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本文着重讨论了表演与后现代的关系。作者通过对后现代艺术中迥然异趣于传统戏剧概念的表演兴起以及相关理论论争的分析，揭示了表演如何呈现为后现代文化的一个基本景观。他强调在后现代条件下，表演并没有演变成为一种纯粹的躯体运动的游戏，它在超越现代主义的纯粹性之后，仍保持着自身的社会批判性和反权威特征。本文作者马文·卡尔森系美国著名戏剧理论家，现为纽约市立大学戏剧和比较文学专业“西尼·科恩知名教授”，著有《戏剧理论：从古希腊到现在的批判概观》、《意大利的莎士比亚戏剧》、《表演的位置》、《戏剧符号学》等。本文译自他的新著《表演：批判导论》（１９９６）。该书一出版，在英美学术界就引起了不小反响，也招至不少商榷和质疑，因为这本书是西方学术界第一部以多元视野来讨论表演问题的专著
This article focuses on the relationship between performance and postmodernity. Through the analysis of the rise and fall of the performance of traditional drama concept and the controversy of related theories in the postmodern art, the author reveals how the performance presents as a basic landscape of postmodern culture. He emphasized that under the conditions of postmodernity, performance did not evolve into a purely physical movement game. After surpassing the pureness of modernism, the performance still maintains its own characteristics of social critique and anti-authority. The author of this article is Marvin Carlson, a famous American theater theorist. He is currently a well-known professor of drama and comparative literature at The City University of New York, and is known as “Theatrical Theory: Critical Overview from Ancient Greece to the Present” Italy’s Shakespeare Drama “,” performance location “,” drama semiology "and so on. This article is translated from his new book Performances: A Critical Introduction (1996). The book was published in the Anglo-American academia has caused no small reaction, but also attracted a lot of debates and questions, because this book is the first Western academic to discuss the issue of performance with a variety of monographs