In a well-balanced, interesting chapter on the Glasgow Citizens, for example, Brown discusses not simply theworkof the theatre’s key artists (Giles Havergal, Philip Prowse, Robert DavidMacdonald) but also the complex relationship between their work, the city, and Scottish culture – from cultural hysteria (the chapter is titled ‘My Wife Glimpsed a Testicle’) to gradual, if sometimes grudging, acceptance. Brown argues (persuasively, I think) that Scottish theatre has benefited more from the European modernist tradition of formal experimentation than it has from the popular, agitprop work of 7:84 and its offshoot, Wildcat. He is right to note that, in the history of recent Scottish theatre, groups like Communicado (whose work blended popular theatre styles with performance ideas drawn from LeCoq, Kantor, and Grotowski) are arguably more important, and more influential, than JohnMcGrath. He is also careful to bring the narrative as close as he can to the present and, in doing so, he persuasively ties the work of recent companies (such as the National Theatre of Scotland and Vanishing Point) into the European Modernist tradition. This isn’t to say, though, that the book is perfect. It has a rather odd, broken-backed structure; Chapter 3 is given over to interviews with five key contemporary theatre workers (David Greig, David Harrower, Zinnie Harris, Anthony Neilson, and Stewart Laing), and an analysis that ties the interviews to the book’s central thesis. The interviews are interesting, but they fit rather oddly into the overall flow of the argument; it would have been better to turn the analysis into a chapter, and to put the interviews in an appendix. Brown also states, understandably, that he is not writing a history of Scottish theatre in the period; however, reading the book, I can’t help but feel that a more historically grounded analysis might have helped. The idea that Scottish theatre workers find themselves looking to Europe as much as, if not more than, to London, is accurate; but the argument would have been strengthened if the book had provided clear reasons as to why this should be so. The development of Scottish theatre is part of a wider repositioning of Scottish culture and identity. I am not suggesting that Brown should rehearse, yet again, the history of devolution and the twin earthquakes of the 2014 and 2016 referenda, but a clearer discussion of the impact of these profound changes would have helped support the points Brown makes. There is space in the literature for a thoroughgoing historical examination of the recent past of Scottish theatre. Brown’s book goes at least part of the way toward filling that space. It makes a very useful contribution to the understanding of a key aspect of contemporary Scottish culture. It could do so in amore linear, historically informedway; but it is well argued (and well written), and it covers an interesting anddynamic period in Scottish theatre – one that has yet to come to an end. david pattie

中文翻译：

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Bertie Ferdman 和 Jovana Stokic，编辑。伦敦和纽约表演艺术的梅休恩戏剧伴侣：梅休恩，2020 年。320 页。130.00 英镑。ISBN：978-1-35005-757-9。

例如，在关于格拉斯哥市民的均衡而有趣的章节中，布朗不仅讨论了剧院主要艺术家（吉尔斯·哈弗加尔、菲利普·普罗斯、罗伯特·大卫·麦克唐纳）的作品，还讨论了他们的作品、城市和苏格兰文化之间的复杂关系– 从文化歇斯底里（这一章的标题是“我的妻子瞥见了一个睾丸”）到逐渐接受，即使有时勉强接受。布朗认为（我认为很有说服力）苏格兰戏剧从欧洲现代主义的正式实验传统中获益比从 7:84 及其分支野猫流行的宣传作品中获益更多。他正确地指出，在最近的苏格兰戏剧史上，像 Communicado 这样的团体（他们的作品融合了流行的戏剧风格和 LeCoq、Kantor 和 Grotowski 的表演理念）可以说更重要，并且比约翰麦克格拉斯更有影响力。他还小心翼翼地将叙事尽可能地贴近当下，并在这样做的过程中，将最近公司（如苏格兰国家剧院和消失点）的作品有说服力地与欧洲现代主义传统联系起来。然而，这并不是说这本书是完美的。它有一个相当奇怪的、破碎的结构；第 3 章是对五位当代戏剧工作者（大卫·格雷格、大卫·哈罗尔、辛尼·哈里斯、安东尼·尼尔森和斯图尔特·莱恩）的采访，以及将采​​访与本书的中心论点联系起来的分析。采访很有趣，但它们与论点的整体流程相当奇怪。最好把分析变成一章，把采访放在附录中。布朗还说，可以理解的是，他不是在写那个时期的苏格兰戏剧史；然而，在阅读这本书时，我不禁感到更有历史依据的分析可能会有所帮助。苏格兰剧院工作人员发现自己对欧洲的期待与对伦敦的期待一样多，甚至更多，这种想法是准确的。但是，如果这本书提供了明确的理由来说明为什么会这样，那么这个论点就会得到加强。苏格兰戏剧的发展是苏格兰文化和身份更广泛重新定位的一部分。我并不是建议布朗再次排练权力下放的历史以及 2014 年和 2016 年公投的两次地震，但对这些深刻变化的影响进行更清晰的讨论将有助于支持布朗提出的观点。文献中有空间对苏格兰戏剧的近期历史进行彻底的历史考察。布朗的书至少部分地填补了这个空间。它对理解当代苏格兰文化的一个关键方面做出了非常有用的贡献。它可以以一种更加线性的、历史上知情的方式来实现；但它论证得很好（也写得很好），它涵盖了苏格兰戏剧中一个有趣而充满活力的时期——一个尚未结束的时期。大卫·帕蒂 它涵盖了苏格兰戏剧中一个有趣而充满活力的时期——一个尚未结束的时期。大卫·帕蒂 它涵盖了苏格兰戏剧中一个有趣而充满活力的时期——一个尚未结束的时期。大卫·帕蒂