Reviewed by:

• Performing Conversion: Cities, Theatre and Early Modern Transformations ed. by José R. Jouve Martín and Steven Wittek
• Benjamin Easton

THIS COLLABORATION connecting the fields of literary studies, architecture, history, and media studies presents conversion as an expansive conceptual tool to apprehend the transformations of urban spaces and cultural institutions in the early modern world. It follows on the heels of Ovidian Transversions: Iphis and Ianthe, 1300–1650 (edited by Valerie Traub, Patricia Badir, and Peggy McCracken, 2020) as the second installment of Edinburgh UP's Conversions series, which, in the words of the editors of the series, Bronwen Wilson and Paul Yachnin, "sets out to explore the efflorescence of various forms of conversion and their social, corporeal and material integuments as they played out across early modernity" (ix). The series thus examines conversion in a capacious sense that includes the transformation of people across various religious, political, and economic identity categories as well as the transformation of places through urban renovation projects, the European colonization of the Americas, and the rise of theater as a new form of mass culture. (A third volume, Conversion Machines: Apparatus, Artifice, Body, is forthcoming.) The present collection traces an itinerary through Lima, Venice, Amsterdam, Mexico City, London, Madrid, and Zurich, bringing to light both the ways in which such burgeoning urban centers increasingly made theater and theatrical activity possible and how various theatrical productions and behaviors reflected on and actively shaped early modern conversional experiences.

Chapters 1 to 3 consider conversion not in the theater per se, but in paratheatrical sites such as public squares, urban pleasure parks, and even lecture halls. In chapter 1, "Venice: The Converted City," Iain Fenlon examines the theatrical dimensions of the Piazza San Marco, where both ecclesiastical elites and patricians collaborated in ritualized public performances to consolidate the city's sense of political stability during a time of widespread disease and overseas military conflict. Renovated according to the designs of Florentine architect Jacopo Sansovino (1486–1570), the piazza served as a potent "locus of devotional activity" throughout the sixteenth and seventeenth [End Page 431] centuries (21). Clerics and magistrates worked together to employ the city's large repository of relics (mostly acquired centuries before as spoils brought back from the Fourth Crusade) to stage frequent processions in the piazza. Regardless of just how harmonious the confluence between church and state actually was, Fenlon observes that the process by which Venice became a "converted city" in the late sixteenth century depended on religious, political, and military activities as deeply interdependent phenomena. Certain processions, such as the yearly andata of Santa Giustina honoring the Holy League's victory over the Ottoman Empire at the Battle of Lepanto (1571), "emphasised the indissolubility of religious and civic values by fusing together the political and devotional dimensions of public life" (25). Fenlon's sharp analysis of the interrelations between relics, urban space, and public performance leaves the reader with a greater appreciation of how the renovation projects that transformed the material city (urbs) literally laid the groundwork to alter the format and ultimately the character of Venetians' collective expressions of religious and civic identity (civitas).

Angela Vanhaelen's "Turnings: Motion and Emotion in the Labyrinths of Early Modern Amsterdam" (chapter 2) discusses affective conversions in the context of Amsterdam's Oude Doolhof (Old Labyrinth), a main attraction of the city's sixteenth-century art park. As a highly dynamic, multicursal maze, the Doolhof initially disoriented its participants, already tipsy from drink, as they wandered through its winding pathways. What is more, as they passed by several references to the Cretan labyrinth such as a fountain of Bacchus and Ariadne or a statue of Theseus battling the Minotaur, visitors experienced a host of sensorial shocks from surprise water jets, unanticipated noises, and the uncanny movements of human-like machines. For Vanhaelen, the activation of both the maze itself as well as the "affective involvement of the participants" through their involuntary bodily reactions rendered the labyrinth, itself rife with Ovidian allusions, a space of significant transformative potential (37). After the...

 审阅者：

• 
  表演转变：城市、剧院和早期现代转型编辑。作者：José R. Jouve Martín 和 Steven Wittek
•  本杰明·伊斯顿

这种连接文学研究、建筑、历史和媒体研究领域的合作将转换作为一种广泛的概念工具来理解早期现代世界城市空间和文化机构的转变。它紧随奥维德的《转换：伊菲斯和伊安特，1300-1650》（由瓦莱丽·特劳布、帕特里夏·巴迪尔和佩吉·麦克拉肯编辑，2020 年）之后，作为爱丁堡大学转换系列的第二部分，用布朗文·威尔逊 (Bronwen Wilson) 和保罗·亚赫宁 (Paul Yachnin) 创作的这个系列“着手探索各种形式的转变的盛行及其在早期现代性中所表现出的社会、肉体和物质外壳”(ix)。因此，该系列从广泛的意义上审视了转变，包括人们在不同宗教、政治和经济身份类别上的转变，以及城市改造项目带来的地方转变、欧洲对美洲的殖民以及戏剧的兴起。一种新的大众文化形式。 （第三卷《转换机器：装置、技巧、身体》即将出版。）当前的收藏追溯了利马、威尼斯、阿姆斯特丹、墨西哥城、伦敦、马德里和苏黎世的行程，揭示了这些新兴的城市中心越来越多地使戏剧和戏剧活动成为可能，以及各种戏剧作品和行为如何反映并积极塑造早期现代的转变经验。

第一章到第三章考虑的不是剧院本身的转变，而是公共广场、城市游乐园、甚至演讲厅等副剧院场所的转变。在第一章“威尼斯：转变的城市”中，伊恩·芬隆考察了圣马可广场的戏剧维度，在那里，教会精英和贵族在仪式化的公共表演中合作，以巩固该城市在疾病和流行病肆虐时期的政治稳定感。海外军事冲突。该广场根据佛罗伦萨建筑师雅各布·桑索维诺（Jacopo Sansovino，1486-1570 年）的设计进行了翻修，在整个十六世纪和十七世纪[结束页 431] 中一直是一个强大的“虔诚活动场所”(21)。神职人员和地方法官共同努力，利用城市的大型文物库（大部分是几个世纪前从第四次十字军东征带回的战利品）在广场上频繁举行游行。不管教会与国家之间的融合实际上有多和谐，芬隆观察到，威尼斯在 16 世纪末成为“转变的城市”的过程依赖于宗教、政治和军事活动，这些活动是深刻相互依存的现象。某些游行，例如纪念神圣联盟在勒班陀战役（1571年）中战胜奥斯曼帝国的一年一度的圣朱斯蒂娜安达塔，“通过将公共生活的政治和信仰维度融合在一起，强调了宗教和公民价值观的不可分割性” (25)。 芬伦对遗迹、城市空间和公共表演之间相互关系的敏锐分析让读者对改造物质城市（urbs）的改造项目如何真正为改变威尼斯人的形式和最终特征奠定了基础。宗教和公民身份的集体表达（civitas）。

安吉拉·范哈伦 (Angela Vanhaelen) 的《转变：早期现代阿姆斯特丹迷宫中的运动与情感》（第 2 章）讨论了阿姆斯特丹 Oude Doolhof（旧迷宫）的背景下的情感转换，该迷宫是该市 16 世纪艺术公园的主要景点。作为一个高度动态的多圈迷宫，杜尔霍夫迷宫最初让已经醉酒的参与者在蜿蜒的小路中漫步时迷失了方向。更重要的是，当他们经过几个与克里特岛迷宫有关的地方时，例如巴克斯和阿里阿德涅的喷泉或忒修斯与牛头怪战斗的雕像，游客们经历了一系列来自意外喷水、意想不到的噪音和不可思议的动作的感官冲击类人机器。对于 Vanhaelen 来说，迷宫本身的激活以及通过他们不自觉的身体反应而“参与者的情感参与”使得迷宫本身充满了奥维德暗示，成为一个具有重大变革潜力的空间（37）。之后...