The human body as cultural object always has and is a performing subject, which binds the political with the theatrical, shows the construction of ethnicity and technology, unveils private and public spaces, transgresses race and gender, and finally becomes a medium that overcomes the borders of art and life. Since there cannot be a universal definition of the human body due to its culturally performative role as a producer of interactive social spaces, this volume discusses body images from diverse cultural, historical, and disciplinary perspectives, such as art history, human kinetics and performance studies. The fourteen case studies reach from Asian to European studies, from 19th century French culture to 20th century German literature, from Polish Holocaust memoirs to contemporary dance performances, from Japanese avant-garde theatre to Makeover Reality TV shows. This volume is of interest for performance studies artists as well. By focusing on the intersection of body and space, all contributions aim to bridge the gap between art practices and theories of performativity. The innovative impulse of this approach lies in the belief that there is no distinction between performing, discussing, and theorizing the human body, and thus fosters a unique transdisciplinary and international collaboration around the theme performative body spaces. (I. Biopolitical Choreographies, II. Transcultural Topographies, III. Corporal Mediations, IV. Controlled Interfaces.)

作为文化客体的人体始终是一个表演主体，它将政治与戏剧结合在一起，展示了种族和技术的构建，揭示了私人和公共空间，跨越了种族和性别，最终成为一种超越艺术和生活边界的媒介。由于人体作为互动社会空间的生产者在文化上的表演性角色，不可能有一个普遍的定义，本卷从不同的文化、历史和学科的角度，如艺术史、人类运动学和表演研究，讨论了身体图像。14个案例研究从亚洲到欧洲研究，从19世纪法国文化到20世纪德国文学，从波兰大屠杀回忆录到当代舞蹈表演，从日本前卫戏剧到改造真人秀节目。这卷书对表演研究的艺术家也有兴趣。通过关注身体和空间的交叉点，所有的贡献都旨在弥合艺术实践和表演性理论之间的差距。这种方法的创新动力在于相信在表演、讨论和理论化人体之间没有区别，因此围绕着表演性身体空间这一主题，促进了独特的跨学科和国际合作。(I. 生物政治编排，II. 跨文化地形，III. 肉体中介，四。受控界面）。