focuses on the apparently contagious phenomenon of fainting in the horror theatre of Paris’s GrandGuignol. In the final section, chapters by Ana Pais, Mark Pizzato, and Liam Jarvis examine processes of emotional or affective contagion. Theatre’s relationship with contagion has clearly transformed somewhat since the publication of this book. In 2020–21, infectious disease has had a profound and probably long-lasting impact on the practices of theatre and performance. Popular conceptions of contagion have also been reshaped by individual and collective experience in this time. The uneven social impact of the pandemic belies the popular political trope that ‘we are all in this together’. In this book, the chapters by Molly McPhee and Lynne McCarthy offer particularly critical and relevant political insights into theatre and performance as a response to contagion and its traversals of the social and the biomedical. Molly McPhee’s chapter shows howwork by Clean Break theatre company critically engages with social contagion within and without the criminal justice system. She identifies the way ‘contagion, as a necropolitical metaphor, creates conditions of social and physical death for the others of white heteropatriarchy’. She poses questions as to how theatre might respond. ForMcPhee, Clean Break’s piecesDreamPill and Little on the inside examine broader public complicity in the perpetuation of social inequality through criminalization and its entanglement with contagion. For her, the pieces also constitute small acts of resistance. In a similar vein, Lynne McCarthy’s contribution examines how fear of contagion underpins attempts to contain and constrain nomadic communities. She points to the ‘performative and biological affects of an obstructive infrastructure’ whereby Traveller communities are confined to polluted land. Often literally fenced in, through theatrical and performative operations, Travellers are marked and constrained by this coerced association with pollution. All twelve chapters in this volume now provide prescient foundations for more work on the theme anticipated in future. The politics and aesthetics of contagion, as understood socially and biomedically, are both areas in pressing need of further research. simon parry

中文翻译：

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丽莎·斯特德重塑费雯·丽：明星、性别和档案纽约：牛津大学出版社，2021 年。250 页。25.99 英镑。国际标准书号 978-0-19-00651-1。

重点关注巴黎 GrandGuignol 恐怖剧院中明显具有传染性的昏厥现象。在最后一部分，Ana Pais、Mark Pizzato 和 Liam Jarvis 的章节探讨了情绪或情感传染的过程。自从本书出版以来，戏剧与传染病的关系明显发生了一些变化。在 2020-21 年，传染病对戏剧和表演的实践产生了深远且可能持久的影响。在这个时代，流行的传染概念也被个人和集体的经验所重塑。大流行的不均衡社会影响掩盖了流行的政治比喻，即“我们都在一起”。在这本书中，Molly McPhee 和 Lynne McCarthy 的章节提供了对戏剧和表演的特别批判和相关的政治见解，作为对传染及其对社会和生物医学的遍历的回应。Molly McPhee 的章节展示了 Clean Break 剧院公司如何在刑事司法系统内外批判性地处理社会传染。她指出“传染病，作为一种死灵政治隐喻，为白人异父权制的其他人创造了社会和肉体死亡的条件”。她提出了关于剧院如何回应的问题。For McPhee，Clean Break 的作品DreamPill 和 Little on inside 考察了更广泛的公众同谋通过刑事定罪及其与传染的纠缠来延续社会不平等。对她来说，这些碎片也构成了小小的抵抗行为。与此类似，林恩·麦卡锡 (Lynne McCarthy) 的文章探讨了对传染的恐惧如何支撑着遏制和限制游牧社区的尝试。她指出了“障碍性基础设施的性能和生物影响”，旅行者社区被限制在受污染的土地上。通常，通过戏剧和表演性的操作，旅行者会被这种与污染的强制性联系所标记和限制。本卷中的所有十二章现在都为未来预期主题的更多工作提供了先见之明的基础。从社会和生物医学的角度来看，传染病的政治和美学都是迫切需要进一步研究的领域。西蒙招架 她指出了“障碍性基础设施的性能和生物影响”，旅行者社区被限制在受污染的土地上。通常，通过戏剧和表演性的操作，旅行者会被这种与污染的强制性联系所标记和限制。本卷中的所有十二章现在都为未来预期主题的更多工作提供了先见之明的基础。从社会和生物医学的角度来看，传染病的政治和美学都是迫切需要进一步研究的领域。西蒙招架 她指出了“障碍性基础设施的性能和生物影响”，旅行者社区被限制在受污染的土地上。通常，通过戏剧和表演性的操作，旅行者会被这种与污染的强制性联系所标记和限制。本卷中的所有十二章现在都为未来预期主题的更多工作提供了先见之明的基础。从社会和生物医学的角度来看，传染病的政治和美学都是迫切需要进一步研究的领域。西蒙招架 旅行者被这种与污染的强制性联系所标记和限制。本卷中的所有十二章现在都为未来预期主题的更多工作提供了先见之明的基础。从社会和生物医学的角度来看，传染病的政治和美学都是迫切需要进一步研究的领域。西蒙招架 旅行者被这种与污染的强制性联系所标记和限制。本卷中的所有十二章现在都为未来预期主题的更多工作提供了先见之明的基础。从社会和生物医学的角度来看，传染病的政治和美学都是迫切需要进一步研究的领域。西蒙招架