Reviewed by:

• Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry
• Sophie Nield (bio)

This book opens with a book burning. In May 2016, as part of the two-day event Desintegration: A Congress on Contemporary Jewish Positions at the experimental performance space Studio Я, directly opposite the site of the infamous 1933 Nazi book-burning on Unter den Linden, a copy of the (newly re-available) Mein Kampf was torn into fragments and fed into the fire by Jewish American artist Daniel Kahn. This powerful image is the starting point for a rich and detailed study of the possibilities and potentialities of anger as a mode of politicised contemporary theatre practice. Focusing on seven key theatre pieces performed in Berlin between 2006 and 2017, Olivia Landry identifies and tracks "a form of theatre in which minoritized subjects perform anger and perform in anger," speaking out against social injustice, racism and prejudice in "an open and aggressive refusal to integrate into an unjust society" (4).

Theatre of Anger explores the work and ideas of a generation of writers and theatre makers drawn from the "post-migrant" theatre movement, making a persuasive case for the centring of anger as an illuminating interpretive framework. The selection comprises Schwarze Jungfrauen (Black Virgins), 2006; Weissbrotmusik (White Bread Music), 2010; Verrücktes Blut (Mad Blood), 2010; Telemachos, 2013; Aufstand – Monolog eines wütenden Künstlers (Rebellion: Monologue of an Angry Artist), 2014; Get Deutsch or Die Tryin', 2017; and Zucken (Twitching), 2017. Through analysis of these plays, Landry provides a rich historiography of post-migrant theatre from its inception at Shermin Langhoff's 2006 festival Beyond Belonging - Migration at the Hebbel am Ufer theatre (HAU), tracking its development as a fringe, experimental, and increasingly significant force in contemporary German theatre.

Post-migrant experience—the "post-," summarised by Wendy Brown as indicating something which is "temporally over but not after" (n. 16, p. 9)—identifies the particular experience of second- and third-generation people of migrant heritage, who nevertheless are still identified and treated as migrants within a supposedly "host" culture. Central to the analytical perspective of the book is the concept of "desintegration (de-integration): a rejection of integrational, assimilative narratives in favour of an investment in 'affirmative anger'" (7).

It is important to note that Landry does not propose the theatre of anger as synonymous for post-migrant theatre. Rather, the term "theatre of anger" identifies a strategic re-constellation of minoritized voices away from a perpetual relation to the "centre," and it is by re-aligning the lens through which these works [End Page 424] are read that they become open to the rich and productive analysis. In this way, the theatre itself is re-proposed as a politicised space for action; one which opens possibility for the recuperation and political application of anger itself as both performative strategy and consciously affirmative practice.

The book is organised in seven chapters: fluent and detailed introductory and concluding sections frame the central work of the book, which comprises a philosophical history of anger, a series of rich and complex case studies, and an extended interview with playwright Sasha Marianna Salzmann.

Landry's "defence of anger" (chapter 1) provides a thorough-going intellectual and conceptual history though which to read the theatrical work. Brecht's formally-realized anger is important here, but it is the thought and work of feminist scholars of color—in particular the writings and political ideas of Audre Lorde, Sara Ahmed, and bell hooks—which are threaded most foundationally through the book. Subsequent chapters extend particular questions of violence, exclusion, religious identity, and disenfranchisement through the selected plays.

The plays discussed are drawn from a number of distinct theatrical modes. The theatre of anger is not a particular style, but a particular attitude: the mobilization of anger as a productive affective force. Landry chooses plays that "do something riveting with affirmative forms of anger at a time and in a political climate when this affect is often otherwise perceived as negative and only capable of leading...

审核人：

• 愤怒剧场：奥利维亚·兰德里 (Olivia Landry)在当代柏林的激进跨国表演
• 索菲·尼尔德（生平）

这本书以烧书开篇。2016 年 5 月，作为为期两天的活动的一部分，Desintegration：在实验表演空间 Studio Я举行的当代犹太人立场大会，就在臭名昭著的 1933 年纳粹在菩提树下大街焚书的地点对面，一份 (新上架）我的奋斗被美国犹太艺术家丹尼尔·卡恩撕成碎片投入火中。这个强大的形象是对愤怒作为一种政治化的当代戏剧实践模式的可能性和潜力进行丰富而详细研究的起点。奥利维亚·兰德里 (Olivia Landry) 专注于 2006 年至 2017 年间在柏林上演的七部重要戏剧作品，确定并追踪“一种戏剧形式，在这种形式中，少数族裔主体表现出愤怒，并在愤怒中表演”，以“公开和开放的方式”反对社会不公正、种族主义和偏见。积极拒绝融入不公正的社会”（4）。

愤怒的戏剧探索了从“后移民”戏剧运动中汲取灵感的一代作家和戏剧制作人的作品和想法，为以愤怒为中心作为一个有启发性的解释框架提供了一个有说服力的案例。入选作品包括Schwarze Jungfrauen (Black Virgins)，2006 年；Weissbrotmusik（白面包音乐），2010；Verrücktes Blut（疯狂的血液），2010；远程马科斯, 2013; Aufstand – Monolog eines wütenden Künstlers（反叛：愤怒艺术家的独白），2014；Get Deutsch or Die Tryin' , 2017; 和祖肯（Twitching），2017 年。通过对这些戏剧的分析，Landry 从 Shermin Langhoff 的 2006 年Beyond Belonging音乐节 - 在 Hebbel am Ufer 剧院 (HAU) 的移民开始，提供了丰富的后移民戏剧史，跟踪其作为边缘的发展，实验性的，并且在当代德国戏剧中越来越重要的力量。

后移民经历——“后”，温迪·布朗总结为表示“暂时结束但不是之后”的事情（n. 16, p. 9）——确定了第二代和第三代人的特殊经历移民遗产，然而在所谓的“东道国”文化中，他们仍然被认定为移民并被视为移民。该书分析视角的核心是“解体（de-integration）：拒绝整合的、同化的叙事，转而支持对‘肯定性愤怒’的投资”(7)。

重要的是要注意，兰德里并不认为愤怒的戏剧是后移民戏剧的同义词。相反，“愤怒的剧院”一词确定了少数群体声音的战略性重新组合，使其远离与“中心”的永久关系，并且通过重新调整阅读这些作品的镜头 [End Page 424 ]他们对丰富而富有成效的分析持开放态度。通过这种方式，剧院本身被重新定位为一个政治化的行动空间；它为愤怒本身的恢复和政治应用打开了可能性，既可以作为表演策略，也可以作为有意识的肯定实践。

这本书分为七章：流畅而详细的介绍和结论部分构成了本书的中心工作，其中包括愤怒的哲学史、一系列丰富而复杂的案例研究，以及对剧作家萨莎·玛丽安娜·萨尔茨曼的长访谈。

兰德里的“愤怒防御”（第 1 章）提供了详尽的知识和概念史，可以用来阅读这部戏剧作品。布莱希特正式表达的愤怒在这里很重要，但有色人种女权主义学者的思想和工作——尤其是奥德·洛德、萨拉·艾哈迈德和贝尔·胡克斯的著作和政治观点——贯穿全书的最基本内容。随后的章节通过选定的戏剧扩展了暴力、排斥、宗教身份和剥夺公民权等特定问题。

所讨论的戏剧来自许多不同的戏剧模式。愤怒的戏剧不是一种特定的风格，而是一种特定的态度：动员愤怒作为一种生产性的情感力量。兰德里选择的戏剧“在当时和政治气候下做一些带有肯定形式的愤怒的事情，而这种影响通常被认为是消极的，只能导致......