Reviewed by:

• Performing Architectures: Projects, Practices, Pedagogies ed. by Andrew Filmer and Juliet Rufford
• David Calder

Performing Architectures stages a productive encounter between two disciplines fundamentally concerned with the assembly of bodies and the structuring of action. As the book’s title suggests, architecture, as presented here, is not merely a vessel in which performance might take place, but also something that performs and is performed: architecture, like performance, is temporal as well as spatial. The volume’s lucid, accessible introduction maps the collision course of performance and architecture by tracing the spatial and performative turns of theatre studies and the evental and performative turns of architectural theory and practice. Crucial to this endeavor—and foundational for several of the collection’s essays—is the work of architect Bernard Tschumi, who positioned movement and action at the center of architecture with his concept of “event-space.” Editors Rufford and Filmer translate Tschumi’s architectural theory into the language of theatre and performance, suggesting that architecture also layers possible worlds onto physically present ones. “The disciplines of performance and architecture,” they argue, “are fundamentally interested in ‘world building,’ imagining and structuring shared spaces of event and action” (14).

The essays in “Projects,” the first of the book’s three sections, assemble an array of theoretical frameworks for the study of theatre architecture. Dorita Hannah investigates Friedrich Nietzsche’s disappointment in Richard Wagner’s Bayreuth Festspielhaus in order to develop a Nietzschean theory of architecture as an environment “in a state of active becoming” (33), an ongoing event rather than a passive, completed object. Evelyn Furquim Werneck Lima considers architect Lina Bo Bardi’s designs for two São Paulo theatres, the SESC Pompeia Factory Theatre and the Oficina Theatre, in relation to Bo Bardi’s engagement with the ideas of Antonio Gramsci and Paulo Freire. She demonstrates that these thinkers’ political commitments are made manifest both in Bo Bardi’s working process and in the structures themselves, which frame action so as to implicate the audience in the theatrical event and implicate the theatrical event in the world beyond the theatre walls.

By constructing a theoretical framework from Walter Benjamin’s writings on the modern city, Klaus van den Berg analyses how performance spaces such as Peter Latz’s Landschaftspark in Duisburg, Cesar Pelli’s Winter Garden in New York, Rem Koolhaas’s Theater Center in Dallas, and Jean Nouvel’s Guthrie Theater in Minneapolis “generate a new type of urban site dramaturgy” (52) that intervenes in and comments upon the processes shaping global city-regions. Himanshu Burte productively shifts critical focus from spaces of theatrical presentation to spaces of rehearsal and residency: in this case, the five-acre residency of Atul Kumar’s Company Theatre, three hours outside Mumbai. Adopting a dialectical approach to space inspired by Henri Lefebvre, Burte persuasively argues that the site of a creative residency is itself a work in progress that responds over time to the shifting needs of practice.

If the case studies in the first section are primarily theatre buildings, the essays in the second section, “Practices,” take up specific examples of theatrical events, with the necessary caveat that, for the contributors to this volume, a building is an event. Cathy Turner and Mike Pearson’s postmortem of Welsh company Brith Gof’s 1996 production Prydain reminds readers that interdisciplinary collaborations are not always comfortable or successful; an architectural approach to theatre-making must take care in its structuring of experience not to reduce bodies to movable objects. In his analysis of two productions by National Theatre Wales, Andrew Filmer argues that by conceiving of the performance as an event-space occupied or inhabited by the audience, theatre-makers create opportunities for nonprescriptive audience participation. David Roberts explains how he brought together reenactment, oral history, and archival research as part of a methodology for studying London public housing. His collaborative, engaged research practice offers a welcome challenge to prevailing methods of architectural history and to dominant narratives of the housing crisis that depict postwar social housing as an unmitigated failure...

审核人：

• 表演架构：项目，实践，教学法。通过安德鲁·菲尔默（Andrew Filmer）和朱丽叶（Juliet Rufford）
• 戴维·卡尔德（David Calder）

表演架构在基本上与身体的组装和动作的结构有关的两个学科之间进行富有成效的会面。正如书名所暗示的那样，这里展示的建筑不仅是可以进行表演的器皿，而且还是可以执行和执行的东西：建筑（例如表演）既是时间的，又是空间的。该卷清晰，易于理解的介绍通过追踪戏剧研究的空间和表演转向以及建筑理论和实践的最终和表演转向，描绘了表演与建筑的碰撞过程。这项工作的关键（也是该系列的几篇论文的基础）是建筑师Bernard Tschumi的作品，他以“事件空间”的概念将运动和动作置于建筑的中心。编辑Rufford和Filmer将Tschumi的建筑理论转化为戏剧和表演的语言，这表明建筑也将可能的世界层叠到了现实世界中。他们争辩说：“性能和建筑学对“世界建设”产生了根本的兴趣，他们想象并构造了事件和动作的共享空间”（14）。

这本书的三个部分的第一部分中的“项目”中的文章，汇集了一系列用于剧院建筑设计的理论框架。DORITA汉娜调查尼采在理查德·瓦格纳的拜罗伊特节日剧院失望，以发展架构的尼采理论作为活跃的状态的环境”成为（33），这是一个进行中的事件，而不是一个被动的，已完成的对象。Evelyn Furquim Werneck Lima将建筑师Lina Bo Bardi的两个圣保罗剧院（SESC Pompeia Factory Theatre）和Oficina Theatre的设计与Bo Bardi对Antonio Gramsci和Paulo Freire的想法联系在一起。她证明了这些思想家的政治承诺在波巴迪的工作过程和结构本身中都得到了体现，这些行为构架了行动，从而将观众牵连到戏剧事件中，并将戏剧事件牵连到剧院墙以外的世界。

通过建立沃尔特·本杰明（Walter Benjamin）关于现代城市的著作的理论框架，克劳斯·范登伯格（Klaus van den Berg）分析了表演空间，例如杜伊斯堡的彼得·拉兹的Landschaftspark，纽约的塞萨尔·佩里的冬季花园，达拉斯的雷姆·库哈斯剧院中心和让·努维尔·古斯里剧院在明尼阿波利斯市的“产生一种新型的城市现场戏剧”（52）干预并评论了塑造全球城市区域的过程。Himanshu Burte可以有效地将重点从戏剧表演空间转移到排练和居住空间：在这种情况下，阿图尔·库马尔（Atul Kumar）的公司剧院占地5英亩，位于孟买郊外三个小时。在亨利·列斐伏尔（Henri Lefebvre）的启发下，对空间采取辩证法，

如果第一部分中的案例研究主要是剧院建筑，则第二部分中的论文“实践”采用了戏剧事件的具体示例，并有必要警告，对于本卷的撰稿人来说，建筑物就是事件。凯茜·特纳（Cathy Turner）和迈克·皮尔森（Mike Pearson）对威尔士公司Brith Gof于1996年生产的Prydain的尸体鉴定提醒读者跨学科的合作并不总是轻松或成功的；一种用于剧院制作的建筑方法必须注意其经验结构，而不是将物体简化为可移动的物体。在对威尔士国家剧院的两部作品进行分析时，安德鲁·菲尔默认为，通过将表演构想成观众占据或居住的活动空间，剧院制作者可以为观众提供非规范性的参与机会。大卫·罗伯茨（David Roberts）解释了如何将重演，口述历史和档案研究结合起来，作为研究伦敦公共住房的方法的一部分。他的合作，