dell’arte aurally conditioned early modern audience to the emergence of opera (32). The final focus of the chapter is on discussions of gesture in performance. Turning again to Quintilian, a touchstone in this book, Crohn Schmitt explains that he “lays out general guidelines about the interrelationship between words, gesture, and voice, and between gestures” (40). Crohn Schmitt next applies Quintilian to Scala’s scenarios and demonstrates, through close textual readings, how targeted gestures in these scenes evoked emotions such as anger, shock, and grief in order to create heightened performative displays (44–6). However, she is careful to nuance this point by arguing that the range of affective expressions, rather than merely create stereotypical characters and caricatures, could also reflect “real societal anxieties” through this range of acting styles (47). That was especially important for a period in which societal tensions between “fathers and sons; female lovers, wives, and widows and men; lovers; friends; citizens and servants; and with outsiders” were especially pronounced (47). The third chapter, “The Uses of Masks,” attends to a neglected area: the masking specific to the pastorals and tragicomedies. For example, Crohn Schmitt considers characters such as shadows, oracles, and magicians, all of whom are rarely ever analyzed. Rather than stop there, Crohn Schmitt provides a “Coda” to the book, a chapter on “commedia dell’arte today” in which she counters the “myth that there is an unbroken line of commedia dell’arte continuing into the present day” (104). Nevertheless, although there may not be a direct line to historic commedia dell’arte, Crohn Schmitt animatedly discusses the ways in which commedia dell’arte’s spirit is alive in the work of The Improvised Shakespeare Company (ISC) in Chicago. Short and intentionally narrow in focus, Performing Commedia dell’Arte, 1570– 1630 succeeds both in providing a foundation of Roman rhetorical writing for understanding commedia dell’arte performance and in culling together several recent scholarly works to focus on the wonderfully challenging subject of what performance was like in the golden age of commedia dell’arte.

中文翻译：

---

大卫·科恩哈伯的戏剧和知识。伦敦：红地球出版社，2020；pp. xii + 82。9.99 美元纸质书，7.99 美元电子书。

dell'arte 使早期现代观众适应了歌剧的出现 (32)。本章的最后一个重点是讨论表演中的手势。再次转向本书中的试金石 Quintilian，Crohn Schmitt 解释说，他“制定了关于单词、手势和声音之间以及手势之间的相互关系的一般准则”（40）。克罗恩施密特接下来将 Quintilian 应用到 Scala 的场景中，并通过仔细阅读文本来展示这些场景中的针对性手势如何唤起愤怒、震惊和悲伤等情绪，以创造更高层次的表演展示 (44-6)。然而，她通过争辩说情感表达的范围，而不是仅仅创造刻板的人物和漫画，小心翼翼地强调这一点，也可以通过这一系列的表演风格反映“真正的社会焦虑”（47）。这在“父子之间的社会紧张局势”时期尤为重要；女性情人、妻子、寡妇和男人；恋人；朋友们; 公民和公务员；和外人”尤其明显（47）。第三章“面具的用途”关注一个被忽视的领域：牧歌和悲喜剧特有的面具。例如，克罗恩·施密特（Crohn Schmitt）考虑了影子、神谕和魔术师等角色，这些角色很少被分析。克罗恩·施密特并没有就此止步，而是为这本书提供了一个“尾声”，这是关于“今日喜剧”的一章，她在其中反驳了“有一条不间断的喜剧一直延续到今天的神话” (104)。尽管如此，尽管可能与历史性的喜剧片没有直接联系，但克罗恩·施密特 (Crohn Schmitt) 生动地讨论了喜剧片的精神在芝加哥的即兴莎士比亚公司 (ISC) 的作品中是如何存在的。1570-1630 年的 Commedia dell'Arte 表演短小精悍，成功地为理解 commedia dell'arte 表演奠定了罗马修辞写作的基础，并汇集了几部最近的学术著作，专注于极具挑战性的主题表演就像在commedia dell'arte的黄金时代。