This co-edited volume takes strides in object theatre’s performance history, and does additional service by interrogating gender issues, past and present. The book shows that writing about puppetry and women is necessary, especially as the work of women in puppetry accelerates internationally. Readers may not agree with all viewpoints; the authors themselves are far from uniform in their sentiments or approaches. But using the lens of gender (which some of the female creators included do not see as a substantive issue in their work), the book delves into deep issues. Authors discuss both how the female body/voice is made visible (by an object performed by a manipulator of any sexuality via stereotypes) or invisible (noting masking may allow women, otherwise culturally excluded from public displays, to perform). Narrative content, women as performers, and other topics get attention. A number of contributors report how today heritage forms that were traditionally all male begin to open to women as men leave traditional arts for more lucrative/modern pursuits. The width of coverage (both geographical and ideological) rather than gender focus itself is perhaps the greatest strength of this book: the editors have enabled the voices of artists and scholars beyond normative Anglophone theatres. Therefore, much of the information is

中文翻译：

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妇女和木偶：批判和历史调查编辑。作者：Alissa Mello、Claudia Orenstein 和 Cariad Astles

这本共同编辑的卷在对象剧院的表演历史上取得了长足的进步，并通过询问过去和现在的性别问题提供了额外的服务。这本书表明，撰写有关木偶和女性的文章是必要的，尤其是在国际上女性木偶剧工作加速的情况下。读者可能不同意所有观点；作者本身在他们的情绪或方法上远非一致。但是利用性别的视角（其中一些女性创作者并不认为是他们工作中的实质性问题），这本书深入探讨了深层次的问题。作者讨论了如何使女性的身体/声音变得可见（通过刻板印象由任何性行为的操纵者执行的对象）或不可见（注意蒙面可能允许女性，否则在文化上被排除在公共展示之外，进行表演）。叙述内容，女性作为表演者，其他话题受到关注。许多撰稿人报告说，随着男性离开传统艺术转向更有利可图的/现代追求，今天传统上全为男性的遗产形式如何开始向女性开放。覆盖范围（地理和意识形态）而不是性别关注本身可能是本书最大的优势：编辑使艺术家和学者的声音超越了规范的英语剧院。因此，大部分信息是 编辑使艺术家和学者的声音超越了规范的英语剧院。因此，大部分信息是 编辑使艺术家和学者的声音超越了规范的英语剧院。因此，大部分信息是