to cancer in 1971’s God’s Favorite. Blending a rigorous exploration of personal, political, theatrical, and sociohistorical contexts, Bial reveals how Broadway’s treatment of the lamentable Job engages broader cultural apprehensions over the question, “Why do bad things happen to good people?” (122, 130, 133). Because Playing God is as thorough as it is engaging, readers will find no shortage of passages useful in future research or just plain fun to read. Unlike a handful of other theatre scholars whose valuable offerings are sometimes mired in jargon or dense semantics, Bial’s language and analyses are consistently accessible and absorbing, despite their academic rigor. Playing God is a valuable addition to the canon of theatre research as well as to scholars of religious, cultural, and performance studies.

中文翻译：

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性能和时间化：时间发生编辑。作者：Jodie McNeilly 和 Maeva Veerapen

1971 年的上帝最爱癌症。Bial 融合了对个人、政治、戏剧和社会历史背景的严格探索，揭示了百老汇对可悲工作的处理如何在“为什么坏事发生在好人身上”这个问题上引发了更广泛的文化忧虑。（122、130、133）。因为扮演上帝既深入又引人入胜，读者会发现在未来的研究中不乏有用的段落，或者只是读起来很有趣。与少数其他戏剧学者的有价值的作品有时陷入行话或密集的语义不同，Bial 的语言和分析始终易于理解和吸引人，尽管其学术严谨。扮演上帝是戏剧研究经典以及宗教、文化和表演研究学者的宝贵补充。