Professor Yael Zarhy-Levo
The Department of Literature, Tel Aviv University, Israel.
Ph.D. 1995 (poetics and comparative literature), Tel Aviv University;
M.A. 1987 (poetics and comparative literature), Tel Aviv university;
B.A. 1976 (comparative literature), Brooklyn College, New York University (U.S.A).
Email: firstname.lastname@example.org; Tel: Office: (972)3–6408111;Home: (972)3–6023862
Yael Zarhy-Levo teaches in the Department of Literature at Tel-Aviv University. She is author of The Theatrical Critic as Cultural Agent: Constructing Pinter,Orton and Stoppard as Absurdist Playwrights, and The Making of Theatrical Reputations: Studies from the Modern London Theatre; in addition to chapters in The Cambridge Companion to Harold Pinter; and, with Freddie Rokem, in Writing &Rewriting National Theatre Histories; as well as numerous articles on theatre history and critical strategies in journals such as Poetics, Theatre History Studies, Journal of Dramatic Theory and Criticism, Theatre Survey, and Theatre Research International. Her most recent publication (2015) is a chapter in the anthology Theatre/Performance Historiography: Time, Space, Matter.
She has been a member of IFTR/FIRT (International Federation of Theatre Research), Theatre Historiography Working Group since 1996, and co-convener of the group from 2009 - 2012. Scientific meetings
She initiated, in collaboration with Professor Shimon Levy, two performances of Pinter’s plays: a reading of Ashes to Ashes (2009) and a production of The Lover (premiered on June 6, 2012), in which she served as a dramaturg. Both were performed at The Cameri Theatre, with the actors Keren Mor and Menashe Noy.
Areas of Research and Teaching
Theatre history and historiography; modern British theatre; The 1960s: the British New Wave and the Golden Age of British Television; theatre criticism; critical strategies; processes of reception of individual playwrights; critical grouping; a playwright’s critical image; the playwright as mediator of his own work.
Specific Playwrights of Interest/Research
Harold Pinter, John Osborn, Joe Orton, John Arden, Tom Stoppard, Sarah Kane, Martin McDonagh, Dennis Potter, Stephen Poliakoff.
Specific Critics of Interest/Research
Martin Esslin, John Russell Taylor, AleksSierz, Kenneth Tynan, Michael Billington
The Theatrical Critic as Cultural Agent: Constructing Pinter, Orton and Stoppard as Absurdist Playwrights. New York: Peter Lang Publishing, Inc. 2001.
The Making of Theatrical Reputations: Studies from the Modern London Theatre. Studies in Theatre History & Culture. Thomas Postlewait (Editor). Iowa City: University of Iowa Press. 2008.
Articles and chapters
“The Creation of a Canon: Re/Evaluating the National Identity of Israeli Drama,” Co-authored with Freddie Rokem, Writing &Rewriting National Theatre Histories. Steve Wilmer (Editor). Studies in Theatre History & Culture. Thomas Postlewait (Editor). Iowa City: University of Iowa Press, 2004 (174-200).
“Pinter and the Critics,” The Cambridge Companion to Harold Pinter, Second Edition. Peter Raby (Editor).Cambridge, UK: Cambridge University Press, 2008 (249-265). Click here
“The Theatre Critic as a Cultural Agent: Esslin, Marowitz and Tynan,” Poetics, Vol.21, 1993 (525–543).
“Critical Modes and the ‘Rebellious’ Playwright: Pinter’s ‘Alaska,’ Stoppard’s ‘Arcadia’,”Journal of Dramatic Theory and Criticism (JTD), Vol.XVI, 2001 (81-98). Reprinted in Contemporary Literary Criticism, Vol. 328, Jeffrey w. Hunter (Project Editor).Detroit, New York: Gale Cengage Learning, 2013 (242-252).
"The Making of Artistic Reputation: Dennis Potter, Television Dramatist," Theatre Research International(TRI), Vol. 34:1, 2009 (37-49). Click here
"Looking Back at the British New Wave."Journal of British Cinema and Television, Vol. 7:2, 2010 (232-248). Click here
"The 'Kane' Mark: A Dual Construct." Journal of Dramatic Theory and Criticism, Vol. 25:1, Fall 2010 (109-126).
"Dramatists Under a Label: Martin Esslin's The Theatre of the Absurd and Aleks Sierz's In-Yer-Face Theatre." Studies in Theatre & Performance, Vol. 31:3, 2011 (315-326).
"How Far Can You Go in Telling a Story Without Using Words?" Journal of Adaptation in Film & Performance, Vol. 4:2, 2011 (169-184).
“The Making of Theatrical Groupings: A Cognitive Perspective.” Co-authored with Yeshayahu Shen. Semiotica, Vol. 2012:190 (265–284).
“The Evolving Process of an Historical View: Aleks Sierz and British Theatre in the 1990s,” Theatre/Performance Historiography: Time, Space, Matter. Rosemarie Bank and Michal Kobialka (Editors). Palgrave 2015 (55-75).
Students supervised Click here