Reviewed by:

• Showing Off, Showing Up: Studies of Hype, Heightened Performance, and Cultural Power ed. by Laurie Frederik, Kim Marra, and Catherine Schuler
• Tom Robson

Showing Off, Showing Up: Studies of Hype, Heightened Performance, and Cultural Power sets out to both theorize the often-used theatrical verb "to show" and its many grammatical variants. Coeditors Laurie Frederik, Kim Marra, and Catherine Schuler assemble a wide collection of scholars, all of whom investigate compelling examples of "showing" in theatre and performance. The editors draw attention to the complexity of this seemingly simple concept, with an introduction and twelve chapters that display the diversity of ways in which the term is [End Page 544] used, and how elusive the search for a single, stable definition can be. Many essays return to the ways that heightened performances, as Frederik argues in her introduction, "foster competition, exaggerate a characteristic, and reveal or expose hidden truths" (1). Speaking for her coeditors, Frederik goes on to say that they "argue that 'to show' implies that cultural work is being done through a provocative revealing of signs and symbols," and they stress that this revelation is often complex and indirect (ibid.). The editors divide the collection into three sections, each organized around a central shared element of "showing."

Section 1, "Race and Breed: Showing Off 'Natural Bodies,'" explores how training and coaching shapes the performance of seemingly "natural" bodies. Marra writes on the showiness of female equestrians at the National Horse Show in the late nineteenth and early twentieth centuries, first connecting the proprietary display of animals with the proprietary display of the women riding them, and then expressing how athletic women riders cultivated their own pleasure from the experience. Jennifer Kokai contributes work on SeaWorld Orlando's orca Tilikum (more famously known as Shamu), using dramaturgical analysis to demonstrate that the park's whale shows stage an environmentally devastating mischaracterization of the relationship between humans and animals. Particularly compelling is Virginia Anderson's essay on twentieth-century animal trainer Clyde Beatty and how the reassurance provided by his taming of purportedly wild animals soothed "a shaken American populace" (108).

These three excellent essays on nonhuman animals, however, highlight the difficulties in Frederik's contribution, an auto-ethnographic study of her experiences as a white woman performing in competitive Latin dance. She argues that the competitive nature of high-level Latin dancing trains the performer to behave in ways "that were once completely foreign to their preballroom social, physical, and ideological positions" (78). Frederik examines the many ways in which white performers, herself included, co-opt elements of Latinx culture to perform competitive ballroom, including the use of skin-darkening makeup. While the essay offers many promising avenues of discussion, the choice to center the analysis on the white dancer obscures the very real trauma experienced by BIPOC viewers witnessing such racist representation, while the inclusion of this single discussion of racialized bodies in a section otherwise devoted to animals raises troubling questions about organization.

Section 2, "Power and Presence: The Politics of Showing Up," turns its attention to more overtly political acts of showing. Katie Johnson looks at how advertisements for nineteenth-century melo dramas "showed" the show, analyzing how the Strobridge Company's stunning posters reveal aspects of late-nineteenth-century American popular culture. Chelsey Kivland explores how both "showing off" and "showing up" interplay in Haitian protest. Schuler argues for an understanding of the 2014 Sochi Olympics, presented by the authoritarian Vladimir Putin, as a "neo-Wagnerian Gesamtkunstwerk" with nationalist intentions (202). Marlis Schweitzer's essay "Princess Beatrice's Ridiculous Wedding Hat and the Transnational Performances of Things" stands out as a high point of this section and indeed the entire collection. Building on the work of scholars like Robin Bernstein to understand the power and efficacy of objects, Schweitzer attributes a great deal of influence to the famed "showy" hat worn by Princess Beatrice at the royal wedding of Prince William and Kate Middleton, boldly and convincingly arguing that the hat itself "transformed...

审核人：

• 炫耀，露面：有关炒作，提高表现和文化力量的研究。劳里·弗雷德里克（Laurie Frederik），金·马拉（Kim Marra）和凯瑟琳·舒勒（Catherine Schuler）
• 汤姆·罗布森

炫耀，露面：对炒作，性能提升和文化力量的研究着手对常用的戏剧动词“ to show”及其许多语法变体进行理论化。编剧劳里·弗雷德里克（Laurie Frederik），金·马拉（Kim Marra）和凯瑟琳·舒勒（Catherine Schuler）汇集了众多学者，他们全都在研究戏剧和表演中“表演”的令人信服的例子。编辑者引起了人们对这个看似简单的概念的复杂性的关注，在其引言和十二章中，分别显示了该术语的多种用法。[结束页544]以及搜索单个稳定定义的难易程度。正如弗雷德里克（Frederik）在她的导言中所论证的，许多文章都回到了提高表演的方式上：“促进竞争，夸大特征，揭示或揭示隐藏的真相”（1）。弗雷德里克（Frederik）代表她的共同编者继续说，“他们认为'展示'意味着文化工作是通过挑衅性的标志和符号显示来完成的”，他们强调这种启示通常是复杂而间接的（同上。 ）。编辑将集合分为三个部分，每个部分围绕一个中心共享的“显示”元素进行组织。

第1节“种族和品种：炫耀'自然物体'”探讨了训练和教练如何塑造看似“自然”的身体的表现。玛拉（Marra）在十九世纪末和二十世纪初的国家马展上写道，女性马术的表现力，首先将动物专有的展示与骑乘女性的专有展示联系起来，然后表达运动女性骑手如何培养自己的乐趣从经验。詹妮弗·科凯（Jennifer Kokai）用戏剧分析法为奥兰多海洋世界的Orca Tilikum（更著名地称为Shamu）作了贡献，以证明该公园的鲸鱼表演对人与动物之间的关系造成了破坏性的环境破坏性描述。特别引人注目的是弗吉尼亚·安德森（Virginia Anderson）

然而，这三篇关于非人类动物的出色论文强调了弗雷德里克（Frederik）所作贡献的困难，这是弗雷德里克（Frederik）对自己作为白人妇女参加拉丁舞表演的经历进行的民族志研究。她认为，高级拉丁舞的竞争性质训练表演者以“曾经完全不同于他们的宴会厅前的社会，身体和意识形态位置”的方式进行举止（78）。弗雷德里克（Frederik）研究了白人表演者（包括她自己）在拉丁舞文化中选择多种方式来表演具有竞争力的舞厅的多种方式，包括使用肤色较深的化妆。尽管本文提供了许多有希望的讨论途径，但选择将分析重点放在白人舞者身上，却掩盖了BIPOC观众亲眼目睹的种族主义代表所遭受的真正创伤，

第2节“权力与存在：出现的政治”将注意力转移到更为公开的政治行为上。凯蒂·约翰逊（Katie Johnson）研究了19世纪音乐剧的广告如何“展示”该节目，并分析了斯特罗布里奇公司（Strobridge Company）令人惊叹的海报如何揭示19世纪晚期美国流行文化的各个方面。切尔西·基夫兰（Chelsey Kivland）探索了海地抗议活动中“炫耀”和“炫耀”的相互作用。舒勒主张以独裁者弗拉基米尔·普京（Vladimir Putin）提出的2014年索契冬奥会的理解为“新瓦格纳人的艺术世界”“具有民族主义的意图（202）。MarlisSchweitzer的文章“比阿特丽斯公主的荒谬的婚礼帽和跨国的事物的表现”是本节乃至整个收藏集的重点。它基于像Robin Bernstein这样的学者的作品来理解Schweitzer具有物体的力量和功效，这在很大程度上归因于Beatrice公主在威廉王子和Kate Middleton的皇家婚礼上戴的那顶著名的“艳丽”​​帽子，并大胆而令人信服地争论说帽子本身“已经变了……