For good reason, proscenium staging has fallen out of favor in recent decades. Taken to be a synonym for passivity, its constraints on the theatrical imagination have been largely replaced by a suite of more active, immersive, and site-specific strategies. In performance spaces across the Global South, however, it is not only this rising taste for interaction that has driven the proscenium’s demise. Caught up in the history of colonial power, as Catherine M. Cole notes in Performance and the Afterlives of Injustice: Dance and Live Art in Contemporary South Africa and Beyond, proscenium staging served originally to displace many of those indigenous performance traditions ill-suited to such a comparatively static form. Cole cites, for example, the “more communal” (170) circular stages once common to Congolese dance. We might recall, too, the participatory impulses that historically conditioned performances of praise poetry across southern Africa. In this context, the fading popularity of the proscenium stage has also been understood as vital for the revival of these and many other more kinetic indigenous traditions. In charting the recent rise of live art in countries like South Africa and the DRC, however, Cole is careful to resist the idea of a pristine return to the precolonial past, whether onstage or in society at large. Attuned to the entangled, often intractable afterlives of racial injustice not just in Africa but across the globe, her latest book explores instead the unresolved wrongs that often remain long after the basic architecture of white, colonial power has been dismantled. This is not to give up on the possibility of “a world that is otherwise,” as Cole puts it (220), echoing decolonial thinkers like Walter Mignolo. But neither is it to assume that simple strategies like a return to circular staging can perform theatre’s decolonization. Rather, Cole’s critique attempts to “dwell in complexity” by enduring the “lack of resolution” that necessarily stalks the pursuit of justice after colonialism (32). As such, in this latest study, she actively extends the sense of political irresolution that animates her

中文翻译：

---

表演和不公正的来世：当代南非及其他地区的舞蹈和现场艺术，凯瑟琳·M·科尔（Catherine M. Cole）。安娜堡：密歇根大学出版社，2020 年，第 xviii + 286 页，18 幅插图。85 美元的布，39.95 美元的纸，39.95 美元的电子书。

有充分的理由，近几十年来舞台舞台已经失宠。作为被动的同义词，它对戏剧想象力的限制已在很大程度上被一套更主动、身临其境和特定地点的策略所取代。然而，在全球南方的表演空间中，不仅是这种对互动的日益高涨的品味导致了舞台的消亡。正如 Catherine M. Cole 在《表演和不公正的来世：当代南非及其他地区的舞蹈和现场艺术》中指出的那样，陷入殖民权力的历史之中，舞台舞台最初是为了取代许多不适合的本土表演传统。这种比较静态的形式。例如，科尔引用了刚果舞蹈曾经常见的“更公共的”（170）圆形舞台。我们可能还记得，历史上影响南部非洲赞美诗歌表演的参与冲动。在这种情况下，舞台舞台逐渐消失的流行也被认为对这些以及许多其他更具活力的本土传统的复兴至关重要。然而，在描绘南非和刚果民主共和国等国家最近兴起的现场艺术时，科尔小心翼翼地抵制原始回归前殖民时代的想法，无论是在舞台上还是在整个社会中。不仅在非洲而且在全球范围内，为了适应纠缠不清、往往难以解决的种族不公正的来世，她的最新著作探讨了在白人殖民权力的基本架构被拆除后很长时间内往往仍然存在的未解决的错误。这并不是要放弃“一个不同的世界，”正如科尔所说（220），与沃尔特·米尼奥洛（Walter Mignolo）等非殖民主义思想家相呼应。但也不能假设像回归循环舞台这样的简单策略可以实现剧院的非殖民化。相反，科尔的批评试图通过忍受在殖民主义之后必然阻碍追求正义的“缺乏解决方案”来“停留在复杂性中”（32）。因此，在这项最新研究中，她积极地延伸了使她充满活力的政治不确定感