holland (Cambridge University Press, 1989). Introduction by Hanna Scolnicov, 1-6.
La obra de teatro fuera de contexto: El traslado de obras de una cultura a otra, compil. por Hanna Scolnicov y Peter Holland, tr. M.M. Ubasart (México, Siglo Veintiuno, 1991). Introducción, 11-16.
Reading Plays: Interpretation and Reception, ed. by Hanna Scolnicov and Peter Holland (Cambridge University Press, 1991). Introduction by Hanna Scolnicov, 1-7.
Proceedings of The IX World Shakespeare Congress 2011, ed. By Martin Prochazka, Hanna Scolnicov and Andreas Hoefele (forthcoming 2012).
Word and Image in the Arts (Graduate students’ papers, vol. 1: 2003), ed. by Hanna Scolnicov, http://arts.tau.ac.il/departments/index.php/lang-he/research-pubs/studentsworks/theatre/570 (In Hebrew)
Word and Image in the Arts (Graduate students’ papers, vol 2: 2004), ed. by Hanna Scolnicov, http://arts.tau.ac.il/departments/index.php/lang-he/research-pubs/studentsworks/theatre/tcsd. (In Hebrew)
The Art Work and its Title (Graduate students’ papers, 2005), ed. by Hanna Scolnicov,
The Use of Perspective in the Arts (Graduate students’ papers, vol. 1: 2007), ed. by Hanna Scolnicov, http://arts.tau.ac.il/departments/index.php/lang-he/research-pubs/studentsworks/theatre/tcsz (In Hebrew)
Beauty and Ugliness in the Arts (Graduate students’ papers, vol. 1: 2008), ed. by Hanna Scolnicov, http://arts.tau.ac.il/departments/index.php/lang-he/research-pubs/studentsworks/theatre/tcsch (In Hebrew)
Beauty and Ugliness in the Arts (Graduate students’ papers, vol. 2: 2009), ed. by Hanna Scolnicov, http://arts.tau.ac.il/departments/index.php/lang-he/research-pubs/studentsworks/theatre/studentworks2009 (In Hebrew)
The Art Work and its Title (Graduate students’ papers, 2012), ed. by Hanna Scolnicov,
http://arts.tau.ac.il/departments/index.php/lang-he/research-pubs/studentsworks/theatre/ (In Hebrew)studentworks2012
Articles
Dramatic Unity in Webster’s White Devil and The Duchess of Malfi, Scripta Hierosolymitana 19 (1967): Studies in the Drama, ed. by Arieh Sachs, 209-218.
The Rise and Fall of the Master Builder, Bamah 33 (1967), 13-17 (Hebrew).
Escurial: An Avant-guarde Play on the Sixteenth Century, Bamah 60 (1974), 39-43. (Hebrew)
Metamorphoses to Aristotle’s Poetics: An attempt to apply it beyond tragedy, Eshkolot N.S. 2-3 (1977-8), 97-107. (Hebrew)
“The Mystery of Things”: The Role of Fortune in King Lear, Literatur in Wissenschaft und Unterricht 14 (1981), 191-205.
“Now to Die”: Zum dramatischen, lyrischen und theatralischen Augenblick in Shakespeares “Othello”, Augenblick und Zeitpunkt: Studien zur Zeitstruktur und Zeitmetaphorik in Kunst und Wissenschaften, ed. by C.W. Thomsen and H. Holländer (Darmstadt, Wissenschaftliche Buchgesellschaft, 1984), 234-250 .
Theatrical and Dramatic Values in Le Jeu d’Adam, Bamah 97 (1987), 5-26. (Hebrew)
The Undiscover’d Country: Theatrical Space Without in Hamlet, Lieu et temps (Société Française Shakespeare, Actes du Congrés 1984), 95-107.
“To Understand a Parable”: The Mimetic Mode of The Marriage of Wit and Wisdom, Cahiers Elisabéthains 29 (April 1986), 1-11.
Theatre Space, Theatrical Space and the Theatrical Space Without, Themes in Drama 9: The Theatrical Space, ed. by James Redmond (Cambridge University Press, 1987), 11-26.
"Mimesis, Mirror, Double", The Play Out of Context, ed. by Hanna Scolnicov and Peter Holland (Cambridge University Press, 1989), 89-98.
Mimesis, espejo, contrafigura, La obra de teatro fuera de contexto, comp. por Hanna Scolnicov y Peter Holland (México, Siglo Veintiuno, 1991), 118-129.
The Stage Is the World: Theatre and Reality in Shakespeare, Bamah 113-114 (1988), 107-113. (Hebrew)
The Play’s the Thing in Amleto e nel Gabbiano, La scena di Amleto (Biblioteca Teatrale, ed. F. Marotti and C. Molinari, 13-15/1989), 69-83.
"Chekhov’s Reading of Hamlet", Reading Plays, ed. by Hanna Scolnicov and Peter Holland (Cambridge University Press, 1991), 192-205 .
Tchekhovo protchtenie “Gamleta”, Teatroved’i Israeli’a Razm’ichliaiot, ed. A.A. Tchepurov (St. Peterburg, St. Peterburg Academy, 2002), 149-160.
The Woman in the Window: A Theatrical Icon, Spectacle & Image, ed. by André Lascombes (Leiden, E.J. Brill, ‘Symbola et Emblemata’, 1993), 281-305.
“Here is the place appointed for the wrestling”, The Show Within: Dramatic and Other Insets. English Renaissance Drama (1550-1642), ed. by François Laroque(Montpellier, Centre d’Études et de Recherches Élisabéthaines, Collection Astraea, (1992), vol. 1, 141-153.
The player as eunuch: Viola/Cesario, Bamah 125 (1991), 39-46. (Hebrew)
Why is Masha always in black? Bamah 129 (l992), 5-11. (Hebrew)
Stripping as Gesture, Bamah 130 (1992), 23-30. (Hebrew)
The zoomorphic mask in Shakespeare, Assaph 9 (1993), 63-74.
Window and serenade: A scenic and dramatic convention, Motar 2 (1994), 15-20. (Hebrew)
Stoppard’s intertextual web, Assaph 11 (1995), 19-37.
"An intertextual approach to teaching Shakespeare", Shakespeare Quarterly 46 (1995), 210-219.
"Hamlet’s conundrum: How can ‘that within which passeth show’ be shown?" Tudor Theatre: Emotion in the theatre, ed. by André Lascombes (Bern, Peter Lang, 1996; Collection Theta), 177-193.
Romeo and Juliet and the scenic convention of the piazza, ‘Dyvers toyes mengled’: Essays on Medieval and Renaissance Culture in honour of André Lascombes, ed. by Michel Bitot (Tours, Publications de l’Université François Rabelais, 1996), 281-298.
Staging The Comedy of Betrothal on the Serlian stage, Leone de’ Sommi and the Performing Arts, ed. by Ahuva Belkin (Tel-Aviv, Assaph Book Series, 1997), 119-132.
"Woman’s liberation and the dissolution of the home in The Seagull and in The Cherry Orchard", Bamah 141-142 (1995), 69-90. (Hebrew translation of a chapter from Woman’s Theatrical Space)
"From maid to widow: The ages of woman in Shakespeare’s plays", Motar 4 (1996), 41-50. (Hebrew)
The sources of Tartuffe’s hypocrisy, Bamah 145-146 (1996), 25-34. (Hebrew)
Pinter’s game of betrayal, Cycnos 14 (1997), 1-9.
Chastity, prostitution and pornography in Measure for Measure, Shakespeare Jahrbuch 134 (1998), 68-81.
Artist Descending a Staircase: From Duchamp to Stoppard, Motar 6 (1998), 233-238. (Hebrew)
Intertextuality, anachronism and interdisciplinarity, Alpayim 17 (1999), 79-90. (Hebrew version of 3.22)
Political assassination, sacrifice and theatrical reenactment in Julius Caesar, Theatre and Holy Script, ed. by Shimon Levy (Brighton, Sussex Academic Press, 1999), 213-221.
Exploring the limits of self-portraiture in Le Jeu de la feuillée, Theatre Research International 24:2 (1999), 125-130.
Feminize Shakespeare! A challenge for the Israeli theatre, Bamah 153-154 (1999), 78-86. (Hebrew)
Ages of man, ages of woman, Cahiers Élisabéthains 57 (2000), 61-78.
Veky muza, veky zeny, tr. into Slovak: Jana Wild, Aspekt 2 (2001), 139-146 .
Gertrude’s willow speech: Word and film image, Literature/Film Quarterly 28 (2000), 101-111.
Theatrum mundi in the theatre: Shakespeare and Calderón, Analecta Husserliana 73 (2001), 3-14 .
Intertextuality and realism in three versions of Hamlet: The willow speech and the aesthetics of cinema, Shakespeare and the Visual Arts, ed. by Holger Klein and James Harner, Shakespeare Yearbook 11 (Lampeter, UK, The Edwin Mellen Press, 2000), 227-237.
The Hebrew who turned Christian: The first translator of Shakespeare into the Holy Tongue, Shakespeare Survey 54 (2001), 182-190.
The Hebrew who turned Christian: The first translator of Shakespeare into the Holy Tongue, Jerusalem Studies in Hebrew Literature 20 (forthcoming 2005) (Hebrew)
Consciousness and memory: Four experimental plays by Pinter, Bamah 162 (2001) (Hebrew)
Looking at the Holocaust through the window: Harold Pinter’s Ashes to Ashes, Bamah 162 (2001) (Hebrew)
Ashes to Ashes: Pinter’s Holocaust play, Cycnos 18 (2001), 15-24.
The Merchant in Volpone: Narrative and conceptual montage in Maurice Tourneur’s film, The Ben Jonson Journal 8 (2001), 133-145.
Lady Macbeth and her husband: On gender definitions in the play, Bamah 163 (2001) (Hebrew)
Stripping as gesture (Assaph: Studies in the Theatre 24 (2010), 139-152.
Dream and reality in A Midsummer Night’s Dream, Bamah 169 (2003), 47-56. (Hebrew)
Past and present in Arcadia, Bamah 171 (2004), 29-40 (Hebrew).
Making ears serve for eyes: Stoppard’s visual radio play, Word and Image 20 (2004), 63-83 .
“Before” and “after” in Stoppard’s Arcadia, Modern Drama 47 (2004), 480-499.
Et in Arcadia ego: Stoppard revisits neoclassicism, Companion Guide to Tom Stoppard’s Arcadia, ed. Errol Durbach (Theatre at University of British Columbia, Programme notes, March 2005) Also at: http://www.theatre.ubc.ca/arcadia/subject_hanna_scolnicov.htm
The fairies’ feast: Ritual, folklore and theatre in Le Jeu de la feuillée, Bamot u-Masach (Stage and Curtain) 1 (2009) (Hebrew)
Meeting one’s death in Arcadia, Analecta Husserliana 84 (2004), 249-261.
Four hundred years old but still relevant, Programme Notes for Cameri production for Hamlet (2004) (Hebrew)
The praise of cowardice: Falstaff on the battlefield, Bamah 172 (2005), 33-41. (Hebrew)
The art of theatre and the materials of life: Pinter vs. Stoppard, Pictorial Languages and their Meanings: Liber amicorum in honor of Nurith Kenaan-Kedar (Tel-Aviv: Tel-Aviv University, 2006), 429-438 .
Who is it that can tell me who I am?”: Individual, subject and self in King Lear, Shakespeare Jahrbuch 142 (2006), 142-156.
Four score and upward, Programme Notes to Cameri production of King Lear (2007) (Hebrew)
Four score and upward, Programme Notes to Tel-Aviv University Theatre production of King Lear (2007) (Hebrew)
Four score and upward, Teatron 22 (2007), 32-34 (Hebrew)
Story of the Exodus and Shakespeare’s Tempest, Exhibition Catalogue (Schreiber University Art Gallery, Tel-Aviv University, 2007), 136-116 (English), 33-57. (Hebrew)
Anamorphosis in Holbein and Shakespeare, Assaph: Studies in Art History 12 ( 2008), 121-128.
Lear’s conversation with the philosopher, Teatron (2009) (Hebrew)
Chagall’s Tempest: An autobiographical reading, Shakespeare Survey 61 (2009)
Lear’s conversation with the philosopher, Shakespeare/Adaptation/Modern drama: Festschrift for Jill Levenson, eds. Randall Martin and Katherine Scheil (Toronto: Toronto University Press, 2011).
Every Good Boy Deserves Favour: A play for actors and orchestra, Bamot u-Masach (Stage and Curtain) (forthcoming 2011) (Hebrew).
Shakespeare’s romantic comedy and its tragic margins, Introduction to Comedy, ed. Dan Urian (Tel-Aviv: The Open University of Israel, forthcoming 2013).
Bearing Bearing witness and ethical responsibility in Harold Pinter’s Ashes to Ashes, Witnessing/Testimony and Ethics in Contemporary British Theatre, eds. Mireia Aragay and Enric Monforte (London: Palgrave Macmillan, forthcoming 2013)
Entries in Encyclopedias
Hebrew Theatre and shorter entries on Bertonov, The Dybbuk, Habima, Kishon, Marron, Meskin, Rovina, Sommo, Topol, Zemach, The Cambridge Guide to World Theatre, ed. by Martin Banham (Cambridge University Press, 1988), 437-440 and passim. Revised entries for 1989, 1993 and 1995 editions.
Shakespeare in Israel, Oxford Companion to Shakespeare, eds. Michael Dobson and Stanley Wells (2001).
Translations
I. Watt, Realism and the form of the novel, Approaches to the Novel,ed. by R. Tzur and Y. Kashti (Tel-Aviv, Dagah, 1969)
Michel de Ghelderode, Escurial, Bamah 60 (1974), 31-38
