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A criticism of the play "Zoo" by Manuela Infante and Teatro de Chiles is presented. Topics included an overview of “Zoo,” its authorship, its publication, its translations, its legitimization, its depiction and association with international theater and performance, and the democratic ideals of the play.

The article discusses the designation of 2009 as the Year of Grotowski during the instigation of the Grotowski Institute in Wroclaw, Poland by the United Nations Educational, Scientific and Cultural Organization (UNESCO). The Year of Grotowski project, intended to educate young people about Jerzy Grotowski, was held in New York City and sponsored by the Polish Cultural Institute in collaboration with Richard Schechner. The Year of Grotowski events discussed topics ranging from Grotowski's engagement with politics, his personal life and beliefs.

The article presents an analysis of the criticism of New York Theatre. New York, which once was a Mecca for ambitious critics, or actors, directors, and playwrights, holds no longer the same view. People no longer live in the day when theater-hungry Midwesterners and other culturally starved young people from the hinterlands come to New York to study at the Actors Studio or to write for Partisan Review. Reading intelligent, cantankerous, tenacious voices arguing over the meaning of a play seems as luxurious as having a national theater.

Presents the text of a lecture given by Jonathan Kalb to students at Barnard College and New York University in fall 2003. Practice of theater criticism as an art; Measures of the straits to which American theater criticism has come; Diminished stature of the theater in American society; Ways in which key institutional and political questions have no place in mainstream criticism.

Focuses on the speech of Robert Brustein, artistic director at the American Repertory Theater, at the American Theater Critics Association bin the U.S. Assessment on the Himalayan criticism; Distinction of the work function between the critic and the artists; Effect of theater criticism on the production and development of play.

Comments on several theatrical plays performed in New York City's experimental theater. Elevator Repair Service's production of the play 'Cab Legs'; 'Showy Lady Slippers,' by Richard Maxwell; Target Margin Theater's production of the play 'The Five Hysterical Girls Theorem,' by Rinne Groff.

Offers a look at theater criticism in Germany. Job description of theater critics; Components of the theatrical environment; Contribution of German newspapers on literate critical analysis.

The article features Orwell's 1984 performed in Niagara-on-the-Lake. The author has noted how Director Johanna Mercer has given a counterpart on stage the theatricality of politics in George Orwell's vision in 1984. He has also attempted to postulate the theories, moral codes and political ideas of Big Brother, and has noted some major stagemanagement and technical difficulties, stressing how it has led to an uncontrolled experiment, resulting to scientifically unverified Orwell's vision.

The article discusses the two versions of Samuel Beckett's "Ohio Impromptu." Though opinions about Samuel Beckett's later plays range widely, it would be surprising ii anyone thought of them as primarily "star vehicles." Beckett actors in the same role; Alvin Epstein replaced David Warrilow as the Reader in "Ohio Impromptu" (1981) (the first 111 three Beckett plays, directed by Alan Schneider, currently running at the Harold Clurman Theater; Catastrophe (1982) and What Where (1983) complete the program). "Ohio Impromptu" is a short play (about 20 minutes) in the general style of Rockaby, Not I and Play - that is, a meticulously sculpted tableau remains nearly motionless the entire time, allowing (forcing?) spectators to meditate on its metaphoric significance while a flow of words emanates from the stage, guiding meditation. During Epstein's performance, references outside the play's "realistic" world drop away. Warrilow's interpretation here is one of balanced and confident indeterminacy; his actions are specific, but enigmatically undefined.

This article critically appraises the performance of Ping Pong in the play "Anna Into Nightlight." The 20th anniversary season at La Mauna ETC is over, but "Anna Into Nightlight," the Ping Chong work audiences will see at that theater, he has already been invited back for a date next season to create another piece, "Nosferatu." Chong is emerging as a significant performance artist with quite an original aesthetic, and some serious reflection on his development is long overdue. For the past ten years his performances have been written about mostly in dance columns, as if their creator's main concern were human movement.

Focuses on the benefit of theater criticism on art and play in the U.S. Role of reviews on commercial productions; Advantage of criticism on theater process; Objective of theater criticism.

Focuses on role of critics on the revitalization of theater criticism. Link between critics and theater artists; Influence of critics on bringing the interaction between audience and the art; Importance of criticism on the development and theater production.

Focuses on the impact of criticism on the Target Margin Theater. Link between the theater and press; Benefit of media coverage in drama on the company; Evaluation on the criticism of press on the work performance of the company.

Focuses on the quality and disposition of theater criticism. Credibility of criticism; Different levels of criticism; Influence of theater education and experience of critics on the results of criticism.

Focuses on the theater criticism in the San Francisco Bay, California. Assessment on the media coverage of criticism on the American theater; Contribution of the review of 'The Little Man' cartoon character in San Francisco Chronicle, on theater operation; Effect of the Little Man on the condition of theater production.

The article presents a list of recently published books on plays. Some of the books included here are: "Ben Jonson," by Richard Allen Cave; "Alan Ayckbourn," by Michael Billington; "Bertolt Brecht's Art of Dissemblance," by Tony Calabro; "A Commentary on the Plays of Sophocles," by James C. Hogan; "Contemporary Stage Directing," by George Black; "The Complete Plays of Henry James," edited by Leon Edel; "The Critic, Power, and the Performing Arts," by John E. Booth; "Feminist Theories for Dramatic Criticism," by Gayle Austin.

The article presents a speech by Stanley Kauffmann, who recently retired from the Yale School of Drama and teaching in the Theater Department of the CUNY Graduate Center, delivered at the fourth annual Edwin Booth Award, May 12, 1986. The speech addresses acknowledgement to the students who voted him and recognizes his contributions of the theater critic.

The article features Sir Peter Hall's adaptation of George Orwell's novel "Animal Farm." The author has noted the straight-forward manner in the dramatization, and simplicity of style and the directness of the story. He has also remarked how it maintained the seemingly guileless synthesis, and how it functioned as a self-sufficient dramatic plot. He has likewise emphasized its significance noting how it succeeds as a highly imaginative political allegory, and admirably achieves the author's intention "to fuse political purpose and artistic purpose into one whole".

The article presents an interview with Heiner M#x00FC;ller, a German playwright. He pointed out that he wanted to observe how the people of America functions, the way of living, and what the country looks like when he was asked about his major interest in United States as a playwright. He describes the theater in U. S. as not good compared to the theater in Europe.

Cites Jonathan Kalb's establishment of HotReview.org, an online forum for critical writing about the theater. Kalb's role as critic and contributing editor for the journal 'Theater'; Web site's publication of reviews, essays, articles, interviews and polemics about any aspect of contemporary theater.

Focuses on the effect of theater criticism on the Lookingglass Theater Company in Chicago, Illinois. Impact on the operation of the company; Role of the criticism of the work performance of the company in the artistic community; Contribution of criticism on the organization.

In this article, the editor shares his experiences with the journal "Theater." With this issue, "Theater" completes its first important cycle since I became editor: the students who entered the Drama School's dramaturgy and dramatic criticism program in 1992 have graduated. Without two of them in particular, managing editors Carlyn Aquiline and Dan Mufson, it would have been impossible for this part-time editor to rethink, reformat, and expand the magazine.