{'fraction_non_alphanumeric': 0.02566295979469632, 'fraction_numerical': 0.006843455945252352, 'mean_word_length': 5.0, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
English Stage Comedy 1490-1990: Five Centuries of a Genre (review)

of what its future might be. Over the past decade, performative writing has most insistently explored the cracks and fissures of the subject of knowledge, contesting the notion of neutral objectivity with autobiographical materials and insights. By contrast, while personal scenarios open Theatre/Archaeology, these quickly become sifted into the strange life of things. In effect, a certain initiative is granted to the materiality of the artifact. Objects become delicately agitated in Theatre/Archaeology, multiplied and divided by oblique perspectives, juxtaposed with objects from other times and places: things begin to shimmer as the gaps between them become energized and mobile. The reader must enter these gaps, not so much to fill them as to create a charge that quickens the past, that is, ourselves. Thus accompanying this doubling back of the object on the subject is an insistence not only on analysis but also on animating, synthesizing, making. For Theatre/Archaeology is above all a poetics, a text designed for making something else. What the reader will make of it is the question.