appears amid discussions of the common use of the term “bourgeois” as a pejorative in contemporary (bourgeois) culture. Disidentification thus describes the author’s (and perhaps reader’s) own sense of their relationship to the term “bourgeois.” In subsequent chapters we find that the figure of disidentification may in fact be intrinsic to theatre (insofar as the use of theatre as a machine of ideological reproduction is prone to failure) (73), and implicit in the emergence of the trunkmaker and related figures (137). It serves as a marker of ideal subjects of capitalism (154), but also as one way to escape interpellation as such an ideal subject (177). Disidentification is innate to bourgeois subjectivity insofar as it reiterates the distance at the center of that subjectivity, but it might also be cultivated to encourage more bourgeois subjects to resist interpellation as good subjects of capitalism. Surprisingly, the book does not directly engage with other approaches to disidentification in performance studies, especially José Esteban Muñoz’s Disidentifications: Queers of Color and the Performance of Politics (1999) which offers a theory of precisely some of those subjectivities the author frets he may be excluding by extrapolating from his own subjectivity. The absence is hardly fatal and points to ways in which Scenes from Bourgeois Life will have a significant impact on conversations across the disciplines of theatre and performance studies. Scenes from Bourgeois Life provides an account of the historically contingent mode of spectatorship that remains dominant today, an account that must be reckoned with by any effort to theorize the capacity of theatre to make political subjects, to impact its audiences, or to play a role in addressing the oppressions it so often depicts.

中文翻译：

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土耳其威权主义下的斗争与生存：威胁下的剧院 Burcu Yasemin Şeyben。兰纳姆：列克星敦图书，2021；pp. xix + 175。95 美元的布，45 美元的电子书。

出现在讨论“资产阶级”一词在当代（资产阶级）文化中被普遍用作贬义词的讨论中。因此，去认同描述了作者（也许还有读者）自己对他们与“资产阶级”一词的关系的感觉。在随后的章节中，我们发现取消认同的形象实际上可能是戏剧所固有的（在使用戏剧作为意识形态复制机器的情况下很容易失败）（73），并且隐含在制造商和相关人物的出现中（137）。它是资本主义理想主体的标志（154），也是逃避作为理想主体的质问的一种方式（177）。不认同是资产阶级主体性与生俱来的，因为它重申了主体性中心的距离，但它也可能被培养成鼓励更多的资产阶级臣民抵制作为资本主义良好臣民的质问。令人惊讶的是，这本书并没有直接涉及表演研究中的其他去认同方法，尤其是 José Esteban Muñoz 的“去认同：有色人种的酷儿和政治的表现”（1999 年），它提供了一个关于作者可能担心的一些主观性的理论通过从他自己的主观性推断来排除。缺席几乎不是致命的，并指出资产阶级生活场景将对戏剧和表演研究学科的对话产生重大影响。资产阶级生活中的场景提供了对今天仍然占主导地位的历史偶然的观看模式的描述，