more about the experiences and needs of their constituencies. As I read, I found myself substituting “dance artists” for “PhD students and adjuncts,” drawing parallels between the dance field and the conditions of academic life. Her discussion of dance artists’ willingness to selfexploit provoked reflection about my own experiences and motivations: Why exactly did I agree to write this (unpaid) review? Why have I been teaching as an adjunct for five years? In what ways do I neglect forms of collective struggle and cave to the gravitational pull of individualist careerism? Van Assche’s exploration of precarity can help us attune to the ways that selfexploitation and smarm show up within concert dance, academia, and our lives more broadly.

中文翻译：

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SIDI LARBI CHERKAOUI：Lise Uytterhoeven 的戏剧和参与的观众。2019. 伦敦：帕尔格雷夫麦克米伦。271 页，16 幅插图。64.99 英镑精装本。ISBN：9783030278151。44.99 英镑纸。34.99 英镑的电子书。国际标准书号：9783030278168。

更多地了解他们的选区的经验和需求。当我阅读时，我发现自己用“舞蹈艺术家”代替了“博士生和兼职”，将舞蹈领域与学术生活条件相提并论。她对舞蹈艺术家自我剥削意愿的讨论引发了我对自己的经历和动机的反思：我究竟为什么同意写这篇（无偿）评论？为什么我做了五年的兼职教学？我在哪些方面忽略了集体斗争的形式并屈服于个人主义野心的引力？Van Assche 对不稳定的探索可以帮助我们适应自我剥削和聪明在音乐会舞蹈、学术界和更广泛的生活中出现的方式。