In the Introduction, Walsh writes that “part of the challenge in editing this book has been to manage interdisciplinary study across a long historical sweep, but there is no way to neatly contain contagion” (7), and this refusal to be contained characterizes the collection, which enacts and encourages interdisciplinarity and the positive processes of contagion with which it is thematically concerned Theatres of Contagion is divided into three parts: “Infectious Bodies and Behaviours,” which considers the body as the site of contagion;“Sites of Contamination and Containment,” which investigates the theatre as a site of contagion as well as site-specific notions of contamination and containment;and “Conducting Emotions, Moods and Minds,” which considers the transmission of affect in digital and immersive practices as well as the neurological mechanisms involved in empathy, embodied simulation, and projective identification [ ]Liam Jarvis's contribution explores how past experiences infect our conscious and unconscious biases, which, in turn, impact our affective reality and behavior

中文翻译：

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传染病剧院：将早期现代表演传递到当代表演，由 Fintan Walsh 编辑。伦敦：梅休恩戏剧，布卢姆斯伯里，2019；pp. xi + 219, 7 b/w 插图。102 美元的布，39.95 美元的纸，91.80 美元的电子书。

在引言中，沃尔什写道，“编辑本书的部分挑战是管理跨学科研究跨越漫长的历史扫描，但没有办法巧妙地遏制传染”（7），这种拒绝被遏制的特点是集合，它制定并鼓励跨学科性和积极的传染过程，它与主题有关 传染性剧院分为三个部分：“传染性身体和行为”，将身体视为传染场所；“污染场所和收容”，调查作为传染场所的剧院以及特定场所的污染和收容概念；以及“传导情绪、情绪和思想，”它考虑了数字和沉浸式实践中的情感传递，以及涉及移情、具身模拟和投射性识别的神经机制 []Liam Jarvis 的贡献探讨了过去的经历如何影响我们有意识和无意识的偏见，进而影响我们的情感现实和行为