“tames” her willful manner through force and its threat. If it sounds cringeinducing, it is. Perhaps even more repulsive to the modern reader is the final play, The Girl of the Flying X or Sputters, by George Crawley, labeled a “western play.” Sputters, a stuttering cowboy, was one of the most famous and popular of the Toby roles. Highly problematic is the anti-Hispanic racism that curdles throughout the play, directed entirely at one character by all the others. In spite of the book’s absurd cost, this is a worthy addition to our shelves, alongside Slout’s classic Theatre in a Tent and Jere Mickel’s Footlights on the Prairie, for its insights into the form and its history. Along with its anthologizing of these tent dramas—the first of its kind published—Larsen and Poole’s play selections shed much light on our still embryonic culture of a century ago, a culture that reached a trio of peaks between the 1920s and the 1960s with the advent of radio, film, and television narratives. As these new media developed, modified forms of the characters and tropes found in these early plays would soon be broadcast hourly into American homes.

中文翻译：

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弗雷德米勒罗宾逊的戏剧现实主义房间

通过武力和威胁来“驯服”她的任性。如果这听起来令人畏缩，那就是。也许对现代读者来说更令人反感的是乔治克劳利的最后一部戏剧“飞行X的女孩”或“飞溅的女孩”，被称为“西部戏剧”。Sputters，一个口吃的牛仔，是 Toby 中最著名和最受欢迎的角色之一。极具问题的是反西班牙裔种族主义在整部剧中凝固，所有其他角色完全针对一个角色。尽管这本书的成本高得离谱，但与 Slout 的经典帐篷中的剧院和 Jere Mickel 的《大草原上的脚灯》一起，由于其对形式和历史的深入了解，这本书还是值得我们书架上的。随着这些帐篷剧的选集——这是同类作品中的第一部——拉森和普尔的戏剧选集揭示了一个世纪前我们仍处于萌芽状态的文化，这种文化在 1920 年代和 1960 年代之间达到了三个高峰广播、电影和电视叙事的出现。随着这些新媒体的发展，这些早期戏剧中的人物和比喻的修改形式很快就会每小时在美国家庭中播出。