THiS Book HAS A RATHER REMARkABLE HiSToRy. it evolved from “a little glossy book on performance” (xiii) written in spanish as an introduction to the field. it was meant to provide the fifty institutional members of the Hemispheric institute of Performance and Politics throughout the americas (i.e., artists, scholars, and students) with a common vocabulary, which they were lacking at that time. When the question of an english translation arose, the author decided to adapt this introduction on several levels because it covered somewhat familiar ground for its north american readers. she also added a number of new chapters that reflect on some of the uses of performance and the kind of power it is capable of investing in individuals and collectives. in this regard it has become a new book after all. the first three chapters, “Framing [Performance],” “Performance Histories,” and “Spect-Actors,” are based on the Spanish edition, even if they are not completely identical. While chapter 1 provides an overview of definitions and commentary on performance and its scope, referring to the well-known theories and theoreticians of performance and performativity, chapter 2 provides the reader with a historical survey of different kinds of performance art since the 1960s and 1970s, focusing on questions of the body, the scale, and the eventness of performance. Chapter 3 discusses spectatorship via a broad range of theories (e.g., althusser, Boal, Brecht, artaud, Rancière, Gallese, Azoulay, and Didi-Huberman) and performances (mostly from Latin america). it ends with another definition: “Performance is a doing to, a thing done to and with the spectators” (86). Even this general section distinguishes the book from the many publications that serve as introductions to the field, not only because it draws heavily on examples from Latin america but also because it sets the focus on performance’s capacity to function as an “epistemology, a form of knowing and understanding the world” (36). This provides an unusual segue to the second part of the book. Chapter 4, entitled “The New Uses of Performance,” foregrounds the different approaches of embodied knowledge that are not related to the dichotomies “true vs. Diana Taylor. Performance.

中文翻译：

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戴安娜泰勒的表演

这本书有一段相当非凡的历史。它从用西班牙语写成的“一本关于表演的光面小书”（xiii）演变而来，作为对该领域的介绍。它的目的是为整个美洲的半球表演与政治学院的五十个机构成员（即艺术家、学者和学生）提供一个共同的词汇，这是他们当时所缺乏的。当出现英文翻译的问题时，作者决定在几个层次上改编这个介绍，因为它涵盖了北美读者有些熟悉的领域。她还添加了一些新章节，反映了绩效的一些用途以及它能够投资于个人和集体的力量。在这方面，它毕竟已成为一本新书。前三章，“框架[性能]，” “表演史”和“演员”是根据西班牙文版改编的，即使它们并不完全相同。第 1 章概述了表演及其范围的定义和评论，参考了表演和表演的著名理论和理论家，第 2 章为读者提供了自 1960 年代和 1970 年代以来不同类型表演艺术的历史概览，重点关注表演的身体、规模和事件性的问题。第 3 章通过广泛的理论（例如，阿尔都塞、鲍尔、布莱希特、阿尔托、朗西埃、加勒塞、阿祖莱和迪迪-休伯曼）和表演（主要来自拉丁美洲）讨论了观众。它以另一个定义结束：“表演是对观众的一种行为，一种对观众和与观众一起做的事情”（86）。即使是这一一般部分也使本书与作为该领域介绍的许多出版物区分开来，不仅因为它大量借鉴了拉丁美洲的例子，而且因为它把重点放在表演作为“认识论，一种形式的认识论”发挥作用的能力上。认识和理解世界”（36）。这为本书的第二部分提供了一个不寻常的转场。第 4 章题为“表演的新用途”，重点介绍了与“真实与戴安娜·泰勒”二分法无关的具身知识的不同方法。表现。一种认识和理解世界的形式”（36）。这为本书的第二部分提供了一个不寻常的转场。第 4 章题为“表演的新用途”，重点介绍了与“真实与戴安娜·泰勒”二分法无关的具身知识的不同方法。表现。一种认识和理解世界的形式”（36）。这为本书的第二部分提供了一个不寻常的转场。第 4 章题为“表演的新用途”，重点介绍了与“真实与戴安娜·泰勒”二分法无关的具身知识的不同方法。表现。