potential and prompts a kind of productive destabilizing of artistic hierarchies. Such mischief making, she argues, is relevant to the work twenty-first-century artists and audiences are creating and consuming. Notably, Hunter makes good use of some data from actual game players and television fans in the latter half of the book; similar use of audience data in her other case studies, especially the theatrical examples of the first two chapters, would be useful areas of extension in support of her thought-provoking arguments about the decreasing centrality of liveness in performance. A further drawing out of the nuances and distinctions among the various terms being used—liveness, truth, authenticity, veracity, sincerity, immersion, reality—would also be an area for additional examination. Overall, Hunter’s engaging and lively writing is inviting and accessible. Her invocation of diverse examples from across theatre, television, gaming, and popular culture similarly reflects a sense of playfulness and curiosity. The varied case studies, ranging from Hamlet to True Tori (a reality TV show about Tori Spelling’s relationship with husband Dean McDermott), offer a refreshing array of examples and make this book a useful read for those in the related fields of media and communication studies, fan studies, and television studies. Indeed, one of the strongest aspects of the text is the use of scholarship from similarly multidisciplinary fields. Hunter’s text makes the potential of wide-ranging scholastic engagement clear to theatre and performance scholars, especially as it concerns foundational concepts like mimesis, mediatization, and liveness.

中文翻译：

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排练革命：20 世纪早期的劳工戏剧实验和激进行动主义，玛丽·麦卡沃伊（Mary McAvoy）。爱荷华城：爱荷华大学出版社，2019；第 x + 260 页，6 幅插图。纸质书 90 美元，电子书 90 美元。

潜力，并促使一种富有成效的破坏艺术等级的稳定。她认为，这种恶作剧与 21 世纪艺术家和观众正在创作和消费的作品有关。值得注意的是，亨特在本书后半部分很好地利用了一些来自实际游戏玩家和电视粉丝的数据；在她的其他案例研究中类似地使用观众数据，尤其是前两章的戏剧例子，将是有用的扩展领域，以支持她关于表演中活跃度的中心性降低的发人深省的论点。进一步提取所使用的各种术语之间的细微差别和区别——生动、真实、真实、真实、真诚、沉浸、现实——也将是一个需要额外检查的领域。全面的，亨特引人入胜且生动活泼的写作引人入胜且易于理解。她引用了来自剧院、电视、游戏和流行文化的各种例子，同样反映了一种嬉戏和好奇的感觉。各种案例研究，从哈姆雷特到 True Tori（关于 Tori Spelling 与丈夫 Dean McDermott 关系的真人秀电视节目），提供了一系列令人耳目一新的例子，使本书成为媒体和传播研究相关领域的人的有用读物、粉丝研究和电视研究。事实上，本书最有力的方面之一是使用了来自类似多学科领域的学术成果。亨特的文本使戏剧和表演学者清楚地了解了广泛的学术参与的潜力，特别是当它涉及模仿、媒介化和生动性等基本概念时。