Joan Fitzpatrick Dean. All Dressed Up: Modern Irish Historical Pageantry. Syracuse, NY: Syracuse University Press, 2014. Pp. xvii + 335 + 8 color plates. $39.95. In 2004, Irish theatre scholar Lionel Pilkington called for an expansion of the focus of Irish theatre studies to include more sustained investigations of forms of performance outside of the theatre itself, including mumming, pageantry, and political demonstrations. Dating from William Butler Yeats, Edward Martyn, George Moore, and Lady Augusta Gregory's founding of the Irish Literary Theatre in 1899 (which would become the Abbey, Ireland's national theatre), the critical cachet of the playwright and the literary power of the legitimate stage have had remarkable staying power in Ireland, and remain in most cases the go-to method for organizing surveys of the Irish theatre. In the ensuing decade since Pilkington's call to action, the field has certainly expanded in a variety of dynamic ways to meet his challenge. Professor Joan Fitzpatrick Dean's All Dressed Up represents a substantial addition to this discourse, focusing as it does on forms of performance occurring outside the traditional theatre. Her work is the summation of years of primary-source research: Dean has mined a vast array of private papers, newspapers, and archival collections to produce a formidable work that shall certainly remain required reading for anyone interested in examining the complex interplay between historical pageantry and the changing cultural realities of postcolonial Ireland in the twentieth century. Pageantry has been critically discussed in Irish cultural debates before, but in a piecemeal fashion, centering (as Dean notes) on events such as the loyalist parades in Northern Ireland celebrating the Protestant victory at the Battle of the Boyne in 1690 and the various, opposing nationalist commemorations of events such as the 1798 rebellion and the 1916 Easter Rising in Dublin. All Dressed Up builds on earlier works, such as Mairin Ni Dhonnchadha and Theo Dorgan's collection Revising the Rising (1991) and Ian MacBride's edited collection, History and Memory in Modern Ireland (2001) to provide a more comprehensive examination of how pageantry specifically functioned in a vast array of contexts. Dean also situates her work within contemporary theatre and performance studies debates about the interplay between performance and the literary, text-centered tradition of the legitimate stage. Taking her bearing from Diana Taylors well-known work The Archive and the Repertoire: Performing Cultural Memory in the Americas (2003), Dean asserts that the various forms of Irish pageantry that covered the century possessed "affective, ludic, and cultural powers" (2). Developing alongside the more easily archived, literary works of the legitimate stage, she stresses the popular appeal of pageantry as a barometer of cultural memory: "if one asks what theatrical experience was both routine and popular with ordinary Irish people in the twentieth century, pageantry surfaces as a likely candidate" (2). More people within that time period saw pageants than saw legitimate plays by several orders of magnitude. Equally influenced by the work of Pierre Nora and his conception of lieux de memoire (places of memory), Dean focuses on where and when these pageants transpired and on the cultural work they were doing in their specific milieus. Although it was generally "celebrating] rather than interrogating] the past," Dean maintains that historical pageantry consistently reflected a desire to "imagine, understand, or recover the Irish past by dramatizing a narrative" (3). Pageants occupied and transformed non-traditional spaces: halls, squares, public parks, and sporting arenas attracted people that might not ever attend a play in a traditional theatre. The pageants' enormous popularity and broad appeal demanded a more sustained examination of the cultural work they were doing in Ireland, and Dean certainly delivers such. …

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全部打扮：琼·菲茨帕特里克·迪恩 (Joan Fitzpatrick Dean) 的现代爱尔兰历史盛会

琼·菲茨帕特里克·迪恩。全部打扮：现代爱尔兰历史盛会。纽约州锡拉丘兹：锡拉丘兹大学出版社，2014 年。Pp。xvii + 335 + 8 个色板。39.95 美元。2004 年，爱尔兰戏剧学者莱昂内尔·皮尔金顿 (Lionel Pilkington) 呼吁扩大爱尔兰戏剧研究的重点，以包括对剧院本身之外的表演形式进行更持续的调查，包括木乃伊、盛大表演和政治示威。与威廉·巴特勒·叶芝、爱德华·马丁、乔治·摩尔和奥古斯塔·格雷戈里夫人于 1899 年创立爱尔兰文学剧院（后来成为爱尔兰国家剧院修道院）约会，剧作家的重要声望和合法舞台的文学力量在爱尔兰具有非凡的持久力，并且在大多数情况下仍然是组织爱尔兰剧院调查的首选方法。在皮尔金顿呼吁采取行动后的接下来的十年中，该领域肯定以各种动态方式扩展，以应对他的挑战。Joan Fitzpatrick Dean 教授的 All Dressed Up 代表了这一论述的重要补充，因为它专注于发生在传统剧院之外的表演形式。她的作品是多年原始资料研究的总结：Dean 挖掘了大量私人论文、报纸和档案馆藏，以创作出一部令人敬畏的作品，对于任何有兴趣研究历史壮观之间复杂相互作用的人来说，它肯定是必读的。以及 20 世纪后殖民爱尔兰不断变化的文化现实。选美之前曾在爱尔兰文化辩论中受到过批判性讨论，但是以一种零碎的方式，以（如迪恩所说）为中心的事件，例如北爱尔兰的保皇派游行，庆祝新教在 1690 年博因战役中的胜利，以及各种反对民族主义的纪念活动，例如 1798 年的叛乱和 1916 年的都柏林复活节起义。All Dressed Up 建立在早期作品的基础上，例如 Mairin Ni Dhonnchadha 和 Theo Dorgan 的系列 Revising the Rising (1991) 和 Ian MacBride 的编辑系列，History and Memory in Modern Ireland (2001)，以提供更全面的检查，以了解盛大表演的具体作用大量的上下文。迪恩还将她的工作置于当代戏剧和表演研究中，讨论表演与合法舞台的文学、以文本为中心的传统之间的相互作用。从戴安娜·泰勒 (Diana Taylor) 的著名作品《档案和曲目：在美洲进行文化记忆》(2003) 中汲取灵感，迪恩断言，涵盖整个世纪的各种形式的爱尔兰盛会都具有“情感、嬉戏和文化力量”( 2）。随着合法舞台上更容易存档的文学作品的发展，她强调了盛会作为文化记忆晴雨表的流行吸引力：“如果有人问，在 20 世纪，什么样的戏剧体验在普通爱尔兰人中既常见又受欢迎，那么盛会表面作为可能的候选人”（2）。在那段时间里，观看选美比赛的人数比观看合法比赛的人数要多几个数量级。同样受到皮埃尔诺拉的作品和他的lieux de memoire（记忆地点）概念的影响，迪恩专注于这些选美比赛发生的地点和时间，以及他们在特定环境中所做的文化工作。虽然它通常是“庆祝]而不是询问]过去，”迪恩坚持认为，历史盛会始终反映了“通过戏剧化叙事来想象、理解或恢复爱尔兰过去”的愿望（3）。选美比赛占据并改造了非传统空间：大厅、广场、公园和运动场吸引了可能永远不会参加传统剧院演出的人们。选美大赛的巨大人气和广泛吸引力要求对他们在爱尔兰所做的文化工作进行更持续的审查，迪恩当然做到了。… 虽然它通常是“庆祝]而不是询问]过去，”迪恩坚持认为，历史盛会始终反映了“通过戏剧化叙事来想象、理解或恢复爱尔兰过去”的愿望（3）。选美比赛占据并改造了非传统空间：大厅、广场、公园和运动场吸引了可能永远不会参加传统剧院演出的人们。选美大赛的巨大人气和广泛吸引力要求对他们在爱尔兰所做的文化工作进行更持续的审查，迪恩当然做到了。… 虽然它通常是“庆祝]而不是询问]过去，”迪恩坚持认为，历史盛会始终反映了“通过戏剧化叙事来想象、理解或恢复爱尔兰过去”的愿望（3）。选美比赛占据并改造了非传统空间：大厅、广场、公园和运动场吸引了可能永远不会参加传统剧院演出的人们。选美大赛的巨大人气和广泛吸引力要求对他们在爱尔兰所做的文化工作进行更持续的审查，迪恩当然做到了。… (3). 选美比赛占据并改造了非传统空间：大厅、广场、公园和运动场吸引了可能永远不会参加传统剧院演出的人们。选美大赛的巨大人气和广泛吸引力要求对他们在爱尔兰所做的文化工作进行更持续的审查，迪恩当然做到了。… (3). 选美比赛占据并改造了非传统空间：大厅、广场、公园和运动场吸引了可能永远不会参加传统剧院演出的人们。选美大赛的巨大人气和广泛吸引力要求对他们在爱尔兰所做的文化工作进行更持续的审查，迪恩当然做到了。…