environmental racism tacit in the Environmental Protection Agency’s use of “bunding” (retaining walls) at the Irish Traveller settlement at Dale Farm, in Essex. Bunding is designed to contain toxic waste, but its usage effectively designates the Travellers as social contaminants (as well as positions them in proximity to literal contaminants). In Part 3, Ana Pais critiques the neoliberal ideologies as well as processes of othering and exclusion at play in Punchdrunk’s Sleep No More. Pais also questions the politics of sonic affect, which thematically resonates with Marcus Cheng Chye Tan’s contribution (in Part 1) on auditory and embodied contagion in musical and intercultural theatres. Mark Pizzato reimagines the mechanisms of identification and empathy in the brain as the “inner theatre.” In the consideration of the neuroscientific mechanisms behind emotional contagion, Pizzato designates the neocortex and the left cortex as the “inner scriptwriter/critic” and “mime-improviser/scene designer,” respectively, to explain the performance of self and other (171). Finally, Liam Jarvis’s contribution explores how past experiences infect our conscious and unconscious biases, which, in turn, impact our affective reality and behavior. Jarvis then considers the potential (and potential limitations) that virtual reality might have for increasing empathy and, ultimately, altering our experiences of affective realism. Theatres of Contagion is an exemplary interdisciplinary collection that practitioners and researchers across a wide range of disciplines will find useful, not only as they think through the pandemic and intersections among culture, policy, and wider systems, but more broadly. It will be invaluable in instigating further study as we look toward the future and, in the future, as we start to think through postpandemic performance and culture.

中文翻译：

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舞台上的地球问题：美国剧院中的生态与环境 作者：Theresa J. May。阿宾登、奥克森和纽约：劳特利奇，2021；pp. xv + 294。160 美元的布，44.95 美元的纸，44.95 美元的电子书。

环境保护署在位于埃塞克斯郡戴尔农场的爱尔兰旅行者定居点使用“围墙”（挡土墙），这体现了环境种族主义。堤岸旨在容纳有毒废物，但其使用有效地将旅行者指定为社会污染物（并将它们定位在接近实际污染物的位置）。在第 3 部分中，Ana Pais 在 Punchdrunk 的 Sleep No More 中批评了新自由主义意识形态以及他者和排斥的过程。Pais 还质疑声音影响的政治，这在主题上与 Marcus Cheng Chye Tan 的贡献（在第 1 部分中）关于音乐和跨文化剧院中的听觉和具身感染的贡献产生了共鸣。Mark Pizzato 将大脑中的识别和移情机制重新想象为“内心剧场”。” 在考虑情绪传染背后的神经科学机制时，Pizzato 将新皮层和左皮层分别指定为“内心编剧/评论家”和“哑剧即兴表演者/场景设计师”，以解释自我和他人的表现（171 ）。最后，利亚姆·贾维斯 (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。然后，贾维斯考虑了虚拟现实在增加同理心并最终改变我们对情感现实主义的体验方面可能具有的潜力（和潜在的限制）。Theatres of Contagion 是一个典型的跨学科收藏，跨学科的从业者和研究人员会发现它很有用，他们不仅在思考大流行病以及文化、政策和更广泛系统之间的交叉点，而且更广泛地思考。当我们展望未来以及在未来开始思考大流行后的表现和文化时，这对于鼓励进一步研究将是非常宝贵的。