Marina Abramovi c’s Walk Through Walls is as much a superhero origin myth as it is a conventional memoir. It maps a path from the artist’s childhood in Belgrade to her international recognition as the queen of Performance Art, with much of the book spent looking back on Abramovi c’s upbringing and personal life in order to make sense of her work as an artist. The book interweaves stories from Abramovi c’s life with accounts of making her work, going from inspiration to execution, with the effect of blurring the boundaries between the two. For Abramovi c, it would appear that there is an equivalence between renovating a house in Amsterdam, planning a fiftieth birthday party, spending an illicit weekend with a secret lover, or creating a performance for the Venice Biennale. Her work is her life and her life is her work. This equivalence is heightened by the curiously affectless prose, which frequently focuses the reader’s attention on events in the artist’s life rather than the detail of her feelings about them. On finishing the book, you know a great deal about Abramovi c’s life, without really getting a clear sense of her as a person. She is as enigmatic on the page as she is in her performances — mysterious and detached even when naked, emotional and bleeding. In spite of this detachment, the book should be recognised as an important text for those interested in performer training. As I have previously argued in the pages of this journal, one of the key issues in contemporary performer training concerns the way in which the blurring of forms and aesthetics in current performance practice raises questions about the relevance of canonical training paradigms (Edinborough 2018). Indeed, the definitions that tend to accompany the terms Live Art and Performance Art provide an implicit critique of the notion of a canon for the performer’s technical training. The UK Live Art Development Agency’s website states:

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玛丽娜·阿布拉莫维奇 (Marina Abramovi) 的《穿墙而过》既是一部传统的回忆录，也是一个超级英雄起源神话。它描绘了从艺术家在贝尔格莱德的童年到她作为行为艺术女王的国际认可的道路，书中大部分时间回顾了阿布拉莫维奇的成长经历和个人生活，以了解她作为艺术家的工作。这本书将阿布拉莫维奇的生活故事与她的工作经历交织在一起，从灵感到执行，模糊了两者之间的界限。对于阿布拉莫维奇来说，在阿姆斯特丹翻新房子、筹划五十岁生日派对、与秘密情人度过一个非法周末，或者为威尼斯双年展创作一场表演之间似乎是等价的。她的工作就是她的生活，她的生活就是她的工作。古怪的无情散文加强了这种对等性，它经常将读者的注意力集中在艺术家生活中的事件上，而不是她对这些事件的感受的细节上。读完这本书，你对阿布拉莫维奇的生活有了很多了解，却没有真正清楚地了解她作为一个人。她在书页上和在表演中一样神秘——即使在赤身裸体、情绪化和流血时也神秘而超然。尽管有这种超脱，对于那些对表演者培训感兴趣的人来说，这本书应该被认为是一本重要的教科书。正如我之前在这本杂志的页面中所争论的那样，当代表演者培训的关键问题之一涉及当前表演实践中形式和美学的模糊性如何引发有关规范培训范式的相关性的问题（爱丁堡，2018 年）。事实上，往往伴随现场艺术和表演艺术这两个术语的定义对表演者技术培训的经典概念提供了一种含蓄的批评。英国现场艺术发展局的网站指出：