Theatre & Everyday Life: An Ethics of Performance rivals Herbert Blau's The Audience as a lesson in how the format of the book can produce the illusion of argumentative coherence [ ]what price do we pay for that safety – has theatre not disappeared in direct proportion to the restrictions that govern its performance? (p 234) The implied answers to these rhetorical questions get progressively harder: no, we should certainly not expect a comfortable snooze in the theatre The question whether there was indeed such a turn is beyond the scope of this review: the question of how Read understands ethics is large enough 1 Two strong claims: ‘The only thing that can distinguish theatre now is an ethical stance’, Read writes, and also, ‘Good theatre stands face to face with its audience’ (p 6) To the photograph, which cannot capture the way a theatrical event is ‘infused by its environment’ (p 48), Read opposes the image: ‘If the essence of theatre is in its images, theatre no longer resides as an object of study, separated from its audience for it is in their imagination that images occur’ (p 63) Read's discussion of images is one of this book's most exciting threads;it is also, as with so many of its theoretical strands, unresolved, even contradictory

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戏剧与日常生活：表演伦理。艾伦读。伦敦：劳特利奇，1993 年。Pp。xii + 260。33.99 英镑/58.95 美元铅。

戏剧与日常生活：表演伦理与赫伯特·布劳 (Herbert Blau) 的《观众》(The Audience) 相媲美，作为一堂课，说明本书的格式如何产生论证连贯性的错觉 [] 我们为这种安全付出了多少代价——戏剧是否与控制其性能的限制？(p 234) 这些修辞问题的隐含答案越来越难：不，我们当然不应该期待在剧院里舒适的小睡 是否确实有这样的转变的问题超出了本评论的范围：如何阅读的问题理解道德足够大 1 两个强有力的主张：“现在唯一可以区分戏剧的是道德立场”，雷德写道，以及“好的戏剧与观众面对面”（第 6 页）到照片中，