Jan Suk’s book is only the secondmonograph dedicated to the experimental Sheffield-based theatre company Forced Entertainment, and the first to cover their output from 2004 to 2016. The author makes extensive use of Deleuzian ‘poetics of immanence’, described as being ‘connected with their constant interplay with the real and representational, presence-driven, “here-and-now-for-youtonightness”’ in order to discuss the distinct approach and contribution of this avant-garde troupe. His analysis of the particular performances is well documented, and enhanced by his own personal correspondence with Tim Etchells, the artistic director of the group. The book’s first chapter provides an overview of the career of Forced Entertainment and a description of their distinct artistic philosophy and approach. The second chapter provides the theoretical framework with a discussion of the philosophy and terminology of GillesDeleuze and, to a lesser extent, FélixGuattari. Tim Etchells’s prose texts, an area of his writing little reflected on thus far, are discussed in detail in the third chapter. The final two chapters examine the durational performances, in particular, of the company up to and including From the Dark (2016). Performing Immanence is an impressive research achievement both in terms of critical theory and when it comes to in-depth analysis of the particular theatrical and prose pieces. Themonograph should find its readers amongst those interested in contemporary theatre and performance art. The work of Forced Entertainment, with its frequently homemade, minimalist aesthetic, is and will continue to be very much inspirational for the Covid/postCovid period, with its need for improvised and flexible mediums of performance. The durational pieces in particular, involving extensive online participation by the audience, signal a new direction, for better or for worse, in both British and world theatre and performance art. The monograph is a dense readwith a great deal of critical theory, especially in the first half. Having said that, Suk’s distinct voice does come through with a great deal of humour (as is appropriate, given the subjectmatter) and self-deprecation; the obvious and deep enthusiasm for and about the subject of analysis is compelling. The risk-taking and willingness to fail, embodied in the philosophy of Forced Entertainment, is captured in Suk’s book with a refreshinghonesty and irony.He concludes thebook in a conspiratorial manner, apologizing for possible shortcomings in his analysis: ‘By being exposed to the experience of one’s own fragility, the realization is productive, transformative, and, indeed, performative. A failure signals a life. That I have made mistakesmeans I am. I am alive.’ Suk’s monograph, inspired by and focused on Forced Entertainment, also exudes a lively immanence and consists of a truly ‘creative transformative experience’. david livingstone

中文翻译：

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芬坦沃尔什，编辑。传染病剧院：将早期现代表演转化为当代表演伦敦：Bloomsbury Methuen，2020 年。216 页。67.50 英镑。国际标准书号：978-1-350-08598-5。

Jan Suk 的书是谢菲尔德实验剧院公司 Forced Entertainment 的第二部专着，也是第一部涵盖 2004 年至 2016 年产出的专着。作者广泛使用德勒兹的“内在诗学”，被描述为“与他们不断地与真实的、具象的、存在驱动的、“此时此地的青春之夜”相互作用，以讨论这个前卫剧团的独特方法和贡献。他对特定表演的分析有据可查，并通过他与该团体的艺术总监 Tim Etchells 的个人通信得到了加强。本书的第一章概述了 Forced Entertainment 的职业生涯，并描述了他们独特的艺术哲学和方法。第二章提供了理论框架，讨论了 GillesDeleuze 的哲学和术语，并在较小程度上讨论了 FélixGuattari。蒂姆·埃切尔斯的散文文本是他迄今为止很少反思的写作领域，在第三章中详细讨论。最后两章考察了公司的持续表现，特别是从黑暗开始（2016 年）。表演内在性是一项令人印象深刻的研究成果，无论是在批判理论方面，还是在对特定戏剧和散文作品的深入分析方面。Themonograph 应该在那些对当代戏剧和表演艺术感兴趣的人中找到它的读者。Forced Entertainment 的作品，以其经常自制的极简美学，现在并且将继续对 Covid/postCovid 时期非常鼓舞人心，因为它需要即兴和灵活的表演媒介。特别是涉及观众广泛在线参与的持续性作品，标志着英国和世界戏剧和表演艺术的新方向，无论好坏。这本专着读了很多批判理论，尤其是在前半部分。话虽如此，Suk 独特的声音确实充满了幽默感（根据主题，这是适当的）和自嘲。对分析主题的明显而深刻的热情是令人信服的。冒险和失败的意愿，体现在强制娱乐的哲学中，在苏克的书中以令人耳目一新的诚实和讽刺捕捉。他以一种阴谋的方式总结了这本书，为他的分析中可能存在的缺陷道歉：“通过暴露于自己脆弱的体验中，实现是富有成效的、变革性的，实际上是表演性的。失败标志着生命。我犯了错误意味着我是。我还活着。' Suk 的专着受到 Forced Entertainment 的启发和关注，也散发出活泼的内在性，并包含真正的“创造性变革体验”。大卫利文斯通 还散发出活泼的内在性，由真正的“创造性变革体验”组成。大卫利文斯通 还散发出活泼的内在性，由真正的“创造性变革体验”组成。大卫利文斯通