the burgeoning field of reenactment studies by adding significant insight into the eighteenth-century origins of the form and its relation to the performance of justice. It is a pity the author does not engage with Rebecca Schneider’s influential work on the topic, as dialogue with her main terms and ideas would have broadened the implications of his excellent analyses and arguments. One also wonders how other high-profile cases of the period, such as the trial of Charlotte Corday or the Kornmann affair, might fit into the book’s narrative. In the final section, the argument occasionally becomes repetitive, and its bold claims of reversals at times mask subtler moves that are equally or more interesting for being so. Theseminor points aside, Robert’s book is a tour de force thatwill be required reading for anyone working on theatre and history of the French Enlightenment and Revolution. The book deserves a wide readership among scholars of contemporary theatre, theatre history, and performance studies as well, especially those interested in reenactment and the interconnection of theatre and justice. Revealing how judicial procedures and outcomes both shaped and were shaped by theatre in the late eighteenth century, Dramatic Justice also reminds us that, for good and bad, our own culture of court TV, show trials, and legal dramas has its roots in the eighteenth century.

中文翻译：

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Nicholas Ridout 的资产阶级生活场景。剧院：理论/文本/表演。安娜堡：密歇根大学出版社，2020；pp. xii + 211。70 美元的布，54.95 美元的电子书。

通过对十八世纪形式的起源及其与正义表现的关系的重要洞察，重新制定研究的新兴领域。遗憾的是，作者没有参与 Rebecca Schneider 关于该主题的有影响力的工作，因为与她的主要术语和想法的对话会扩大他出色的分析和论点的含义。人们还想知道这一时期其他备受瞩目的案件，例如对夏洛特·科戴的审判或科恩曼事件，是否可能适合这本书的叙述。在最后一部分，论点偶尔会变得重复，其大胆的逆转主张有时掩盖了同样或更有趣的微妙举动。撇开这些小点不谈，罗伯特的书是一部杰作，任何从事戏剧和法国启蒙与革命史研究的人都必须阅读。这本书值得当代戏剧、戏剧史和表演研究学者的广泛读者，特别是那些对重演以及戏剧与正义的相互联系感兴趣的人。揭示司法程序和结果如何在 18 世纪后期由戏剧塑造和塑造，戏剧正义还提醒我们，无论好坏，我们自己的法庭电视、节目审判和法律戏剧文化都起源于 18 世纪世纪。尤其是那些对重演以及戏剧与正义的相互联系感兴趣的人。揭示司法程序和结果如何在 18 世纪后期由戏剧塑造和塑造，戏剧正义还提醒我们，无论好坏，我们自己的法庭电视、节目审判和法律戏剧文化都起源于 18 世纪世纪。尤其是那些对重演以及戏剧与正义的相互联系感兴趣的人。揭示司法程序和结果如何在 18 世纪后期由戏剧塑造和塑造，戏剧正义还提醒我们，无论好坏，我们自己的法庭电视、节目审判和法律戏剧文化都起源于 18 世纪世纪。