of modern Western evolutionary discourse. The examples in these chapters and others explicate contemporary arguments with Darwinian androcentrism made by playwrights, male and female, of the time. Shepherd-Barr considers breastfeeding in James A. Herne’s Margaret Fleming (1890) and Eugene Brieux’s Les Remplaçantes (1901), examples that respectively dramatize aspects of evolutionary altruism and the adverse socioevolutionary impact of wet-nursing. She incorporates philosophies of female science lecturers such as Helen Hamilton Gardener to illustrate women’s activity within public evolutionary discourse. She critiques plays, written by female playwrights, which do not restrict female characters to acts of mothering. An excellent example of this is her analysis of Susan Glaspell’s The Verge (1921), a play that features a female botanist and her experiments. Shepherd-Barr depicts Glaspell as a scientifically minded feminist by pointing to the playwright’s overt references to Darwin within plots that dramatize women’s will. Shepherd-Barr’s emphasis on the development of feminist ideals through evolutionarily oriented theatre is as compelling as her outline of those ideals within a eugenic context is disturbing. The breadth of her archival research reveals that there is much more work to be done at the intersection of evolution and performance. For instance, a related study about progress toward civil rights and resolving global racial and ethnic conflicts might be made within the evolutionary context that she advances with respect to the struggle for women’s rights. She does address the racism that permeated Victorian and Edwardian anthropological displays, freak shows, and threads of evolutionary thought. She discusses Eugene O’Neill’s The Hairy Ape (1922) as politically progressive through its “foregrounding and enacting [evolutionary] ideas of regression, degeneration, heredity, and savagery” while placing the play on a historical trajectory that reaches back to nineteenth-century “missing link” performances (232). A ground-up approach to plays that deal with conflict, race, and ethnicity from a broadly construed evolutionary perspective might be of interest to theatre historiographers also concerned with socially problematic junctures of science and theatre.

中文翻译：

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美国旅行帐篷剧院，1900-1940：Dawn Larsen 和 Richard L. Poole 在中西部演出的乡村和小镇帐篷剧（包括流行的帐篷剧剧本）

现代西方进化论。这些章节和其他章节中的例子解释了当时男性和女性剧作家对达尔文男性中心主义的当代争论。Shepherd-Barr 在 James A. Herne 的 Margaret Fleming (1890) 和 Eugene Brieux 的 Les Remplaçantes (1901) 中考虑了母乳喂养，这些例子分别戏剧化了进化利他主义的各个方面和湿式护理对社会进化的不利影响。她结合了海伦·汉密尔顿·园丁（Helen Hamilton Gardener）等女性科学讲师的哲学来说明女性在公共进化论话语中的活动。她批评由女性剧作家编写的戏剧，这些戏剧不限制女性角色的母性行为。一个很好的例子是她对 Susan Glaspell 的 The Verge (1921) 的分析，一部以女性植物学家和她的实验为特色的戏剧。Shepherd-Barr 通过指出剧作家在戏剧化女性意志的情节中公然提及达尔文，将格拉斯佩尔描绘成一位具有科学头脑的女权主义者。Shepherd-Barr 强调通过以进化为导向的戏剧发展女权主义理想，这与她在优生背景下对这些理想的概述令人不安一样引人注目。她的档案研究的广度表明，在进化和性能的交叉点上还有很多工作要做。例如，可以在她在争取妇女权利方面取得进步的进化背景下，进行一项有关公民权利进展和解决全球种族和民族冲突的相关研究。她确实解决了渗透到维多利亚时代和爱德华时代的人类学展示、怪胎秀和进化思想线索中的种族主义。她将尤金·奥尼尔的《多毛猿》（1922 年）作为政治进步，通过其“前景和制定退化、退化、遗传和野蛮的[进化]思想”，同时将戏剧置于可追溯到 19 世纪的历史轨迹上“缺失的环节”表演（232）。从广义的进化角度处理冲突、种族和民族的戏剧的全新方法可能会引起戏剧史学家的兴趣，同时也关注科学和戏剧之间存在社会问题的结合点。她将尤金·奥尼尔的《多毛猿》（1922 年）作为政治进步，通过其“前景和制定退化、退化、遗传和野蛮的[进化]思想”，同时将戏剧置于可追溯到 19 世纪的历史轨迹上“缺失的环节”表演（232）。从广义的进化角度处理冲突、种族和民族的戏剧的全新方法可能会引起戏剧史学家的兴趣，同时也关注科学和戏剧之间存在社会问题的结合点。她将尤金·奥尼尔的《多毛猿》（1922 年）作为政治进步，通过其“前景和制定退化、退化、遗传和野蛮的[进化]思想”，同时将戏剧置于可追溯到 19 世纪的历史轨迹上“缺失的环节”表演（232）。从广义的进化角度处理冲突、种族和民族的戏剧的全新方法可能会引起戏剧史学家的兴趣，同时也关注科学和戏剧之间存在社会问题的结合点。