criminology, Walsh draws on an extensive interdisciplinary research base and personal experience to identify the structural and ethical weaknesses of the logicmodels that dominate the existing discourses of women, crime, and imprisonment. The reader should be aware that this is much more than a book about prison theatre and performance, being equally concerned with prison as performance. It achieves this by drawing on an impressively broad range of theory from outside the world of theatre and performance, and Walsh eruditely identifies the critical intersections between feminist criminology and performance studies, and employs them to great effect. While key elements of the book are concerned with theatre practice, focusing on thework of Clean Break, Geese Theatre Company, andOpen Clasp, other chapters are concerned with the representation of women in prison in film and television (Orange is theNewBlack featuresprominently throughout), offering insights into how these representations may impact on the public’s understanding of the lives of imprisoned women. Informed by her own experiences as a practitioner, the applied theatre chapterwas of particular appeal to me, as it offered new perspectives on the positioning of the work within carceral settings. Walsh raises important (and often avoided) questions about the claimsmade by prison theatre practitioners about their work, and suggests a closer interrogation of the frames of reference of the practice would be of value. I was heartened to read something that shifts the prison theatre discourse in new directions, shunning the typical arguments around efficacy and impact in favour of striking new ground. The book is an ideal source for researchers interested in theatre and performance in the criminal justice system, and for those with a keen interest in penology, cultural and feminist criminology. The provocations presented to the applied theatre in the criminal justice sector should also serve to make this a valuable resource to those studying, and practising, prison theatre. simon ruding

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Marco Galea 和 Szabolcs Musca，eds. 重新定义剧院社区：对社区意识剧院制作智力的国际视角：布里斯托尔和芝加哥，2019 年。262 页。76.00 英镑。国际标准书号：978-1-7893-8076-7。

犯罪学，沃尔什利用广泛的跨学科研究基础和个人经验来确定主导女性、犯罪和监禁现有话语的逻辑模型的结构和伦理缺陷。读者应该知道，这不仅仅是一本关于监狱戏剧和表演的书，它同样关注监狱和表演。它通过借鉴戏剧和表演领域之外的广泛理论来实现这一点，沃尔什博学地确定了女权主义犯罪学和表演研究之间的关键交叉点，并将它们运用到了巨大的效果。虽然这本书的关键元素与戏剧实践有关，但侧重于 Clean Break、Geese Theatre Company 和 Open Clasp 的工作，其他章节关注电影和电视中女性在狱中的表现（橙色是新黑人的突出特点），提供了这些表现如何影响公众对被监禁女性生活的理解的见解。根据她作为实践者的经验，应用戏剧章节对我特别有吸引力，因为它提供了关于工作在监狱环境中的定位的新视角。沃尔什对监狱剧院从业者对其作品的主张提出了重要的（并且经常被避免的）问题，并建议对实践的参考框架进行更仔细的审问将是有价值的。我很高兴读到一些将监狱剧场话语转向新方向的东西，回避围绕功效和影响的典型论点，转而开辟新天地。对于对刑事司法系统中的戏剧和表演感兴趣的研究人员以及对刑罚学、文化和女权主义犯罪学有浓厚兴趣的人来说，这本书是理想的资料来源。向刑事司法部门的应用剧院提出的挑衅也应使其成为那些学习和实践监狱剧院的人的宝贵资源。西蒙·鲁丁 和练习，监狱剧院。西蒙·鲁丁 和练习，监狱剧院。西蒙·鲁丁