the impact of new technologies in print culture and reprographics for the promotion of theatre and film industries in products such as specialist magazines and publicity materials. The book also considers how issues of censorship operated in the period both upon theatre and early cinema. Not surprisingly, the First WorldWar looms large through the ways theatre and film worked as a tool for propaganda (especially in generating patriotism or raising fears of alien invasion) and later as a critique over the conduct of thewar. Allied to this, Gale also shows how theatre directly engaged itself to the suffragette movement, together with plays and performances that both celebrated and lampooned women’s involvement in the war effort. The book also considers moves to professionalize the theatre and film industries through the establishment of drama schools for acting and film schools to develop the nascent grammar of the new art form. Not surprisingly, much of it focuses on performance cultures produced and emanating from London as the hub and nexus around which these performance industries coalesced and from which the standards and tastes were established, both nationally and far beyond, throughout the British Empire. Throughout the bookGale combineswider historical analysiswith close readings from well-known plays such as Journey’sEnd (1929).More frequently it is the lesserknown examples taken fromplays, musicals, and revues that are arguably of the most interest and come as a consequence of Gale’s extensive archival trawls. My only cavil in this otherwise engrossing book concerns the numerous photographs that are miniaturized and squeezed on to the pages in what can only be assumed as the publisher’s attempts at saving space/paper. Unfortunately, this renders some of the images indistinct and at times puts the reader at a disadvantage, especially when Gale directly addresses these images in her discussions. It is commonplace in such reviews to describe a book as a valuable contribution to its particular field, but taking Gale’s opening analogy of this theatrical period as barren, her book can be seen as an act of careful cultivation from which others will subsequently plough and farm more easily than has been possible to date. graham saunders

中文翻译：

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Mark Edward 和 Stephen Farrier，eds 当代变装实践和表演者：变装变装。第 1 卷伦敦：梅休恩戏剧，2020 年。209 页。67.50 英镑。国际标准书号：978-1-35008-294-6。

印刷文化和复制新技术对促进戏剧和电影行业在专业杂志和宣传材料等产品中的影响。这本书还考虑了审查问题在戏剧和早期电影中是如何运作的。毫不奇怪，第一次世界大战在戏剧和电影作为宣传工具（特别是在产生爱国主义或引发对外星人入侵的恐惧方面）以及后来对战争行为的批评方面显得尤为突出。与此相关，盖尔还展示了戏剧如何直接参与参政运动，以及庆祝和讽刺妇女参与战争的戏剧和表演。该书还考虑了通过为表演和电影学校建立戏剧学校来发展新艺术形式的新生语法来使戏剧和电影行业专业化的举措。不足为奇的是，其中大部分都集中在伦敦作为枢纽和纽带产生和发源的表演文化，这些表演产业围绕着这些文化融合，标准和品味由此建立，无论是在全国范围内还是在整个大英帝国。在整本书中，盖尔将更广泛的历史分析与对著名戏剧如《旅程的尽头》(1929) 的仔细阅读结合在一起。广泛的档案拖网。在这本引人入胜的书中，我唯一的缺点是大量的照片被小型化并挤在页面上，这只能被认为是出版商试图节省空间/纸张。不幸的是，这使得一些图像模糊不清，有时使读者处于不利地位，尤其是当盖尔在她的讨论中直接提到这些图像时。在这样的评论中，将一本书描述为对其特定领域的宝贵贡献是司空见惯的，但以盖尔开场对这个戏剧时期的比喻为贫瘠，她的书可以被视为一种精心培养的行为，其他人随后将从中耕种和耕种比迄今为止更容易。格雷厄姆桑德斯 尤其是当盖尔在她的讨论中直接提到这些图像时。在这样的评论中，将一本书描述为对其特定领域的宝贵贡献是司空见惯的，但以盖尔开场对这个戏剧时期的比喻为贫瘠，她的书可以被视为一种精心培养的行为，其他人随后将从中耕种和耕种比迄今为止更容易。格雷厄姆桑德斯 尤其是当盖尔在她的讨论中直接提到这些图像时。在这样的评论中，将一本书描述为对其特定领域的宝贵贡献是司空见惯的，但以盖尔开场对这个戏剧时期的比喻为贫瘠，她的书可以被视为一种精心培养的行为，其他人随后将从中耕种和耕种比迄今为止更容易。格雷厄姆桑德斯