phenomenology is the means by which to resolve this conundrum, as it allows us “to identify the shared variables that render difference and individuality conceivable” (27). His deft descriptions of how this operates in a series of experiences of kinesthetic spectatorship in the theatre give us valuable insight into how meaning is created in each instance. My one quibble with the book is its rather abrupt ending, which leaves the reader with a lack of closure. But perhaps Jacques Lecoq’s contention that “everything moves” (36) comes into play here, as the preconscious and conscious kinesthetic experience of reading Garner’s book leads us to get up and move.

中文翻译：

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分阶段：表演审判、政治戏剧和审判美学 Minou Arjomand。纽约：哥伦比亚大学出版社，2018；pp. xv + 232, 20 幅插图。75 美元的布，74.99 美元的电子书。

现象学是解决这一难题的手段，因为它允许我们“识别使差异和个性成为可能的共享变量”（27）。他巧妙地描述了这如何在剧院中一系列动觉观看体验中发挥作用，使我们能够深入了解如何在每个实例中创造意义。我对这本书的一个小问题是它的结尾相当突然，这让读者缺乏封闭性。但也许雅克·莱科克关于“一切都在移动”（36）的论点在这里发挥了作用，因为阅读加纳的书的前意识和有意识的动觉体验会引导我们起床并移动。