{"id":311,"date":"2017-10-22T09:53:50","date_gmt":"2017-10-22T06:53:50","guid":{"rendered":"http:\/\/ruthkanner.com\/%d7%9e%d7%90%d7%9e%d7%a8%d7%99%d7%9d\/"},"modified":"2026-03-15T20:44:29","modified_gmt":"2026-03-15T18:44:29","slug":"articles","status":"publish","type":"page","link":"https:\/\/www.ruthkanner.com\/en\/articles\/","title":{"rendered":"Articles"},"content":{"rendered":"

Dror Harari,\u00a0 Deconstructing \u201cOctober 7\u201d: Mekhrav Numag by the Ruth Kanner Theatre Group. TDR: The Drama Review<\/i>. 2025;69(2):64-74 <\/a><\/p>\n

Dorit Yerushalmi, “Performances of Colonial Absurd: Tell Me Something By Ruth Kanner Theatre Group”,\u00a0Palestine\/Israel Review<\/strong>, Vol. 2, No. 1, 2025<\/a><\/p>\n

Kfir Lapid Mashall, Imagine a Review: In Praise of Sideways by the Ruth Kanner Theatre Group. Performance Research<\/strong>. 2024;29(2):123-124.<\/a><\/p>\n

Adi Chawin, Ruth Kanner, Actors Shirley Gal, Ronen Babluki, Adi Meirovitch, Siwar Awwad & Arnon Rosenthal, “Performing Interruptions: The Ruth Kanner Theatre Group and Kafka\u2019s An Imperial Message”, Performance Research (5):\u00a0On Interruptions<\/strong>\u00a0 (2021), 29-33<\/a><\/p>\n

Ben-Shaul, Daphna. “Ideology of Form in Storytelling Theater: The Politics of Inter-medial Adaptation in Discovering Elijah, A Play About War” GRAMMA: Journal of Theory and Criticism<\/strong> 17 (2009), 165-181<\/a><\/p>\n

Ben-Shaul, Daphna, Ruth Kanner, Janelle Reinelt, Freddie Rokem. “Capturing Moments of Misperformance: ‘LocalTales'”. Performance Research 15:2 (2010)<\/strong>, 69-77<\/a><\/p>\n

Gad Kaynar in conversation with Ruth Kanner, “Disruption as Revealing the Essence of Truth”, New Dramaturgy, <\/a>Katalin Trencsenyi, Bernadette Cochrane eds<\/strong>, 2014<\/a><\/p>\n

Kanner, Ruth. “Body in War”. The Human Body \u2013 A Universal Sign: Towards Dance Anthropology. Wiesna Mond-Kozlowska, ed. Krakow: Jagiellonian U P,<\/strong> 2005<\/a><\/p>\n

Levy, Shimon. “Modalities of Israeli Political Theatre: Plonter, Arna’s Childreen and the Ruth Kanner Group”.\u00a0Political Performances: Theory and Practice<\/strong>. Susan C. Haedicke, Deirdre Heddon, Avraham Oz and E.J. Westlake, eds. Amsterdam\/New York: Rodopi, 2009.<\/a><\/p>\n

Rokem, Freddie, Schwerpunkt | The Hebrew Notebook \u2013 And other stories by Franz Kafka. A work of\u00a0 ‘Speech Theatre’ by the Ruth Kanner Theatre Group, Gesellschaft f\u00fcr Theaterwissenschaft<\/strong><\/a><\/p>\n

\u0420\u0443\u0442 \u041a\u0430\u043d\u0435\u0440. “\u0415\u0432\u0440\u0435\u0439\u0441\u043a\u0438\u0439 \u0442\u0435\u0430\u0442\u0440 – \u0442\u0435\u0430\u0442\u0440 \u0440\u0430\u0441\u0441\u043a\u0430\u0437\u0430?”. \u041c\u043e\u043d\u043e\u043b\u043e\u0433\u0438 \u043e \u0435\u0432\u0440\u0435\u0439\u0441\u043a\u043e\u043c \u0442\u0435\u0430\u0442\u0440\u0435 \/\/ Judaic – Slavic Journal<\/i>, 1-2, 2022-2023 [\u041f\u0435\u0440\u0435\u0432\u043e\u0434 \u0441 \u0438\u0432\u0440\u0438\u0442\u0430 \u041e\u043b\u044c\u0433\u0438 \u041b\u0435\u0432\u0438\u0442\u0430\u043d].<\/a><\/p>\n

\u05e2\u05d3\u05d9 \u05d7\u05d1\u05d9\u05df. “\u05de\u05e9\u05e4\u05d7\u05ea\u05d9\u05d5\u05ea \u05d1\u05d4\u05e6\u05d2\u05d4 “\u05e7\u05e9\u05e8\u05d9 \u05de\u05e9\u05e4\u05d7\u05d4”, \u05e7\u05d1\u05d5\u05e6\u05ea \u05ea\u05d9\u05d0\u05d8\u05e8\u05d5\u05df \u05e8\u05d5\u05ea \u05e7\u05e0\u05e8”, \u05e7\u05e8\u05d9\u05d0\u05d5\u05ea \u05d9\u05e9\u05e8\u05d0\u05dc\u05d9\u05d5\u05ea 8 (2025), 21-27<\/a><\/strong><\/p>\n

\u05ea\u05d5\u05e8\u05df, \u05e8\u05d5\u05e0\u05d9, “\u05e4\u05d7\u05d5\u05ea \u05d6\u05d4 \u05d9\u05d5\u05ea\u05e8”, \u05d1\u05e7\u05e0\u05d4 \u05de\u05d9\u05d3\u05d4: \u05d0\u05d7\u05d3 \u05dc\u05d0\u05d7\u05d3, \u05e9\u05d9\u05d7\u05d5\u05ea \u05e2\u05dc \u05e9\u05e4\u05ea \u05d1\u05de\u05d4<\/strong>, \u05d4\u05d5\u05e6\u05d0\u05ea \u05d4\u05e7\u05d9\u05d1\u05d5\u05e5 \u05d4\u05de\u05d0\u05d5\u05d7\u05d3 (2021), 223-246<\/a><\/p>\n

\u05d7\u05d1\u05d9\u05df, \u05e2\u05d3\u05d9. “\u05d0\u05dc\u05d0 \u05de\u05d4? \u05d0\u05dc\u05d0 \u05e9\u05d4\u05db\u05dc \u05d4\u05ea\u05d7\u05d9\u05dc \u05d1\u05e9\u05d9\u05d1\u05d5\u05e9 \u05e7\u05dc”, \u05d7\u05d9\u05d1\u05d5\u05e8 \u05dc\u05e9\u05dd \u05e7\u05d1\u05dc\u05ea \u05ea\u05d5\u05d0\u05e8 \u05f4\u05de\u05d5\u05e1\u05de\u05db\u05ea \u05d0\u05d5\u05e0\u05d9\u05d1\u05e8\u05e1\u05d9\u05d8\u05d4\u05f4<\/strong>,\u00a0(2020)<\/a>.<\/p>\n

\u05d1\u05e8\u05e7\u05d0\u05d9, \u05e1\u05d9\u05d2\u05dc. ” \u05e8\u05d5\u05ea \u05e7\u05e0\u05e8: \u05d9\u05ea\u05e8\u05d5\u05e0\u05d4 \u05e9\u05dc \u05d4\u05dc\u05d0 \u05dc\u05d5\u05d7\u05de\u05ea”.\u00a0\u05d1\u05de\u05d4 \u05dc\u05d2\u05d1\u05e8\u05d5\u05bc\u05d9\u05d5\u05b9\u05ea: \u05d3\u05de\u05d5\u05d9\u05d5\u05ea \u05d7\u05d9\u05d9\u05dc\u05d9\u05dd \u05d9\u05e9\u05e8\u05d0\u05dc\u05d9\u05dd \u05d1\u05ea\u05d9\u05d0\u05d8\u05e8\u05d5\u05df<\/b>, \u05d4\u05d0\u05d5\u05e0\u05d9\u05d1\u05e8\u05e1\u05d9\u05d8\u05d4 \u05d4\u05e4\u05ea\u05d5\u05d7\u05d4 (2019), 293-305.<\/span><\/a><\/p>\n

\u05d0\u05d1\u05dc\u05d9\u05d5\u05d1\u05d9\u05e5’, \u05e8\u05d5\u05ea\u05d9. “\u05d4\u05d0\u05d5\u05de\u05e8 \u05db\u05df, \u05d4\u05d0\u05d5\u05de\u05e8 \u05dc\u05d0” \u2013 \u05d5\u05ea\u05d9\u05d0\u05d8\u05e8\u05d5\u05df \u05e0\u05d5”. \u05de\u05d5\u05ea\u05e8<\/strong> 28 (2010), 12-15.<\/a><\/p>\n

\u05d1\u05df\u05be\u05e9\u05d0\u05d5\u05dc, \u05d3\u05e4\u05e0\u05d4. “\u05e2\u05dc \u05d3\u05d9\u05d5\u05e0\u05d9\u05e1\u05d5\u05e1 \u05d1\u05e1\u05e0\u05d8\u05e8: \u05d1\u05de\u05d4 \u05dc\u05d1\u05dc\u05d9\u05de\u05ea \u05d4\u05d0\u05d3\u05de\u05d4”. \u05d6\u05de\u05e0\u05d9\u05dd<\/strong> 99 (2007), 105-94.<\/a><\/p>\n

\u05d1\u05df\u05be\u05e9\u05d0\u05d5\u05dc, \u05d3\u05e4\u05e0\u05d4. “\u05ea\u05e4\u05e7\u05d9\u05d3 \u05d4\u05de\u05e1\u05e4\u05e8\u05ea: \u05e2\u05dc \u05d4\u05d9\u05d5\u05e6\u05e8\u05ea \u05e8\u05d5\u05ea \u05e7\u05e0\u05e8”. \u05de\u05d5\u05ea\u05e8<\/strong> 12 (2004), 118-107.<\/a><\/p>\n

\u05d2\u05dc, \u05e0\u05e2\u05dd. “\u05d4\u05de\u05e1\u05e2 \u05d0\u05dc \u05d4\u05dc\u05db\u05d0\u05d5\u05e8\u05d4”.\u00a0\u05e2\u05e8\u05d1 \u05e8\u05d1\u00a0<\/strong>(2012).<\/a><\/p>\n

\u05dc\u05d5\u05d9, \u05e9\u05de\u05e2\u05d5\u05df. “\u05d4\u05e2\u05e8\u05d5\u05ea \u05dc\u05d0\u05e1\u05ea\u05d8\u05d9\u05e7\u05d4 \u05e9\u05dc \u05d0\u05d9-\u05d4\u05e1\u05db\u05de\u05d4”. \u05de\u05d5\u05ea\u05e8<\/strong> 28 (2010), 4-10.<\/a><\/p>\n

\u05dc\u05d5\u05d9, \u05e9\u05de\u05e2\u05d5\u05df. “\u05de\u05e7\u05d8\u05e8\u05d9\u05dd \u05d1\u05d1\u05de\u05d5\u05ea \u05ea\u05e9\u05e1”\u05d6”. \u05de\u05e4\u05e0\u05d4<\/strong> 54 (2007), 15-21.<\/a><\/p>\n

\u05dc\u05d5\u05d9\u05d8\u05df, \u05d0\u05d5\u05dc\u05d2\u05d4. “\u05d4\u05e9\u05d5\u05d0\u05d4 \u05d1\u05ea\u05d9\u05d0\u05d8\u05e8\u05d5\u05df \u05d4\u05e4\u05e8\u05d9\u05e0\u05d2’ \u05d4\u05d9\u05e9\u05e8\u05d0\u05dc\u05d9”. \u05de\u05d5\u05ea\u05e8<\/strong> 26 (2009), 64-72.<\/a><\/p>\n

\u05dc\u05d5\u05d9\u05d8\u05df, \u05d0\u05d5\u05dc\u05d2\u05d4. “\u05d7\u05d5\u05d1\u05d4 \u05dc\u05de\u05d5\u05ea?”. \u05de\u05d5\u05ea\u05e8<\/strong> 28 (2010), 10-12.<\/a><\/p>\n

\u05dc\u05d5\u05d9, \u05e9\u05de\u05e2\u05d5\u05df, \u05e2\u05dc \u05e7\u05d1\u05d5\u05e6\u05ea \u05d4\u05ea\u05d9\u05d0\u05d8\u05e8\u05d5\u05df, \u05d1\u05d0\u05ea\u05e8 \u05d4\u05ea\u05d9\u05d0\u05d8\u05e8\u05d5\u05df \u05d4\u05d9\u05e9\u05e8\u05d0\u05dc\u05d9.<\/a><\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Dror Harari,\u00a0 Deconstructing \u201cOctober 7\u201d: Mekhrav Numag by the Ruth Kanner Theatre Group. TDR: The Drama Review. 2025;69(2):64-74 Dorit Yerushalmi, “Performances of Colonial Absurd: Tell Me Something By Ruth Kanner Theatre Group”,\u00a0Palestine\/Israel Review, Vol. 2, No. 1, 2025 Kfir Lapid Mashall, Imagine a Review: In Praise of Sideways by the Ruth Kanner Theatre Group. Performance […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-archive.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-311","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nArticles - \u05e7\u05d1\u05d5\u05e6\u05ea \u05ea\u05d9\u05d0\u05d8\u05e8\u05d5\u05df \u05e8\u05d5\u05ea \u05e7\u05e0\u05e8<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ruthkanner.com\/en\/articles\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Articles - \u05e7\u05d1\u05d5\u05e6\u05ea \u05ea\u05d9\u05d0\u05d8\u05e8\u05d5\u05df \u05e8\u05d5\u05ea \u05e7\u05e0\u05e8\" \/>\n<meta property=\"og:description\" content=\"Dror Harari,\u00a0 Deconstructing \u201cOctober 7\u201d: Mekhrav Numag by the Ruth Kanner Theatre Group. TDR: The Drama Review. 2025;69(2):64-74 Dorit Yerushalmi, “Performances of Colonial Absurd: Tell Me Something By Ruth Kanner Theatre Group”,\u00a0Palestine\/Israel Review, Vol. 2, No. 1, 2025 Kfir Lapid Mashall, Imagine a Review: In Praise of Sideways by the Ruth Kanner Theatre Group. 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