a language of collectivity than cruelty. The final chapter focuses on the elusive energy of theatre, the dynamic energy and interaction between performers and audience and the sense of community that is forged through the possibility of a live event, disposing of the monumentality of architecture. As a result, the notion of theatre in the book is kept pure. Pure in that theatre in the book, aside from occasional mention, is not mediated by other forms of viewership, spectatorship or liveness. For example, the cultural dominance of mobile phones, internet browsing, and television have changed how we relate to the world as spectators. Theatre has not been absent from the impact of how technology mediates our experience; or, how it is increasingly an integral part of theatrical experience. The shift to using screens in theatre, for example, serves to create a familial connection similar to watching a television show in our home. Alternatively, technology operates to amplify a connection or a moment beyond the immediacy and embodiment of performers on a stage or in the street. Neither how various mediums of performance vie for our attention nor the shifting value of liveness and presence are expanded on in the book; but, as the title states, the book is focused on the Historical Avant-Garde as emerging out of the 1871 commune in France (xviii). With the continual questioning of the desire for permanence in architecture, monumentality and the absence of occupation, Event-Space is a valuable and compelling contribution to challenging the historical norms of architecture and theatre. Hannah finds possibility in non-dialectic relationships. Hannah’s book therefore offers both a historical and contemporary approach to theatre within a complex field of interrelations. Event-Space is exceptionally engaging and offers thoughtful speculations about the negotiation between theatre and architecture.

中文翻译：

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奥克兰学校：建筑与规划 100 年，1917-2017，

一种集体语言而不是残忍。最后一章侧重于戏剧难以捉摸的能量，表演者与观众之间的动态能量和互动，以及通过现场活动的可能性而形成的社区意识，处理建筑的纪念性。结果，书中戏剧的概念保持纯粹。除了偶尔提及之外，书中的那个剧院纯粹没有以其他形式的观众、观众或活跃度为中介。例如，手机、互联网浏览和电视的文化主导地位改变了我们作为旁观者与世界的联系方式。技术如何调解我们的体验的影响并没有缺席戏剧；或者，它如何日益成为戏剧体验不可或缺的一部分。例如，在剧院中使用屏幕的转变，有助于建立家庭联系，类似于在家中观看电视节目。或者，技术的作用是放大超越舞台或街头表演者的即时性和体现的联系或时刻。书中既没有扩展各种表演媒介如何吸引我们的注意力，也没有扩展生动性和临场性的价值变化；但是，正如书名所言，这本书的重点是从 1871 年法国公社中兴起的历史先锋派（十八）。随着对建筑持久性、纪念性和不占用性的不断质疑，事件空间对挑战建筑和剧院的历史规范做出了宝贵而引人注目的贡献。汉娜在非辩证关系中找到了可能性。因此，汉娜的书为复杂的相互关系领域中的戏剧提供了历史和当代的方法。活动空间非常吸引人，并提供有关剧院和建筑之间谈判的深思熟虑的猜测。