Reviewed by:

• Performing Dream Homes: Theater and the Spatial Politics of the Domestic Sphere ed. by Emily Klein, Jennifer-Scott Mobley, and Jill Stevenson
• Dorothy Chansky

On the first page of Performing Dream Homes, the editors point out the “domestic affinities between the theater and the home” by invoking the familiar theatre terms “full house,” “dark house,” and “house manager,” then offering analogous linguistic mergings of public gathering places with residential domiciles such as “alehouse” or “courthouse.” This started my wordplay motor, and I came up with housewife, housedress, housewares (is a housedress a form of housewear?), roadhouse, row house, tract house (rowhouses, however fashionable now, were the tract houses of their day, so beware ahistoricism, which is a point made in this collection’s final essay), housekeeping, housekeeper (who, although s/he “keeps” it, does not generally own it), and cat house. Short list.

So, yes, there is a lot to chew on here. The book’s project is to consider theatre’s role in getting us to think about “the malleability of the place we call home” (63), frequently highlighting, in contributor Ann Shanahan’s words, “a meaningful, perhaps even essential, connection between houses, women, and their theatrical representations—a connection with important ramifications for contemporary dramatic criticism and theatre production” (88). The latter quote speaks honestly, I think, to how the anthology opens pathways for critics, directors, and scholars. The editors conclude that “theater has a valuable role to play” in current conversations about who belongs (where) in the United States and in exposing the stakes behind imagining our dream homes, ending with the claim that “theater allows us to rehearse those processes so that we can, ultimately, construct a more just, welcoming global home” (231). Although this will validate the existing biases of many theatre scholars, I am skeptical about claims that theatre will do much to foster tolerance and openness where it does not already exist. Nonetheless, the essays are informative and varied, and in the aggregate, they function as a kind of conversation on which eavesdropping is a very engaging and, in the best chapters, thought-provoking use of one’s time.

The volume is in three parts. Part 1, “Family Homes on Stage,” features chapters analyzing plays that have already been the subject of essays, books, and reviews. I found little new here, but the contributors are sure-handed and the information they convey is useful, especially for newcomers to the plays. Jocelyn Buckner reads Clybourne Park and Beneatha’s Place (both revisit the family of A Raisin in the Sun decades later) to address “racism’s continuing influence on individual and community efforts to realize the very particular ‘American’ dream of prosperity, belonging, and equality for all in an era characterized by post-racial malaise” (21). Lourdes Arciniega considers how Susan Glaspell’s Trifles, Chains of Dew, and Alison’s House dramatize ways “domestic transformations can . . . empower women to revise their attitudes toward the world outside their homes” (47). Amanda Clarke uses a detailed walk-through of Marie Jones’s A Night in November, set in Belfast during the Troubles, to posit that a [End Page 258] close look at the house, yard, and neighborhood of the “other,” combined with the perspective of being “detached from home and nation” (81), can yield compassion and a reevaluation of one’s prejudices.

Part 2, “Making Home Material,” comprises first-person accounts of working on widely differing productions of plays where house and home are negotiated sites. Jessie Glover’s “Staging Recovery as Home Work in Rachel’s House” recounts the author’s work as producer and co-director of a play based on the personal narratives of women who have left prison and spent time in the eponymous residence in Columbus, Ohio. The obligatory discussion groups and normalizing routines of a house that both is (for a time) and is not (permanently) home undergird the script and position audience members as witnesses to the everyday lives of a marginalized community. Ann Shanahan details her...

审核人：

• 表演梦想之家：家庭领域的戏剧和空间政治编辑。作者：Emily Klein、Jennifer-Scott Mobley 和 Jill Stevenson
• 多萝西·钱斯基

在Performing Dream Homes的第一页，编辑通过引用熟悉的剧院术语“满屋”、“黑屋”和“屋经理”，指出“剧院与家庭之间的家庭亲缘关系”，然后提供类似的语言将公共聚会场所与住宅住所（例如“alehouse”或“courthouse”）合并。这开始了我的文字游戏引擎，我想出了家庭主妇、家居服、家居用品（家居服是家居服的一种形式吗？）、客栈、排屋、房屋（排屋，无论现在多么时尚，都是当时的房屋，所以当心非历史主义，这是本集最后一篇文章中提出的观点）、管家、管家（虽然他/她“保留”它，但通常不拥有它）和猫屋。短名单。

所以，是的，这里有很多东西需要咀嚼。这本书的项目是考虑戏剧在让我们思考“我们称之为家的地方的可塑性”（63）中的作用，用撰稿人安沙纳汉的话经常强调，“房屋、妇女之间有意义的，甚至可能是必不可少的联系，以及他们的戏剧表现——与当代戏剧批评和戏剧制作的重要后果的联系”（88）。我认为，后一句话诚实地说明了选集如何为评论家、导演和学者开辟了道路。编辑得出结论，在当前关于谁属于（哪里）在美国的对话中，以及在揭露想象我们梦想家园背后的利害关系方面，“剧院可以发挥宝贵的作用”，并以“剧院允许我们排练这些过程”作为结尾。以便我们可以，最终，建造一个更公正、更受欢迎的全球家园”（231）。虽然这将证实许多戏剧学者现有的偏见，但我怀疑戏剧将在尚未存在的情况下为促进宽容和开放做很多事情的说法。尽管如此，这些文章内容丰富且多种多样，总的来说，它们就像一种对话，窃听是一种非常吸引人的对话，在最好的章节中，可以发人深省地利用时间。

全书分为三部分。第 1 部分，“舞台上的家庭之家”，以分析已经成为散文、书籍和评论主题的戏剧的章节为特色。我在这里没有发现什么新东西，但贡献者是有把握的，他们传达的信息很有用，尤其是对于新人来说。乔斯林·巴克纳 (Jocelyn Buckner) 阅读《克莱伯恩公园》和《贝内萨之家》（两者都在几十年后重温了《阳光下的葡萄干》家族），以解决“种族主义对个人和社区努力的持续影响，以实现非常特殊的‘美国’梦想，即繁荣、归属感和平等一切都在一个以后种族不适为特征的时代”（21）。Lourdes Arciniega 思考 Susan Glaspell 的Trifles , Chains of Dew和艾莉森之家戏剧化了“国内转型可以”的方式。. . 使妇女能够改变她们对家庭以外世界的态度”（47）。阿曼达·克拉克 (Amanda Clarke) 详细介绍了玛丽·琼斯 (Marie Jones) 的《十一月之夜》，背景是麻烦期间的贝尔法斯特 (Belfast)，假设[End Page 258]近距离观察“另一个人”的房屋、院子和街区，并结合“脱离家庭和国家”（81）的观点可以产生同情和重新评估一个人的偏见。

第 2 部分，“制作家庭材料”，包括以第一人称视角制作的戏剧作品，其中房屋和家庭是协商好的地点。杰西·格洛弗 (Jessie Glover) 的“在雷切尔家中将康复作为家庭工作”讲述了作者作为制片人和联合导演的工作，该剧根据出狱并在俄亥俄州哥伦布同名住所中度过的女性的个人叙述改编。一个既是（一段时间）又不是（永久）家的房子的强制性讨论组和规范化例程巩固了剧本，并将观众定位为边缘化社区日常生活的见证人。安·沙纳汉详细介绍了她...