vocal in its critique of previous work by authors included in the volume, and offers a sustained focus on a theme that runs throughout many of the contributions of redressing anxieties about the institutionalization of performance art and its presumed ‘neutralization’. Others think through the relationship between performance and institutions in broader terms, including the roots of contemporary performance art and dance to practices beyond white, Western, and Euro-centric histories of modernism (DeFrantz), and examining the legacy and ethics of institutional critique and social practice modes of art-making (Malik Gaines). Others still consider the forms and labours of care, intimacy, compassion, and community (T. Nikki Cesare Schotzko), as well as cruelty and precarity (Bojana Kunst). Cesare Schotzko’s chapter, in particular, discusses moments or crises of performance that reverberate throughout wider culture, for example, in the images of the body of Aylan Kurdi (and AiWeiwei’s 2016 re-enactment of the pose – a process that Cesare Shotzko reminds us isnotnecessarilyoralways ‘fuelledbyempathy’), and in the sit-in by Black LivesMatter Toronto activists in the city’s 2016 Pride parade, through which Cesare Schotzko highlights the demand to be consistently and continually, rather than momentarily, visible. The book is an important reflection on performance art and its social, political, and economic structures in a turbulent decade, one characterized by contradictions and complexity; the book, too, is alert to moments of crisis and tension (even within its own pages), and emphasizes a sustained focus on the ethics andpolitics of care. It sets up a series of points for departure for thinking around performance and is an essential and timely contribution to scholarship on performance art. harriet curtis

中文翻译：

---

Emma Cole Postdramatic Tragedies Oxford: Oxford University Press, 2019. 336 p。75.00 英镑。ISBN：978-0-19881-768-0

在对本书作者之前作品的批评中发声，并持续关注一个主题，该主题贯穿于纠正对表演艺术制度化及其假定的“中立化”的焦虑的许多贡献中。其他人则从更广泛的角度思考表演与制度之间的关系，包括当代表演艺术和舞蹈的根源，以及超越白人、西方和以欧洲为中心的现代主义历史的实践（DeFrantz），并审视制度批判和伦理的遗产和伦理。艺术创作的社会实践模式（马利克盖恩斯）。其他人仍然考虑关怀、亲密、同情和社区（T. Nikki Cesare Schotzko）以及残忍和不稳定（Bojana Kunst）的形式和劳动。特别是切萨雷·肖茨科的章节，讨论了在更广泛的文化中回荡的表演时刻或危机，例如，在 Aylan Kurdi 的身体图像中（以及艾未未 2016 年对姿势的重新演绎——Cesare Shotzko 提醒我们的过程不一定是口头上的“由移情推动”），以及Black LivesMatter Toronto 活动家在该市 2016 年的骄傲游行中静坐，Cesare Schotzko 通过游行强调了持续、持续而非暂时可见的需求。这本书是对行为艺术及其社会、政治和经济结构在动荡的十年中的重要反思，一个以矛盾和复杂为特征的年代；这本书也对危机和紧张时刻保持警惕（甚至在它自己的页面内），并强调对护理伦理和政治的持续关注。它设置了一系列思考表演的出发点，是对表演艺术学术的重要而及时的贡献。哈里特柯蒂斯