David Calder’s monograph is a rigorous study of the multifaceted participation of street theatre practitioners in the production of postindustrial space in France. Following the French use of the term ‘street theatre’ as that which ‘occur[s] outside of purpose-built performance spaces’, he examines performance events that in anglophone scholarship are usually referred to as site-specific, site-responsive, or site-sympathetic. Calder’s choice not to use such terms is crucial as he emphasizes the ways in which street theatre might lay claims, and expand access, to public space. In doing so, Calder develops several narrative threads that are meticulously constructed and interwoven, in which performance is both an object of analysis and a means for interrogating wider processes of urbanization and deindustrialization. This book, then, offers a discussion of key cultural policies in France in the post-war period; it sketches a brief yet comprehensive history of French street theatre, focusing on its temporal, spatial, and political work; it traces the scripts and repertoires of work as they developed in France in the latter half of the twentieth century and the first two decades of the twenty-first; and although it focuses on a relatively small number of case studies, it provides a much broader interrogation of urban redevelopment tactics and policies. In his endeavour to think about the complex and, as he vividly demonstrates, often paradoxical connection between industrial and postindustrial forms of work, Calder repurposes the notion of working memory as that which ‘makes that transition intelligible, inventing the postindustrial as an imagined end to the turbulent processes of deindustrialization and redevelopment’. Subsequently, street theatre’s claim to public space offers a potent platform for making the production of the postindustrial intelligible, while also enabling a critical engagement with such processes. This is a fascinating study that takes the reader on a journey through France’s industrial ruins and devises a robust methodology for thinking about processes of urbanization and redevelopment through performance. It would be of interest to theatre and performance scholars, historians, critical geographers, cultural studies scholars, and urban theorists. Calder’s exceptional exploration of the complex temporalities of the postindustrial transition that ‘posit[s] an endpoint at which the past will be laid to rest’ yet, by the same token, ‘remains present’ ultimately offers valuable insight into the work of history and the labour of the historian. philip hager

中文翻译：

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Kim Wiltshire 和 Billy Cowan, eds.Scenes from the Revolution: Making Political Theatre 1968–2018 London: Pluto Press and Edge Hill University Press, 2018. 242 p. 75.00 英镑。ISBN：978-0-74533-852-1。

大卫考尔德的专着是对街头戏剧从业者在法国后工业空间生产中的多方面参与的严格研究。继法国人将“街头剧院”一词用作“发生在专门建造的表演空间之外”之后，他研究了在英语学术界通常被称为特定地点、响应地点或现场同情。考尔德选择不使用这些术语至关重要，因为他强调了街头剧院可能会提出要求并扩大进入公共空间的方式。在这样做的过程中，考尔德开发了几个精心构建和交织的叙事线索，其中表演既是分析的对象，也是询问更广泛的城市化和去工业化过程的手段。那么这本书，讨论战后法国的主要文化政策；它勾勒出法国街头剧院简短而全面的历史，重点关注其时间、空间和政治工作；它追溯了 20 世纪下半叶和 21 世纪前 20 年在法国发展起来的剧本和曲目；尽管它侧重于相对较少的案例研究，但它提供了对城市再开发策略和政策的更广泛的询问。在他努力思考复杂的，正如他生动地展示的那样，工业和后工业形式的工作之间经常存在矛盾的联系时，考尔德将工作记忆的概念重新定位为“使这种转变变得可理解，发明后工业时代作为去工业化和再开发动荡过程的想象结束”。随后，街头剧院对公共空间的主张提供了一个强大的平台，使后工业的生产变得可理解，同时也使对这些过程的批判性参与成为可能。这是一项引人入胜的研究，它带领读者穿越法国的工业废墟，并设计了一种稳健的方法论来思考城市化和通过绩效进行再开发的过程。戏剧和表演学者、历史学家、批判地理学家、文化研究学者和城市理论家会对它感兴趣。考尔德对后工业转型的复杂时间性的非凡探索，它“设定了一个终结过去的终结点”，出于同样的原因，“保持在场”最终提供了对历史工作和历史学家劳动的宝贵见解。菲利普·哈格