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Content THE USE OF THEATER ABROAD IN UNITED STATES GOVERNMENT INTERNATIONAL CULTURAL RELATIONS (1949-1975) by Carol Boyce Soucek A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (Communication— Drama) September 1975 UMI Number: DP22913 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. D is s e rta tio n P u b lis h in g UMI DP22913 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 -1 3 4 6 Copyright by CAROL BOYCE SOUCEK 1975 UNIVERSITY OF SOUTHERN CALIFORNIA THE GRADUATE SCHOOL UNIVERSITY PARK LOS ANGELES, CALIFORNIA 9 0 0 0 7 T his dissertation, w ritte n by ........... C.a.EPl.JB.o.y;ce..Soucfek............ under the directio n o f he.x..... D issertation C o m mittee, and app ro ved by a ll its members, has been presented to and accepted by T he G raduate School, in p a rtia l fu lfillm e n t of requirem ents of the degree of D O C T O R O F P H IL O S O P H Y Dean PVvD. D • 371^ c £ 4 - ° / 5^ D a te-.Li-yasX^ - - d- 2 . y- . 1 . 9 . . ? . -£T-.. ACKNOWLEDGMENTS This study was made possible through the assistance and cooperation of many organizations and individuals. The author is indebted to the staffs at the Information Center Service, United States Information Agency, the Department of State’s Cultural Presentations Program, and the Committee on International Exchange of Persons, Commission on Educa tional and Cultural Affairs, for the help they provided dur ing the many weeks of research done in their offices. For the valuable materials and information they supplied, gratitude is given Paul Miller, Harriet M. Baum gartner, Mabel Williams, Marilyn P. Johnson, Elizabeth McNaull, Richard B. Joyce, Karl F. Brauckmann and E. V. Niemeyer, Jr., of the USIA's Information Center Service; Jean Zeydel of the USIA library; Ruth Walters, Edward M. Goldberger, and William M. Robson of the Voice of America; Albert Roland of the USIA's Information Public Service; Dr. Theodore T. Dombras of the State Department's Committee on International Exchange of Persons; Hugh McL. Woodward of the USIA's Information Screen Service; Dr. Roy J. Bullock, House ii Committee on Foreign Affairs administrator and clerk; Dr. Albert C. F. Westphal, staff consultant to the House Commit tee on Foreign Affairs; and James A. Donovan of the Commis sion on International Educational and Cultural Affairs. Special appreciation is due Mark B. Lewis and Bever ly Gerstein of the Department of State's Cultural Presenta tions Program. The author is indebted, also, to Gertrude Macy and Martha Wadsworth Coigney, of the American National Theater and Academy; to Glenn G. Wolfe, of the Institute of Inter national Exchange; Jerome F. Margolis, of the Governmental Affairs Institute; and Margaret S. Kleinman, Council on Leaders and Specialists. The many people serving the United States government abroad who have taken the time to answer my letters are deeply appreciated. Without their interest, this study could not have been written. I am especially grateful to the members of my com mittee, Dr. Herbert M. Stahl, Chairman, Dr. James H. Butler, and Dr. Robert M. Berkov, for their inspiration and guidance during the years of my study. iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..................................... ii Chapter I. INTRODUCTION AND STATEMENT OF PROBLEM .... 1 Statement of the Problem Limitations Review of the Literature Methodology Organization of Remainder of the Study II. A BRIEF HISTORY............................... 15 Use of Theater in the USIA Use of Theater in the Department of State's Bureau of Educational and Cultural Affairs The Peace Corps' Use of Theater A History Marred by Controversy III. AMERICA: SOME LESSONS LEARNED ........ 83 South America Caribbean Central America North America Remarks IV. EUROPE: LESS IS NOT B E T T E R .................. 158 Austria Belgium Denmark Finland France Germany Iceland xv Chapter Ireland Italy Luxembourg Malta Netherlands Norway Portugal Spain Sweden Switzerland United Kingdom Remarks V. AFRICA: THE EXCEPTION IS THE RULE ........... 225 Central Africa, Malagasy Republic, and Mauritius South Africa East Africa North Africa West Africa Remarks VI. NEAR EAST AND SOUTH ASIA: FERTILE FIELDS . . 290 Afghanistan Cyprus Egypt (United Arab Republic) Greece India Iran Iraq Israel Jordan Kuwait Lebanon Nepal Pakistan Saudi Arabia Sri Lanka (Ceylon) Syria Turkey Yemen Remarks V Chapter VII. EAST ASIA AND THE PACIFIC: IN PEACE AND IN W A R ............................................ 334 East Asia Southeast Asia South Pacific Remarks VIII. EASTERN EUROPE AND SOVIET UNION: THE CURTAIN RISES.......................................... 396 Eastern Europe Union of Soviet Socialist Republics Yugoslavia Remarks IX. SUMMARY AND CONCLUSIONS..................... 413 Summary Conclusions APPENDIXES............................................ 426 1. Blue Books 2. USIA Book Publication Program 3. USIS Films 4. Fulbright and Smith-Mundt Grantees BIBLIOGRAPHY............... 525 Vi CHAPTER I INTRODUCTION AND STATEMENT OF PROBLEM A United States Information Service officer in Trivandrum, India, teaches English to local students by reading an American play. In Japan, a Fulbright grantee lectures on American theater. A Peace Corps volunteer in an African village sets lights for a complicated theatrical production. In Ankara, an American theater specialist introduces what is to become one of the most popular forms of entertainment in Turkey, the musical comedy. In Rio de Janeiro, local citizens are treated to a play production with a cast from the United States sponsored by the State Department's Cultural Presentations Program. Such cultural activities are relatively recent developments in United States government international rela tions. .. . I n the late 1930s and during World War II, the United States conducted foreign information programs in order to counteract Nazi propaganda in the Western Hemis phere and elsewhere. After the war, with the intention 1 2 of re-educating the Germans, assisting information-hungry war-torn Europe, and increasing understanding between the United States and foreign countries, it continued these programs. During the 1950s the arts gradually gained recogni tion as being a vital part of this program. While de-Nazi- fication declined in importance and Europe became more self- sufficient, the cold war between the United States and Russia gained momentum. As attention focused on this aspect of foreign affairs, it became ever more apparent that Russia was using the performing arts to great advantage in its own foreign information programs. In 1954 the first government money on a permanent basis was committed to exporting American talent in the per forming arts. In the meantime, the information programs begun during the 1930s continued with the formation of the United States Information Agency (USIA). At its United States Information Service (USIS) posts, binational centers and in the programs of the State Department and even of the Peace Corps, theater served to expand knowledge about the United States in foreign countries. Ever since these programs began, however, some oppo sition has been voiced in both the public and private 3 sectors. A few critics doubt that theater, or, for that matter, any art form, has any meaningful effect in shaping attitudes of foreign people toward the United States. They conclude that theater should have no part in this country's diplomacy. Others say theater should not be subsidized by the American taxpayer even if it can have a significant role in the exchange of ideas between countries. Another argu ment is that the expense of transporting theatrical produc tions and the language barrier of this art form render it the least suitable vehicle for cultural exchange. There has been confusion over the proper mission of those programs: are they to facilitate sympathetic under standing of United States policies or to increase mutual un derstanding between people of the United States and those of other countries? Both directives have been given throughout the history of these programs, the former most often in re gard to the USIA, the latter in regard to the State Depart ment's cultural activities. Although they are not necessar ily contradictory, they have often been argued to be so. For instance, Philip H. Goombs, the first head of the State Department's Bureau of Educational and Cultural Affairs to have the title Assistant Secretary of State, believed informational and cultural activities to be two 4“ very different things and that the cultural approach should not be concerned with explaining and justifying specific United States policies and actions. Others, although tryinc to avoid a propagandistic label, have seen a need for cul tural activities to relate to national interests. Yet even when Charles Frankel, Coombs' successor from 1965 to 19 67, resigned because he felt the government's international education programs were too precisely targeted, the depart ment's practice seemed to many in the Congress to be just the opposite. Neither culture nor national interest ap peared to be served, they said, when the likes of comedian Joey Adams was sent abroad. Arguments against the particular governmental use of theater in its informational programs include: theatrical companies are too expensive to send abroad; theater demands an audience with a knowledge of the English language and is not, therefore, as suitable an art form to send abroad as dance or music; the quality of theater in the United States is not high enough to represent the American people proper ly; not only language but the fact that few people can view a dramatic production in comparison to a film or a ballet or a symphonic orchestra makes it a less effective tool of international communication; the government should not use theater or any other art form in its programs, for the gov ernment has no business taking part in a cultural exchange program of any sort when there are more important matters at hand; and, finally, the government should not have an inter national information program at all, because in doing so it tries to manipulate psychologically the minds of others and thus is foreign to the democratic spirit. Whether or not theater, when it is used in such programs, is being used well is an equally debated question. There are opinions concerning the size of productions to be sent. Large productions of American musicals have been the favorite dramatic exports from the United States in many foreign countries, but they are also the most expensive and most difficult to mount in smaller towns and villages where people are perhaps most hungry for information about the United States. Some believe that plays selected for the program should present only a positive side of American life; others believe that the United States would win more friends by showing that its playwrights may criticize its government without fear of censorship. Opinions vary on the audiences to be reached: shoulc they be composed of the intellectual elite or the masses? Some believe that college productions make up in offstage , 6 goodwill* what they lack in professional artistry on stage. Others believe only the best professionals should be sent abroad under government auspices; others ask if even the best should be sent if they are not the type who create good will offstage. Anyone interested in analyzing this situation has not been able to do so easily. Pertinent information has been unrecorded by government employees who do not always have the time to make written notes of every daily activity. What has been recorded has been either destroyed, marked "classified," retired to government files in a variety of locations, or left uncategorized, spread throughout a for midable amount of other material on United States government programs. Statement of the Problem Should theater be a part of United States government international cultural relations abroad? If it should be, is it being used well? Are the correct size and type of productions being selected? Are the correct audiences being reached? Are the correct actors being chosen? Is theater effective in shaping attitudes toward the United States? Do its expense and its use of language render it unsuitable for an international cultural vehicle? Indeed, is the United States theater even well-enough devel oped to represent the heights of United States cultural achievement? And even if it is, is its range, in terms of audiences reached, too narrow? Should United States government use of theater abroad serve to increase understanding of its people and policies, warts and all? Or should it be specifically pro grammed to show only their best side? Finally, is theater or any cultural program in which the United States government engages too insignificant to warrant the expense when compared to other pressing prob lems? Limitations This study is limited to the use of theater in those United States government sponsored programs abroad which receive their main direction, funding, or facilitative sup port from the United States government. Therefore, it does not include the United Nations Educational, Scientific and Cultural Organization (UNESCO),^ the United States Center 3 of the International Theater Institute, Playwrights, Essayists, Novelists (P.E.N.),4 and the East-West Center."5 8 The United States is only one of the many members of UNESCO and has no controlling voice in its activities. Although the International Theater Institute's United States center receives funds annually from the National Endowment for the Arts, it is a private organization. P.E.N., an affiliate of UNESCO, is not controlled or primarily sup ported by its United States delegation. Although theater is studied at the United States government-supported East-West Center in Hawaii, it is not primarily United States theater but that of the Orient. Review of the Literature Literature pertaining to the United States govern ment's international cultural exchange programs is vast; literature pertaining specifically to the use of theater in those programs is not. The more general literature that helps set the scene for the purpose and subsequent use of drama in these pro grams has been available in scores of books, articles in Foreign Affairs Journal, Saturday Review, The New Yorker, International Educational and Cultural Exchange, U. S. Department of State Bulletin, American Studies, and Congres sional hearings. Of the latter, the hearings of the Senate — . . 9 Committee on Foreign Relations and of the House of Repre sentatives Committee on Appropriations have proved the most valuable. Of the literature pertaining specifically to the use of theater in United States government programs abroad, only one has been in book form: the unpublished doctoral disser tation of Joan Hackett, "A Study of the Educational Theater Tours Sponsored by the President’s Special International Program for Cultural Presentations, 1957-1960," completed in 1963 at Wayne State University, Ann Arbor, Michigan. Other material on the use of theater in these pro grams was found in newspapers— the Washington Post, the New York Times; in magazines— Variety, Theater Arts, and Equity; in the Educational Theater Journal; in the Congressional hearings of the two committees referred to above; and in American Foreign Policy: Collected Documents. In the news papers, magazines, and hearings, specific examples of United States government-sponsored theater abroad can be found. The latter collection of American foreign policy documents provides the researcher convenient access to official gov ernment studies and directives pertaining to government- sponsored art programs. n r Methodology Examination of Files and Interviews In order to analyze the questions raised pertaining to the United States government's use of theater abroad, it was necessary to examine files in the USIA and State Depart- 6 ment, to conduct many interviews with people at the State Department, USIA, and other organizations involved with United States government cultural programs abroad. These organizations were the Institute of International Education, the American National Theater and Academy, the Government Affairs Institute, and the Council on Leaders and Special ists . In addition, it was necessary to send out hundreds of questionnaires. They were in the form of personal let ters in order to elicit as many fully-descriptive answers as possible. Questionnaires The United States Foreign Service maintained 271 posts in 127 countries as of 1972; the United States Infor mation Service was located at 191 of them in 111 countries. In the spring of 1972 the following questions were sent to at least one individual, at each post except for the few — _rl_ consisting only of radio relay stations. 1. What use of American theater at your post has been the most valuable in promoting goodwill toward the United States? What has been the financial and facilitative arrangement for this? 2. If you could choose any presentations from Amer ican theater to be presented at your post, which would you select? This answer could include plays (types and/or specific titles; profession al and/or amateur), dramatic readings, workshops and lectures by theater specialists. What are the reasons for your choice? 3. Do opportunities for the exchange of students and people involved in the theatrical arts meet the demand at your post for such exchanges with the United States? If a post had a cultural affairs officer (CAO), the questionnaire was directed to him. Otherwise it was sent to the public affairs officer (PAO), assistant cultural affairs officer (assistant CAO), or binational center director (BNC director). If a post had none of these positions, the prin cipal officer, the head of the press and cultural section, 12 the consular agent, or the consulate officer was the recipi ent. Responses came from 154 posts in 82 countries. Questionnaires were also sent to representatives of the Peace Corps, at the time operating in 52 countries. The following questions were asked: 1. What use of theater has been made by the members of the Peace Corps in your vicinity? 2. What has been the particular significance of these activities? Peace Corps directors from 26 countries responded. In addition, the director of each USIS library (121 were maintained in 1972) was requested to send a list or a summary of its holdings on theater (including plays, books, periodicals, records, tapes, and films) to the author. Responses came from 34 libraries. Some were only summaries; most were complete bibliographies. Finally, the same questionnaires sent to USIS offi cers were sent to the ambassadors or their representatives of the 114 countries maintaining embassies or consular offices in Washington, D. C. as of 1972. Of these, 38 responded. r3 Organization of Remainder of the Study Chapter II provides a brief history of the programs in the United States Information Agency and the Department of State, in which theater has been used. The succeeding chapters are devoted to the use of theater in the following geographical areas: America in Chapter III; Europe in Chap ter IV; Africa in Chapter V; Near East and South Asia in Chapter VI; East Asia and Pacific in Chapter VII; and East ern Europe and the Soviet Union in Chapter VIII. The countries within each area and subarea are listed alphabetically. All information pertaining to each country is given in its totality in order to facilitate the study of those desiring information about one particular area or country. Chapter IX summarizes the study, assesses the use of theater abroad in United States government international cultural relations, and makes recommendations concerning such uses of theater in future governmental programs. T41 Footnotes "''Thomas C. Sorensen, The Word War; The Story of American Propaganda (New York: Harper and Row, Publishers, Inc., 1968), pp. 72-73. 2 . . . . UNESCO activities during the last ten years have included the study of institutional, administrative, and financial aspects of arts programs. 3 The International Theater Institute's United States center is located in New York and supports international exchange of theater artists and their ideas. 4 P.E.N. was established to promote friendship and intellectual cooperation among men and women of letters in all countries. 5 The East-West Center caters to theater students from the United States and the Orient. 6 Minutes of the meetings of the Drama Panel, a group of private citizens chosen to suggest outstanding drama groups for the Cultural Presentations Program, are not available to the researcher; it is felt that such minutes might jeopardize the reputation of certain theatrical groups not chosen. Neither are debriefing records of those who have served the program available. They are conducted orally. CHAPTER II A BRIEF HISTORY Although the United States government has used propaganda and disseminated information abroad during times of war since the American Revolution, it did not have an ongoing peacetime governmental information service until after World War II. The United States had entered into peacetime pro grams sporadically, however. In 1911 China established the Tsing Hua Scholarships out of funds remitted to China by the United States from its share of the Boxer Indemnity. These enabled 1,000 Chinese to study in the United States. In 1920 a Belgian-American foundation, established with funds derived from selling surplus United States World War I sup plies in Europe, enabled some 700 Europeans, two-thirds being Belgian, to study in the United States between 1920 and 1945. In 1936 a small number of students were exchanged between Latin America and the United States as authorized by the Buenos Aires Treaty of 23 December 1936."*" 15 — rg. When the United States government did establish an ongoing governmental information service, it was in counter action to the international cultural actitivities of European 2 totalitarian powers. On 14 April 1917 an Executive Order established a Committee on Public Information chaired by George Creel. From the time that committee was terminated in 1919 to the end of World War II, the only programs for the international exchange of information conducted by the United States gov ernment were some inter-American activities in the late 1930s. In 1934 the Information Service was formed in the Department of State's Division of Current Information; in 1935 the worldwide "Radio Bulletin" established the fore- 3 runner of the USIA's current Wireless File. In 1938 the State Department's Departmental Order 768 of July 28 established the Division of Cultural Rela tions and the Committee on Cooperation with the American Republics. This was the result of an Inter-American treaty calling for exchanges of intellectuals, musicians, artists, and other cultural figures or their works among Western Hemisphere governments, the Philippines, and Liberia. The interdevelopmental committee was to measure the range and 1 ~ 7 scope of governmental capabilities to participate in a hemispheric strengthening of cultural relations.^ The name of this committee was changed three times until finally, in December of 1945, it became the Interdepartmental Committee 5 on Scientific and Cultural Cooperation,. During World War II, the American Republics program was coordinated with commercial and social wartime programs. In other countries the United States overseas information program was coordinated with the information program that served those within the United States, at first handled by the Coordinator of Information, then in the Office of War Information (OWI).^ Until 1944 the Department of State's World War II international information activities primarily involved pro viding guidance to civilian and military information agen cies through its Division of Current Information (estab lished by Departmental Order 206, 24 May 1926) and through its geographical area officers. In 1941 the Foreign Information Service (FIS) was set up under playwright Robert E. Sherwood within the in telligence organization, the Coordinator of Information. The FIS New York City staff first aired the Voice of America, in 1942 and later that year most of the government informa- 18 tion activities were consolidated into the OWI. The purpose of this office was to handle propaganda attributable to the United States government both in the United States and over- seas. These domestic and foreign information activities plus those of cultural relations in the inter-American pro gram were grouped into the Office of Public Information O (Departmental Order 1218) on 15 January 1944. On 20 December 1944 Departmental Order 1301 renamed this the Office of Public Affairs with two divisions: the International Information Division and the Division of Cul tural Cooperation. This order also created the position of Assistant Secretary in charge of Public and Cultural Rela- 9 tions (later called Public Affairs). The overseas functions of the Office of War Informa tion and the Office of Inter-American Affairs were taken out of the Office of Public Affairs by Executive Order 9608, 31 August 1945. The State Department established its own Of fice of International Information and Cultural Affairs (OIC) with Departmental Order 1336. This left the Office of Pub lic Affairs with the responsibility for the Department's work in domestic public affairs.^® The OIC, a name that was to be changed once more in 1947 when Departmental Announcement 685 named it the Office 1‘ 9 of Information and Educational Exchange (OIE), was now the government's chief overseas informational and cultural rela tions agency. Within it were five divisions: Press and Pub lications, Broadcasting, Motion Pictures and Television, Exchange of Persons, and Libraries and Institutes.^ The overall amount of cultural and information services they performed during this time was greatly reduced: all radio 'activities were merged into the VOA in New York City, which diminished its activities from 3,200 live programs weekly in about forty languages at the height of the war to twenty- four languages and fewer broadcasts; production of booklets and translation programs were stopped; of the wartime maga zines, only the Russian language Amerika was continued; and 1 ? motion picture and press programs were reduced. With the Fulbright Act (Public Law 584, 1 August 1946) and the Smith-Mundt Act (United States Information and Educational Exchange Act, Public Law 402, 27 January 1948), an expansion of the exchange program was made possible 13 through the granting of additional funds. The Fulbright Act used local currencies derived fron sales of surplus United States property left after World War II in foreign countries. In many countries it resulted in the establishment of binational commissions composed of 20 foreign nationals and United States embassy and private business personnel: their purpose was to examine needs of the foreign country for training and education and to devel op local educational programs and prescribe appropriate exchanges.^ OIE was split (Departmental Announcements 12, 14, 15 and 22 April 1948) into two units called the Office of International Information (Oil) and the Office of Education- 15 al Exchange (OEX). This separation reflected the distinc tion many felt must be made between that which is education al and cultural and that which is informational and subject X6 to accusations of being distorted propaganda. In 1949 the Department of State appointed a general manager to hold overall responsibility for the International Information and Educational Exchange Program (IE) within the policy directives of the Assistant Secretary for Public 17 Affairsx/ to meet the needs of flexibility, speed, and i o special handling of personnel and funds in this service. In 1950, President Harry S. Truman's "Campaign of Truth" increased the overseas information program threefold in order to expose Communist aims and to build confidence in the United States and the free world. Gradually the program took over the responsibility for immediate postwar informa- 21 tion and cultural programs in Occupied Korea (1948), Germany (1949), Austria (1950), Trieste and Japan (1952).19 On 16 January 1952 Departmental Announcement 4 cre ated the International Information Administration (IIA) which was to be a semiautonomous unit within the department. Its administration was to combine the duties of IE's general manager with most of the Assistant Secretary for Public Affairs' overseas information responsibilities and to report 20 directly to the Secretary and Under Secretary of State. On 1 August 1953 the United States Information Agen cy (USIA) was established as independent of the State De partment but subject to its guidance policy. The new agency also took over the informational activities of the Mutual Security Agency and the Technical Cooperation Administra tion. The exchange program set up by the Fulbright and Smith-Mundt Acts and certain other legislation remained in the Department of State to be administered by the Interna tional Educational Exchange Service (IES) under the Assist ant Secretary for Public Affairs,^ and in 1954 VOA moved 22 its headquarters from New York City to Washington, D. C. Use of Theater in the USIA There are now four media services of the USIA: 22 broadcasting by the VOA, the Information Center Service (ICS), Press and Publications Services (known in Washington, D.C., as IPS, for Information Press Services), and the Motion Picture and Television Service (IMV). They provide materials to USIS posts abroad. Voice of America VOA first broadcast in the German language two months after the attack on Pearl Harbor. As of 1972 it was broadcasting in thirty-five languages to 43 million persons weekly throughout the world; as of 1974 in thirty-six lan guages to over 50 million adult listeners weekly. Radio dramatizations have played a part in these broadcasts but gradually a smaller one as radio has become more a medium for fast news and music. In 194 6 the Dramatic Documentary Unit of VOA was formed to adapt short stories, plays, and novels, as well as to originate dramatic documentaries for radio. Among these, such plays as Ah, Wildernessi and Sailor on Horseback were adapted for America Speaks, a five-day-a-week fifteen-min- utes-a-day series. Another series, Radio Theater, was in half-hour weekly segments. Each was a self-contained program as were those of America Speaks, and were aired in both Spanish and 23 English. In 1947, however, this amount of drama on VOA was cut severely along with USIA appropriations as a whole. Although VOA used off-the-air material, such as DuPont's Cavalcade of America, the next big project in drama did not come until the late 1950s when American Theater of the Air presented famous American plays in collaboration with ANTA (American National Theater and Academy). These were also made available for local foreign stations as well as for broadcast over the VOA relay stations. Although there remain a few top-notch dramatic docu mentary writers in VOA (Michael A. Hanu, William N. Robson, and Sol Paritz), the use of drama on VOA will probably never again reach the proportion attained in previous years. Eddie Goldberger, VOA's New York Program Center's acting chief in 1972, explained why: Radio drama is expensive; it strives for long range rather than short range goals and, when we did plays, the playwrights had to give us the rights, as we had no money with which to pay them. They couldn't give away their bread and butter. For instance, Mrs. O'Neill would only let us do one O'Neill play. Then again, for a number of years we have done things according to the "new sound." This is a trend for program segments no longer than four min utes, a need created by the popularity of the tran sistor. The answer— music and hard, fast news.^ One cannot leave a discussion of the VOA without taking note of some of the impressive dramatized programs 24 that have been created in recent years in spite of the "new sound." In 1961 VOA stepped up production of "packaged pro grams," recorded materials sent to USIS posts for local placement. The serialized soap opera, Tres Villalobos, dramatizations in which three brothers fight Castro tyranny, is an example. Placement of such packaged shows was exten sive, averaging 2,700 hours weekly on 1,500 area radio sta tions . ^ In 1966 VOA produced a series called Forum, composed of lectures by and interviews with distinguished Americans. Within that show an entire series on theater was programmed, later printed as The American Theater in 1967 and distrib- . uted abroad. It opens with Barnard Hewitt's essay on the foundations of the American theater and ends with "The Fu ture of the American Theater" by Alan S. Downer. If one looks at recent catalogues of current VOA programs, the number of dramatized programs is more than comparable to that found on United States networks. It must also be taken into account that, although a program may be dropped by VOA stations, USIS libraries still have it and may broadcast it to foreign locals. For instance, American Theater of the Air, one of the most successful VOA shows, 25 was not produced after its tenth ninety-minute program and is still in continuous use abroad. Information Center Service As of October 1971 the Information Center Service (ICS) of USIA operated 133 information centers plus their libraries and 35 reading rooms in 80 countries. In 197 0 those libraries collectively made 4,380,000 loans of books 2 5 and received over 10 million visitors. Today the number of posts and libraries has been decreased, yet the purpose of those left remains the same: to meet the need in each host country for information about the United States. To do this, each varies in size and scope. Their collections range from newspapers to United States government documents to works by American writers, available in translation when possible. Their activities may include lectures, concerts, discussion groups, exhibits, slide and film showings, and theatrical productions. Also, many USIS libraries supply local schools and universities with American studies mater ials. In addition, the agency supports binational cultural o ^ centers. As of December 1973 there were 108 such centers, 82 located in Latin America. A private association, estab lished outside the United States by citizens of the host — T6 country and resident Americans, the binational center (BNC) shares information about the two countries represented through cultural and academic programs and language classes. Normally a center's income, ranging from a few thousand dollars to $1.7 million annually, is derived mainly from tuition for English language classes. USIA helps organize these centers and provides a director and program 27 materials when necessary. A number of ICS divisions and programs handle dra matic material: the Bibliographic Division, the English Teaching Division, the Book Translation Program, the Book Presentations Program, the monthly newsletter, program pack ages, and the Voluntary Speakers Bureau. The Bibliographic Division. The Bibliographic Division evaluates books written by United States authors as well as some international classics, compiles and distrib utes special and recommended book lists and subject bibliog raphies to USIS posts and binational centers, and selects books to meet specific post requests. Since 1953 this division has put out a Blue Book series comprised of brief descriptions of books which have been read and approved by the division's staff for distribu tion abroad. Although USIS libraries may use these lists as 2 7 guides, they can still request other books. In fact, Blue Books actually reflect requests from the field as division readers gear their reading in response to needs expressed by the posts. Although plays promoting Communism would not be selected for USIS library shelves, the Blue Books represent a fairly full and broad sampling of recognized American theatrical literature, criticism, biography, and history. Some areas are less complete than others, as is the case in all libraries. Usually this is due to less demand for cer tain books. Yet Miss Harriet M. Baumgartner, Chief of the Appraisals Branch, Bibliographic Division, said in 197 2, The reason some are not recommended is their anti- U.S. stand. If a book merely puts the United States in a bad light and lacks other highly redeeming qualities, it should not be put on the shelves of USIS libraries.28 Although USIA will not deliberately insult a host government by promoting material critical of the host gov ernment' s leaders, the agency resists foreign censorship as much as possible by sending them to USIS libraries via diplomatic pouch, thereby avoiding foreign customs examina- tions. Sometimes the view of what is anti-American changes. In the early 1950s Arthur Miller's The Crucible was not made 28 readily available in USIS libraries because of its introduc tion. Obviously Miller was comparing U. S. Senator Joseph McCarthy's Communist hunts to the Salem witch hunts, and 30 McCarthy at that time had much support from Americans. Also, vogues change regarding what seems suitable for USIS library shelves. George E. Yerby, a USIA book re viewer, says, "even Eugene O'Neill was verboten until they could finally see he was a better playwright than some of 31 the characters he depicted." In all of these lists, from the Blue Books to the matic lists, books on theater have as great a part as any general library collection of this size could be expected to have. They reflect interest in almost all phases of Ameri- 3 2 can theatrxcal literature. Another way ICS keeps those at USIS posts abreast of significant American theatrical activities is through its monthly newsletter, ICS Cultural Scene, inaugurated in 1971. These are brief summaries of current cultural and education al events in the United States and are sent to USIS posts. In 1972, as continuing post requests for copies of American plays and amateur performance rights indicated the significance of theater in cultural programming, a Play Production Handbook was added to the ICS Manual of , 29 Operations and Administration. The handbook is a brief leaflet, describing the play production materials, guidance and services provided by ICS which enable ' USIS posts to make better use of theater as a communicative medium to implement and support USIS objectives. It offers multiple cast copies, latest published editions of plays and techni cal theater books, paperback acting editions of plays re leased for amateur English language productions, and addi- 33 txonal bibliographic service upon request. Royalty fees for post-sponsored amateur productions are paid by the agency to the extent possible. Additional ly, while the agency does not assume royalty payments for professional performance rights, information about appropri ate leasing agents for professional performances is supplied to foreign companies upon request. English Teaching Division. The English Teaching Division distributes materials as needed at posts abroad for the teaching of English. Most are given on a free basis in binational centers, information and cultural cen ters, and language institutes. About 350,000 persons attend classes supported by USIA each year, many being teachers whc in turn teach other students. The materials used to teach English are selected 30 carefully so that students may be provided an accurate pic ture of American life. American plays are often found to be suitable vehicles for this purpose. For those who use English as a second language, ICS publishes Ladder Editions, which are simplified English ver sions of American books. Theater has been well represented in these editions because it encourages students to speak their second language. The Ladder Edition Catalogue of 1971-1973 has four plays in simple English: Ninotchka, Picnic, Twelve Angry Men, and Yellow Jack. The English Teaching Division also produces printed plays which are for particular use in English teaching classes. For instance, in 1970 VOA's radio play by Sol Panitz, The Ballad of Hairy Joe, was distributed in pamphlet form and Panitz granted permission for all use and reprints to those who might wish it. The same was done with his two radio plays about Thomas Paine. In addition, in 1962 George P. McCallum adapted seven plays from short stories of lead ing American authors for English language teaching. Book Translation Program. American publishers have recently opened more outlets in foreign countries, particu larly in Latin America. However, since publishers have never had a great amount of exchange between countries, ICS 3T encourages availability of American books and plays through foreign channels in two ways: (1) it financially assists publishers in America so they can bring out simplified edi tions in English for sale abroad at low retail prices, and (2) it provides financial assistance to foreign publishers so they can produce books by American authors in indigenous languages. Selection is based on books which illustrate impor tant aspects of American life and culture, with special emphasis on those which describe American political, econom ic, social, and philosophical developments. From 1951 to 1971 the agency assisted in the publication of more than 19,000 editions and some 157 million copies (including seri alizations) in fifty-seven languages (including English). ^ Assistance may take several forms: obtaining foreign language rights; absorbing translation and promotion costs; giving sufficient support to decrease retail prices; or agreeing to purchase part of the foreign edition. Also, American publishers are assisted in the production of spe cial low-priced export editions in English for sale abroad by local book dealers. The choice and number of drama books translated through USIA assistance reflects the need, ease of transla- 32 tion, and the population of individual countries. For instance, Lee Strasberg's Method or Madness? has been trans lated into Portuguese in Brazil because it would take a while for it to be picked up by publishers there even though the sophisticated approach to theater in Brazil would create a demand for it. Between 1956 and 1972 approximately 900,830 copies of translated American plays and books on theater have been , . 35 produced by foreign publishers with such ICS assistance. Book Presentation Program. USIA enables its foreign service officers to present books to foreign leaders, stu dents, and institutions. These are new books donated by American publishers to USIS posts for distribution to selected foreign recipients: government officials, school administrators and teachers, university faculties, and libraries. From fiscal years 1969 to 1971, for instance, 4.2 million donated books were distributed in this manner.^ Examples of theater books used for such presentations are these made in 1958: 595 books, including Our Town, to students, profes sors, government officials, religious leaders and writers in East Pakistan at a cost of $1,923.60 in order to "introduce representative American writ ings to key intellectuals largely British orientated in their contacts with Western civilization"; 3 3 82 copies of Twenty Best Plays of the Modern Ameri can Theater, edited by John Gassner, to outstanding high school students of English in Denmark at a cost of $471.50 in order to "further promote interest in American art and studies"; and 25 copies of Glass Menagerie, 25 copies of On Bor rowed Time/ and one copy each of Abe Lincoln in Illi nois and Our Town to India's All India Radio Play wrights Seminar in New Delhi for a cost of $52.00 in order to "strengthen the working relationships with All India Radio and its supporting seminar."37 Program packages. In 1971 ICS began sending program packages to interested USIS posts. In these, theater has been used both as a communicative tool and as a subject. For one called The Creative 30s, Richard B. Joyce compiled writings of Sandburg, Stein, Steinbeck, and others for a readers' theater script, Voices of the *30s. Another read ers' theater script called Crisis and Creativity was written by Edward Mattos and included material from Odets, Rice, Maxwell Anderson, and the Federal Theater Project. These packets also contain casting instructions and a film in which Walter Cronkite discusses the '30s. According to Joyce, readers' theater is a good medium for international cultural programs as it appeals to all types of audiences and is informative, inexpensive, and 3 8 suitable for amateurs to perform. ICS also prepares photo packets to which some 145 _ 3~ 4 posts subscribe. One in 1972 was devoted completely to the American College Theater Festival. It included festival posters, two issues of the Educational Theater Journal, a taped lecture by Frank Cassidy on the festival, a film pro duced by the North Carolina School of the Arts called We Truly Were Born Here (a thirty-minute color film that in cluded part of the school's festival production of The Lit tle Foxes), and a suggested bibliography of one hundred books on theater. Voluntary Speakers Bureau. ICS takes another approach to international cultural relations through its Voluntary Speakers Bureau. This bureau serves as liaison between American specialists who will be in foreign coun tries on personal visits and USIS posts interested in inviting them to lecture. In theater, as of 1972, there had been only one such volunteer recorded. Kay Carney gave programs at the Paris Dragon Center (USIS-French binational center) and at the Turkish American Association in Ankara and Istanbul after having gone to Tel Aviv and Jerusalem binational centers to set up La Mama experimental theater groups. She offered a choice of either ninety minutes of discussion and perform ance of new off-off-Broadway playwrights or a program on 35 "New Theater Workshops" in which she taught ensemble impro visation. According to Marilyn Johnson, director of program ming for ICS since June 1971, drama is a particularly valu able medium in international cultural relations among intel lectuals . Leaders of public opinion are often those inter ested in theater. There are also posts in many cit ies and towns that have active drama groups which need assistance from the posts at times. All of ICS programming, including its use of theater, is particularly useful where interchange be tween countries is less free or active, because we do not deal in "hard" political talk. Yet theater can often be used in other areas, so long as such extras can be afforded. . . . Some times, however, theater is a primary rather than only an "extra" medium, as it may be the only one which is available or of interest to the people involved. A small post may have an active theater group, or the largest post in an iron curtain country may be open to a language or theater program while it would not be to our traditionally staple media of press and publications.39 Press and Publications Service USIA’s Information and Press Services (IPS) provides USIS posts with visual and textual material in various ways. Its policy and columns staff prepares signed columns to be carried by the "Wireless File" to the field. The Central Services Division of IPS prepares news material for radio through teletype transmission and mail- 3- 6 ings of special features and commentary. Its publication branch supervises Washington edited magazines and pamphlets, and thirty-five magazines are produced at the posts. Most of these include material currently important about United States theater, and that information has a multiple effect as it is picked up by foreign newspapers and magazines. IPS magazines had their heyday in the late 1950s and early 1960s. USIA had a major publication in nearly every foreign country. Now, however, publication is usually pro vided for a particular language or area covering several countries or more. The reason for this is that, appropri ations not having risen with inflation, quality rather than . 40 quantity has been the guide. Still, IPS magazine publica tion is a huge endeavor and must be considered one of the main ways people in foreign countries become familiar with United States theater. Two of the magazines IPS publishes are for worldwide distribution: Dialogue, a scholarly quarterly, and the bi monthly Problems of Communism. Both have included articles Dn theater in order to show the serious and constructive thought in American culture often neglected in popular journals. Dialogue, which began in 1968 and now has eleven Language versions and a total circulation of 165,000, had ------------------------------------------ , ---------------- 37 several articles that reflect current intellectual interests in the United States theater. Two such are Alan Downer's "The Outlook for American Theater" and Walter Kerr's "The Theater of Say it! Show it!" Three other IPS magazines, more visual than Dialogue and Problems of Communism, are Topic, Al Majal, and America Illustrated. Topic, started in 1965, is published in English and French for its Black African readership in thirty-six coun tries. Articles on theater, an art form not felt to be of high priority among peoples of developing nations, are rare. Theater is also considered to have low priority in Arab countries. In Al Majal, an Arabic language magazine produced by IPS for Near East and North African countries, articles on theater are more a "show business" type than a serious view of trends in American theater. America Illustrated, the monthly magazine sold in the U.S.S.R. and Poland under reciprocal agreements which allow those countries to distribute their magazines, Soviet Life and Poland, in the United States, is limited to 60,000 Russian and 30,000 Polish copies per issue. Yet the reader ship per copy is high. The Russian version began in 1956 with the Polish edition following in 1959. A review of the 38 ' articles in both editions from the beginning until the present reveals a great number on the subject of theater, from serious plays and the avant-garde to musical comedy and children's theater. IPS also publishes a Cultural Series. One 1970 issue was completely devoted to Theater in America. Beau tifully illustrated (its sister magazine on jazz won the New York Critics Award), it was published in several languages and sent to foreign countries and leaders. Its purpose, according to Albert Roland, chief of publications, IPS, is to answer the need expressed by many foreign service offi cers for a vivid portrayal of what is creative in United States society. We send perhaps only fifty copies to a city such as Managua and the response is terrific— so they order more and it turns out that they only want 1001 But the reason is that it is a less sophisticated country and only 100, perhaps, would appreciate it there. But those 100 will remember it for life.^^- From Dialogue to Theater in America, a fairly clear picture of theater in the United States is given, its fail ures along with its successes. As Roland says, "It is im possible for one of our magazines to be slanted, because we are not only closely monitored by our enemies, but by our friends in Congress as well."^2 , 3 9 - Motion Picture and Television Service The USIA has a Motion Picture and Television Service (IMV), the purpose of which is to build respect for the United States and its policies and to expose and combat its opposition.^ A number of IMV produced or acquired films have had theater content.^ Some are three to five minute education al film strips about theater in the United States for use on foreign television. Others are full-length motion pictures of American plays. The purpose of each is to build respect for the United States by providing a balanced picture of the United States, which its detractors would call a cul tural wasteland. Use of Theater in the Department of State1s Bureau of Educational and Cultural Affairs There are two types of programs in the Department of State involving theater: the exchange of persons program by which American students and specialists are sent abroad to study and lecture,^ and the Cultural Presentations Program by which American dramatic productions are sent abroad. Both types are handled under the auspices of the Bureau of Educational and Cultural Affairs. As mentioned earlier, when President Eisenhower's TO Reorganization Plan No. 8 established the USIA in 1953, educational and cultural exchange of persons programs re mained in the Department of State. The USIA was to adminis ter such exchanges abroad only. Until then, although exchanges of students, teach ers, research scholars, and lecturers with the American republics had been carried out since 1938, they were few. The Fulbright Act of 1946, the Smith-Mundt Act of 1948, further Congressional authorizations in 1953 and 1954, and the 1961 Fulbright-Hays Act greatly increased the number of Americans abroad and foreigners in the United States under United States sponsorship.^® The Fulbright-Hays Act, known as the Mutual Educa tional and Cultural Exchange Act of 1961 (Public Law 87-256, 87th Congress, H.R. 8666, 21 September 1961) governs cul tural exchanges today. It states: The purpose of this Act is to enable the Govern ment of the United States to increase mutual under standing between the people of the United States and the people of other countries by means of educational and cultural exchange: to strengthen the ties which unite us with other nations by demonstrating the educational and cultural achievements of the people of the United States and other nations, and the con tributions being made toward a peaceful and more fruitful life for people throughout the world; to promote international cooperation for educational and cultural advancement; and thus to assist in the development of friendly, sympathetic, and peaceful relations between the United States and other countries 41 of the world. The President is authorized, when he considers that it would strengthen international cooperative relations, to provide, by grant, contract, or other wise, for— (1) educational exchanges, (i) by financing studies, research instruc tion, and other educational activities— (A) of or for citizens and nationals in foreign countries, and (B) of or for citizens and nationals of foreign countries in American schools and institutions of learning located in or outside the United States; and (ii) by financing visits and interchanges between the United States and other countries of students, trainees, teachers, instructors, and professors; (2) cultural exchanges, by financing— (i) visits and interchanges between the United States and other countries of leaders, experts in the fields of special ized knowledge or skill, and other influ ential distinguished persons; (ii) tours in countries abroad by creative and performing artists and athletes from the United States, individually and in groups, representing any field of the arts, sports, or any other form of cul tural attainment; (iii) United States representation in inter national artistic, dramatic, musical, sports, and other cultural festivals, competitions, meetings, and like exhibi tions and assemblies; (iv) participation by groups and individuals from other countries in nonprofit activ ities in the United States similar to those described in subparagraphs (ii) and (iii) of this paragraph, when the President determines that such participa tion is in the national interest. (3) United States participation in international fairs and expositions, including trade and industrial fairs and other public or private demonstrations of United States economic ac- ________ complishments and cultural attainments^________ ______--------- ~ 4'2 Dollar funds appropriated annually by the United States Congress and the United States owned foreign curren cies, when so approved by Congress, as well as cost-sharing agreements with other nations finance these educational and 48 cultural exchange programs. ‘ Exchange of Persons Programs Although there have been many exchanges of persons involved in the arts, they are only a few in comparison with those in political, scientific, and educational spheres. In comparison with those in music, those in the theatrical arts are fewer by far. For the most part, this is due to their subject being considered a nonessential one. Another factor influencing the number of grantees in theater is the rise and fall of the overall number of grantees. As Dr. Theodore T. Dombras, executive associate, Committee on International Exchange of Persons, has said, It tends to rise, as it did in 1964 to 1966 and in 1971 to 1972, when Congress becomes enthusiastic about international relations. It falls when Con gress becomes more concerned with our own ghettos within the United States.^9 The distinguishing factor about American government grantees in theater is that, although the majority of Ameri can theater students has always tended to go to England when studying abroad, the grantee research scholars and lecturers 4T 50 have gone to many countries on every continent. The American Specialists category of the State Department's educational exchange program enables USIS posts to have the services of outstanding Americans in their pro grams. They are selected according to the objectives of each post and the specialists available. Since 1963 there have been about five to ten such specialists in theater sent abroad each year under this pro gram to take part in a wide variety of activities. Some activities are similar to those engaged in by those sent under the Cultural Presentations Program (see pages 45-63). For instance, in 1963, three drama students and one profes sor, Lewin A. Goff, from the University of Kansas were sent to Poland and Germany for fifty-five days to present plays as examples of the work done in university theater depart ments in the United States. In that same year, Earle Hyman, the Shakespearean actor, was sent to Norway under the Specialists Program to play the lead role in Othello, which was presented for the first time in the Norwegian language; Virginia Innes-Brown, then president of the National Theater and Academy, was sent to Poland, Bulgaria, Romania, Italy, Greece, Yugoslavia, Portugal, Spain, France, and Germany for four months to 4T observe cultural festivals and competitions and meet with theater people and groups for discussions and lectures; Todd Bolander was sent to Turkey to direct a production of Kiss Me Kate, and Rosemary (de Camp) Shidler was sent to Pakistan to act, consult, and direct. In 1967 Todd Bolander was again sent upon request to Turkey to assist the Turkish State Theater in staging Kiss Me Kate. Lloyd Richards, a black director from New York, served as part of a drama demonstration team that toured Zambia, Ghana, Uganda, and Kenya for thirty-three days. Esther Wykell, director of the Center Youth Theater at Chicago's Bernard Horick Center, gave workshops in creative dramatics and children's theater in Israel for fifteen days. The list continues, reflecting, as does this random selection, the broad range of interests served by a number of people with various specialties. Their success, in terms of the purpose of the Specialists Program, depends as much on the goodwill toward the United States that they create as in the knowledge that they transmit. This can be seen in the evaluation of Dr. Frederick G. Walsh's visit to Colombo in 1971. Dr. Walsh was sent at the request of the USIS posts in the Near East and East Asia to have an American lecturer “ 45 in drama sent along with the USIA package program called The Festival of the Creative Arts. A letter dated 22 July 1971 from John Richardson, Jr., then Assistant Secretary for Educational and Cultural Affairs, to Congressman Mark Andrews quotes the report of USIS Colombo concerning the visit of Dr. Walsh, chairman of North Dakota State Univer sity's Department of Speech and Drama: A display of both theatrical talent and teaching ability plus a warm personality turned the seven day visit . . . into a resounding success. Profes sor Walsh opened for us new doors to future program opportunities both at the University of Ceylon and with the young Actors Studio Group in Colombo.51 Cultural Presentation Program The advance of the United States government into the sphere of sending performing and sports groups abroad in the 1950s was something new for a government that never before, except for certain projects during World War II, had invested money in such ventures. The one exception to the general rule was in Germany in 1949. When the cultural program in West Germany was transferred from the Army to the State Department, the request for appropriations included "art." In response, the; Department sent several art exhibitions to Germany. In addition, American musical and dramatic productions were 46 sent to the Berlin Festivals of 1951, 1952, and 1953. These included Oklahoma, Porgy and Bess, Medea, the Juilliard C p String Quartet, and two ballet companies. It was then that the increasing momentum of the Soviet cultural offensive made United States officials more sensitive than ever to the worldwide dirth of knowledge of United States artists' accomplishments. In 1954 President Eisenhower was given an emergency fund of $5 million annual ly for musical and dramatic presentations abroad and for United States participation in international trade fairs. Two years later the program was given permanence when Presi dent Eisenhower was allotted $2.5 million annually. This was done with the passage of the 1956 International Cultural 3xchange and Trade Fair Participation Act (P.L. 860, 84th Congress). Such appropriations and all educational exchanges were further strengthened by the Fulbright-Hays Act in 1961. From 1954 to ,1966 the entire program including sports tours operated on an average annual budget of approx imately $2.3 million, .reaching a peak of $2.8 million in L966. Severe budget cuts set back the program's momentum in L967 and 1968 when the annual appropriation was set at $1.6 million. In 1969 it was cut back farther to $1.2 million. In 197 0 it was at $530,000. In 197 2 a small spiral upward . — — . 47 began with an appropriation of $700,000. In granting assistance, these program funds, except for exchanges with the Soviet Union as arranged by a bina tional agreement in 1959, were not to underwrite a tour com pletely. Rather, they were to supplement the income from both private sponsors and overseas commercial perform-.. 53 ances. Throughout the history of the program there have been various ways in which the program's purpose, stated in the 1956 Act to be "the exposure of American cultural activ ities abroad in order to develop friendly relations with people in other nations," has. been carried out. Perform ances have been selected to appeal specifically to select audiences of intellectual and political leaders; at other times, their appeal has been geared to the mass audience; at still other times, to student audiences. Sometimes efforts have been concentrated in large metropolitan centers, while at other times the goal has been to reach small villages where performers from the United States would be even less likely to go unless government subsidized. To choose the best attraction for each purpose, three panels of experts, one each for dance, music, and drama, were established. Members of the first drama panel included: Dr. Oscar J. Campbell/ Pulitzer Prize Committee, Columbia University; John Chapman, drama critic, New York Daily News; Richard Coe, drama editor, Washington Post; George Freedley, curator, theater collection, New York Pub lic Library; Miss Rosamond Guilder, U. S. director, Inter national Theater Institute; William Hawkins, drama critic, World Telegram and Sun; Walter Kerr, drama critic, New York Herald Tribune; Herman Levin, president, League of New York Theaters; Alfred Lunt, actor; and Tom Prideaux, entertain ment editor, Life Magazine. (The members of these panels never relinquished the minutes of their meetings to public scrutiny for fear of damaging the reputation of those pro fessionals not selected for overseas touring.) With the passage of the Freedoms of Information Act (PL 89-554) , enacted 6 September 1966 and amended in 1967 by PL 90-23 which broadened public access to all federal agencies, they ceased meeting altogether; their meetings could no longer be kept private. The Drama Panel would recommend various attractions to the State Department if a professional company or acting team of two or three was to tour. If a university of col lege theater group was to tour, the panel asked the Overseas Touring Committee of the American Educational Theater 4 -g Association, formed especially for this purpose in 1957, for recommendations. From 1954 to 1 April 1963 the nongovernmental and nonprofit agency, the International Cultural Exchange Serv ice (ICES) of the American National Theater and Academy (ANTA) which supervised the American entries in the Berlin Festivals of 1951, 19 52, and 1953, worked out of its New York office to plan the dramatic tours of the Cultural Pre sentations Program. News coverage, posters, and logistics for the tours were facilitated by the USIA and the USIS posts abroad. Although the State Department decided the broad area to be toured by an attraction, the embassies decided which areas within their own countries a touring company should visit. In 1963, 'because of various reasons including the important one that the State Department felt the performers should be encouraged to make more use of their off-stage time making contacts with foreign nationals, the State Department assumed total responsibility for the program. At first, Gertrude Macy, general manager of ICES, went to Washington, D. C., to serve as consultant to Glenn G. Wolfe, then director of the Office of Cultural Presentations. A . _ _ _ _ _ 50- New York office was set up and maintained by Beverly Ger- stein who had been coordinator, applicants and panels, for CA . , . ICES. Now Miss Gerstein serves m Washington, D. C. as assistant to Mark B. Lewis, director, Office of Cultural Presentations. The main criterion used in selecting dramatic pro ductions for the program has been artistic quality. How ever, the State Department does require that each performer be an American citizen trained in the United States and, as of 1961, that each play be by an American playwright. Before that, only one play in a company's repertoire had to be American. The budget has not allowed the program many ex cesses. Companies able to cover a wide area are chosen over those able to attend only one festival, for instance, in order to make greatest use of the money required for travel from the United States to another continent. Also, the expense involved in professional tours is one reason aca demic groups have been sent since 1957, as only their living expenses need to be paid. United States road scale wages have been paid throughout the program to professionals. Although stars earn less than they would for similar work in the United 5T States, they have earned enough to have caused a national controversy in 1957 when a Congressman called Helen Hayes' pay exorbitant.^ Actually, playwrights have been the most lenient in their monetary demands, demanding no royalties at all in some cases. Foreign individuals are called upon to make arrange ments in each foreign country regarding performance loca tions, transportation, lodging, ticket sales, receptions, sight-seeing tours, and, with USIS assistance, publicity. Professional impresarios are used for tours of profession als; sponsors such as universities, community theater groups, and binational cultural centers are used for tours of aca demic groups. One problem of using academic theater groups is that it is not always clear to foreign audiences that the best of our professionals have not been sent, and therefore audi- c *7 ences are sometimes disappointed. Often this confusion is due to misunderstanding at the embassy level: officials sometimes allow university theater groups to be booked at commercial theaters and thus they are compared to profes sionals usually booked there. In the case of the Wayne State University Theater tour to India, the sponsoring group made no effort to reach student groups; instead it booked 52 the tour into professional theaters as a moneymaking device CO for its own group. ° A second problem arose when, appar ently because they had no comparable groups to send to the United States, the Soviet Union refused to admit academic 59 theater groups from the United States until 1961. Student groups, however, have continued to be sent abroad under the program because, in addition to their com paratively low cost, they have special appeal to university audiences. Mark Lewis, director of the Office of Cultural Presentations, has said that reports from embassies in most areas of the world indicate college-age audiences to be the f i n most significant ones. Sometimes the theatrical tours sent abroad under the auspices of the program have not created their potential goodwill because of careless mistakes: a poorly translated program might offend the foreigner;^ or inadequate arrange ments might mean too few person-to-person contacts with foreign nationals. (Such contacts are always facilitated when a member of the company has some knowledge of the host country's language.) Usually, however, the opposite has been true; every day for most touring companies has been jammed full of performances and offstage commitments, not to mention travel, and performances have been enthusiastically 53 received. Regardless, in 1966 the use of theater in the program was completely curtailed due to reasons discussed later in this chapter. Only in 1973 were drama productions selected once again for a foreign tour (when the Arena Theater of Washington, D.C., was sent to the Soviet Union), Productions sent since the inception of the Presi dent's Special International Program are: Production Tour Length 1955 Oklahoma (Rogers and Europe--Italy and France 1 month Hammerstein), The Skin for "A Salute to France" of Our Teeth (Wilder) and Medea (Euripides) professional cast Porgy and Bess (Gersh- Europe— Italy, Spain, 12/11/54 win and Hayward) Yugoslavia, Soviet -2/17/55 Everyman Opera Com- Union pany Near East— Egypt, Greece, Israel, Morocco American Republics— Brazil, Uruguay, Argen tina, Chile, Peru, Co lumbia, Mexico, Venezuela, Panama 1956 Teahouse of the August American Republics— 2 months Moon (Patrick) Cuba, Venezuela, Brazil, professional cast Uruguay, Argentina 51: 1957 Long Day's Journey into Europe— France (for the 5 days Night (O'Neill) professional cast Paris International Drama Festival, July) Our Town (Wilder) University of Minne sota Theater Group American Republics— Brazil (Performances at the Sao Paulo Biennial tied in with USIA exhibit on Plastic Arts of the Theater; also toured other cities in Brazil.) 1 month The American Educational Theater Association screened many university theater groups and recommended several to the ANTA Advisory Panel. The University of Minnesota organization was the first amateur theatrical group to receive assistance under the program.^ Song of Bernadette American Republics— 11 weeks (Kerr) and three one- Guatemala, Panama, act plays: Where the Columbia, Ecuador, Peru, Cross Is Made (O'Neill),Chile, Argentina, Urua- Happy Journey (Wilder), guay, Paraguay, Brazil, and Lord Byron's Love Venezuela, Jamaica, Letter (Williams) Mexico Catholic University Theater In 1958 it was reported that "the expanded use of university dramatic groups appears justified. . . . Such groups have direct appeal to university audi ences abroad and are most effective in developing a youth to youth relationship."^ 1958 Oedipus Rex (Sopho- India 1/31/58- cles), Moon for the 4/19/58 Misbegotten (O'Neill), and three short plays: Where the Cross Is Made (O'Neill), Pullman Car Hiawatha (Wilder), and The Affected Young 55 Ladies (Moliere) Wayne State Univer sity Theater Group A company of seventeen members visited universi ties and colleges in Bombay, Baroda, New Delhi, Cal cutta, Bangalore, and Hyderabad. Faculty members lectured on the American theater, and students partic ipated in panel discussions with Indian students. Moon for the Misbegot- Italy— Spoleto June 5- ten (O'Neill) (limited 29 President's Program assistance) professional cast Jose Quintero, the American director, was drama director for the Spoleto Festival of Two Worlds, and he chose to direct this production for which he re ceived financial assistance. Carousel (Rogers and Hammerstein); Susan nah (Lloyd) Medea (Euripides), and three one-act plays: Brussel's World Fair- U. S. Pavilion Africa— Liberia, Sierra Leone, Ghana, 7 weeks Happy Journey (Wilder), Nigeria, Uganda, Fixin1s (Green), and The Flattering Word (Kelley) produced by the Florida A&M Univer sity Players Ethiopia, Egypt Ten students and two faculty members of the black theatrical group also gave lectures and demonstra tions on academic theater in America. 1960 Brigadoon (Lerner and East Asia— Japan, Korea, 1 month Loewe) Okinawa, Taiwan, The Philippines 56 Already on a Department of Defense tour for Amer ican military personnel abroad, this group was assisted by the President’s Program for the purpose of visiting homes and giving discussions at cultural centers. Damn Yankees (Adler and East Asia— Japan, Korea 2-1/2 Ross) weeks University of Utah Another Department of Defense program involving this theatrical group was enlisted to give some per formances at USIS posts. Mark Twain Tonight— Europe— Great Britain, 7 344ks Hal Holbrook's one- The Netherlands, Ger man show many, Denmark, Norway, Finland, Austria, France Eastern Europe— Yugo slavia, Poland Holbrook interspersed his performances with talks at numerous universities and colleges. My Fair Lady (Lerner Eastern Europe— Soviet 2 months and Loewe) Union: Moscow, Lenin- The Broadway company grad, Kiev Under the November 1959 exchange agreement between the United States and the Soviet Union, forty-seven performers went for an enthusiastically received and sold out run of performances. Play of Daniel, medieval liturgical drama offered with other concerns of New York Pro Musica Europe— Wales, Great 3 months Britain, France, Italy (Spoleto Festival and Rome) 571 P-961 Near East Asia— Afghan- 5 months istan, Nepal, Iran East Asia— Cambodia, Laos, Indonesia, Sing apore , Hong Kong, Thailand, Vietnam Buddy Rich and his Jazz Sextet, the Four Step Brothers, Negro dancers who did soft shoe and other dance routines, a pantomime comedian, a juggler, a puppetry and balloon specialty act, a trio singing popular songs with Adams as master of ceremonies com prised this show. The troupe went out of its way to mingle with the people of the various countries it visited. For instance in Bangkok, in addition to regular shows, one Royal Palace performance, one telethon for flood relief, shows for hospitals, schools, and churches were given at which the troupe was as warm off stage as on. Skin of Our Teeth (Wilder), The Miracle Worker (Gibson), and The Glass Menagerie (Williams) American Repertory Theater Guild In Spain, Helen Hayes received the order of Queen Isabella, one of Spain's highest decorations. In Brussels, the Pallieterke reported: "I can truly say that in my lifetime I have seen a vast amount of theater performed. Until now, however, the presenta tion of the Theater Guild American Repertory Company is THE event of my life. Even after two days, I have not Europe— Spain, Nether lands, Yugoslavia, Aus tria, Germany, Denmark, Norway, Sweden, Finland, Italy, Switzerland Near East/Asia— Greece, Lebanon, Israel, Turkey American Republics— Trin idad, Colombia, Peru, Chile, Argentina, Uru guay, Brazil, Venezuela, Costa Rica, Guatemala, Mexico Joey Adams Variety Show 58 yet come back to earth. And this sort of thing has to come from the Americans whom we accuse of having no culture!"65 In Ankara, Akis wrote: "We have to admit that the Russians are ahead in music, art, ballet performances in Turkey. But this theater group coming from the othei side of the Atlantic was able to turn the balance in favor of the democratic world.1,66 Bells Are Ringing East Asia— Japan, 1 month (Styne, Comden, Green) Philippines, Korea, University of Taiwan Colorado Troupe was picked up while on Department of Defense tour. The first performance for the general public in Tokyo drew an audience of 1100 and the second one, which was sponsored by five local universities, was given before 900 students and followed by a student discussion on university theatricals. In addition a clinic on campus life in the United States and Japan was partici pated in by 150 Japanese college students. These activ ities demonstrate the particular ability of college productions to create more student-to-student contacts between the United States and foreign countries. 1962 Annie of the Far West, a version of Annie Get Your Gun (Lerner and Loewe) University of Utah American Republics— Argentina, Bolivia, Colombia, Chile, Peru 2 months Baird Marionettes Near East/Asia— India, 3-1/2 Nepal months Performances were seen by top officials, cultural leaders, educators, editors, journalists, and students. Members of the show also visited hospitals, schools for disabled children, and other institutions. 59 Born Yesterday (Kanin) Europe— Iceland 1 day Southern Illinois University Picked up from Department of Defense tour. Where's Charlie? East Asia— Korea, 7/6/62- (Lester) Taiwan, Japan 8/25/62 University of California Picked up from Department of Defense tour. How to Grow a Musical American Republics— 2 months (variety entertainment) Jamaica, Haiti, El Sal- Cornell University vador, Costa Rica, Theater Brazil, Venezuela This show had a mixed case and was of particular value in these countries in which it is believed that the United States negro faces great discrimination. Sunrise at Campobello Near East/Asia— India, 3-1/2 (Schary); Ahi Wilder- Pakistan months ness (O'Neill) University of Maine Masquers Theater Group This tour again proved the extent to which college theatricians can be used offstage. This group, for example, engaged in several social affairs during its East Pakistan visit and gave a drama seminar that lasted four days. Three Men on a Horse East Asia— Korea 2 weeks (Abbot-Holm) Montana State College Picked up from a Department of Defense tour. 1963 Baird Marionettes Eastern Europe— 2-1/2 U.S.S.R. months 60 1964 Black Nativity (Hughes) Europe— Germany 5 days professional company (black American troupe picked up from tour) 1965 Amen Corner (Baldwin) Spoon River Anthology (Masters) Ruth Brinkman English Theater These American Players, located in Vienna, special ize in small scale, imaginative dramatic performances of pTays that emphasize American values. This play has parts for two actors and two guitar ists. It was played, for the most part, at high schools and colleges. As English is a required subject in most of these countries, the students could follow the actors as they portrayed the play's seventy characters. In addition to the performances, these actors made thirty-one offstage appearances including press confer ences and lectures, television and radio interviews. Ah! Wilderness (O'Neill)Europe— Switzerland, 1 month Catholic University Germany, Italy, Great Britain, Ireland Near East— Israel, Greece, Cyprus The support of the university, the Israeli Embassy in Washington, D. C., representatives of the Washington business community and the Department of State combined to make this tour possible. The Washington Jewish Europe— Austria, Swit- 4-1/2 zerland, Netherlands, months Italy, Germany, Scot land, England Near East— Israel Europe— Norway, Iceland, 8 $eeks Finland, Sweden, Denmark : 6T business community financed the total international travel, making possible two full weeks in Israel. Curtain Time U.S.A. Europe— Austria 4 months (variety entertain- Near East— Ceylon, ment) Brigham Young India, Nepal, Pakistan, University Afghanistan, United Arab Republic, Iraq, Turkey, Greece, Jordan, Syria A twenty-five member cast of dancers, singers, an accordianist, and a drummer produced fast-paced selec tions from Broadway musicals, folk dances, and close harmony songs. Suitable for dividing into small units for informal performances at schools, hospitals, profes sional and social organizations, and on television and radio presentations. Local folk songs in local lan guages were added. Long Day1s Journey into East Asia--Japan 1 month Night professional drama team Director Harold Clurman, three actors and a light ing expert went to Japan to work with professionals interested in putting on an American play. It was a way to send American theater experts to a foreign country less expensively than had been done before when full productions were sent. The eventual goal was to put on the play in Japanese with Japanese actors. This was done; the impact was great; and the result was a greater appreciation for American theater, according to several interviewed in the State Department and USIA.^ Drama Team— March and Europe— Italy 1-1/2 Eldridge Near East— Lebanon, months Syria, Turkey, Afghan istan, Greece, Egypt After the State Department had considerable logis tical problems in sending dramatic groups in the earlier years of the President's Special International Program, a study was made. One of that study's proposals was that small acting teams rather than full productions be utilized. The first such team was membered by Fredric 62 March and his wife, Florence Eldridge. They performed excerpts from favorite roles: a dramatic poem by Carl Sandburg; a scene from Autumn Garden by Lillian Heilman; and a soliloquey from Long Day's Journey Into Night by Eugene O'Neill. Hello Dolly East Asia— Japan 3 weeks (Herman and Stewart) professional company The Broadway musical, long requested by U. S. embas sies abroad, was originally scheduled to play also in Russia, but this was cancelled by the U.S.S.R. Following its tour of Japan, the Defense Department engaged the professional troupe to play before the U.S. troops in Korea, Vietnam, and Okinawa. Interplay (series of Near East— Egypt, 2 months scenes) Lebanon, Iraq, Jordan, Celeste Holm and Turkey, Syria troupe Europe— Germany Miss Holm and two actors performed Interplay, a series of scenes interspersed with song. As each actor spoke French, they also carried on offstage discussion groups and interviews. Music Theater U.S.A.; Show Boat (Kern) and Carousel (Rodgers and Hammerstein) Sacramento Musical Theater-in-the-Round American Republics— 2-1/2 Mexico, Chile, Venezuela,months Uruguay, Argentina, Peru, Ecuador, Colombia A company of fifty-five from the Sacramento Light Opera Association's Music Circus with about 20,000 pounds of scenery and costumes produced two musicals in the company's own circular tent. The cast also held workshops for students, press interviews, and open rehearsals and appeared on local radio and television. Problems created: some embassies would have pre ferred a Broadway company with a new hit, less long ‘ 6’ 3 English dialogue (because of the language barrier) and fewer logistic problems. 1967 Spoon River Anthology Europe— Belgium 1 week (Masters) Ruth Brinkmann, English Theater This resident Viennese group of American actors again produced Spoon River, this time for the American Week at the University of Ghent. Benjamin Franklin, Europe— Sweden, Germany, 5 weeks Citizen (one-man show) Ireland, Belgium, France, Fred Wayne United Kingdom Some considered Wayne's material not up to the level of sophistication necessary to reflect the best in American theater. Also, it was reported that his staging requirements were more elaborate than antici pated for a one-man show and caused minor difficul ties . ^ Our Town (Wilder) Soviet Union— Moscow and 6 weeks Inherit the Wind Leningrad (Lawrence and Lee) Arena Stage Theater The Peace Corps1 Use of Theater In 1961 the Peace Corps was founded to provide man power for economic and social programs in newly developing or underdeveloped nations. The primary goal of Peace Corps volunteers has been to help free other nations, in the words of President John F. Kennedy, "from the bonds of hunger, ignorance and poverty,"®^ rather than to foster understand- 64 ing toward the United States through the arts. Volunteers teach in schools, develop modern sanita tion methods, promote public health projects, provide man power, construction plans, and assist foreign local farmers in the use of modern implements and techniques. In the 1970s, when the Peace Corps and six other agencies were affiliated under Action, Peace Corps volunteers became even more heavily involved in vocational training, irrigation, small business development, educational television, self- 70 help housing, and urban planning. However, in the fifty-five countries where Peace Corps volunteers serve, volunteers have been involved in activities associated with the arts either as a secondary job or as an element in their work to increase general com munity involvement. In a letter dated 1 October 1971, Joseph H. Blatch- ford, then director of Action and former Peace Corps direc tor, wrote to Nancy Hanks, chairman, National Endowment for the Arts: Countless volunteer teachers and teacher trainers organize art and drama clubs at their schools, col leges or universities. . . . [Farther on he mentions specific examples] In the Philippines, a volunteer worked in a "theater in the streets" program in Bacolod City; . . . in the Gambia, a volunteer is 7 i teaching drama at a high school. x '63 In the same letter, Blatchford also mentions, . . . an outstanding example of the Peace Corps ac tivity in the performing arts is the Theater Arts Project in Ghana. This project began in 1969 with three volunteers. One of these has extended, while recently a second group of five volunteers has been added* The six volunteers now include three instru mental musicians, one stage technician, one vocalist and one drama historian. All are involved in teach ing and practical work in the degree program of the Institute of African Studies, University of Ghana.^ In addition to such arts programs, volunteers use drama as a visual aid in the instruction of subjects. Visual Aids: A Guide for Peace Corps Volunteers, published by the Peace Corps Medical Program Division, includes a section devoted to the use of hand puppets, marionettes, and 7 * ■ $ shadow puppets as a way of teaching health care. * A History Marred by Controversy There is little proof that exchange in the arts makes any real difference in the number of wars waged, and many United States congressmen have questioned the validity of maintaining a foreign information program, much less a cultural exchange program in theater. During the late 1960s especially, the Department of State and the USIA felt the financial restraints resulting from such attitudes. In the case of their theatrical ventures, those restraints have been severe. 66 Arguments for the Use of Theater There are many who feel as does Jerome F. Margolius, now at the Governmental Affairs Institute but formerly with the Council of Leaders and Specialists: To be acquainted with arts in other countries than one's own is not only to know more about art. Knowing the best of what there is makes people more alert and more appreciative and respectful of those in other countries. Above all, it reduces anxieties amonst peoples. For that alone, cultural programs are worthy of governmental support. Arguments Against the Use of Theater However, arguments against such support have been plentiful. Theater productions present a language barrier not pertaining to other arts. Since theatrical productions can be seen by only 800 to 1,000 persons at one time, and their stage sets and companies are costly to move, they are the most expensive type of cultural exchange. An additional consideration is the fact that the subjects of many of the nost artistically successful American plays do not repre sent the best introduction of American society into foreign Lands. This is true of modern plays in many foreign coun tries as well, but they have their classics to tour while Merica does not: the best American plays are generally considered those of the twentieth century. ..... 67 Many arguments against the use of theater have been slight distortions of the truth. One such argument is that there are fewer established theatrical companies in the United States than in England, France, and the Soviet Union. In actuality, there are now many fine repertory groups across the nation. It has been noted that the number of United States artists performing abroad without government aid surpasses those from Communist countries; in fact, private theatrical groups do not often make it on their own to foreign coun tries. A list compiled by ANTA in 1959 showed hundreds of American professional and amateur performers touring abroad without any cost to the American taxpayer, but there was only one in theater; Anna Russell, comedienne, touring by 7 5 herself to the Far East. Congressman John L. Rooney, chairman of the Subcom mittee on Appropriations, House of Representatives, one of the most influential leaders who have questioned the rela tive importance of government sponsored theatrical tours, has sometimes exaggerated his questions in a way that would distort the facts. For instance, when the possibility of sending Kiss Me Kate abroad was discussed, he asked, "What would the taxpayer get for $200,000?" Fortunately, it was immediately pointed out that the actual cost to the taxpayer would be between $25,000 to $40,000 once the receipts were collected Rooney has also brought up the fact that such musi cals usually are made into motion pictures for foreign dis tribution, his implication being that the film version would have the same effect as the live production. Since one of the main aspects of live productions has been the offstage contacts made by those in touring companies, this could hardly be the case. These are some of the reasons only one or two theatrical presentations, if any at all, have been among the fifteen to twenty annual attractions sent abroad by the Cultural Presentations Program. Fanning the doubts of the overall value gained per dollar spent on theatrical programs are reports of some of their participants. For example, when Joey Adams' Variety Show was sent abroad under the Cultural Presentations Pro gram in 19 63, his accompanying wife, Cindy, sent back to the United States for publication columns which made fun of almost every country they visited. Whatever goodwill Adams' show might have created in Thailand, Cambodia, Singa pore, Laos, and Indonesia, congressmen felt her column, 7 8 "Cindy Says," most certainly must have undone. 69 In 1962 Roy E. Larsen, chairman of the executive committee, Time, Inc., and vice chairman, U. S. Advisory Commission on International and Cultural Affairs; and Glenn G. Wolfe, then a foreign service officer, now vice president of the Institute of. International Education, were asked to conduct a survey of the State Department's Cultural Presen tations Program because of some critical questions that had been raised about the specifics of the program and its 7 9 polxcxes and xmplementation. In its statements regarding drama it summed up succinctly both the problems and the objectives of using drama in the program. One of the most important segments of American performing arts is the drama and certainly no Ameri can cultural presentations program would be honest or complete without it. Our discussions with some of those most interested in this field of the per forming arts have brought out certain difficulties in connection with drama tours. Much of our most advanced achievement in the field is in the profes sional theater, and in the New York City professional theater on Broadway, in particular. Producers, how ever, are understandably disinclined to break a show for a tour in the middle of a successful run.®® It was also mentioned that: . . . special heed must be given to both the ability of the dramatic company and to the cultural image given by the vehicle. There is no problem where the theme of a production is universal. But drama is often created as a slice of its background in time and place; for that reason it can be under stood best by those fully familiar with the context 70 in which it is presented and, conversely, it can be most readily misunderstood by those unfamiliar or only partially familiar with that context.^ The Larsen-Wolfe report found that the program's full potential would not be realized without longer term planning; consequently broad outlines are now usually drawn up two years in advance. The report also recommended that the State Depart ment assume direct responsibility for the program. As men tioned before, ANTA in New York City was handling the drama productions for the Department of State. Glenn G. Wolfe, in an interview in September 1972, said he finally recommended that the program be taken from ANTA "because performers were not being encouraged to make enough contacts with foreign 8 2 peoples, "but played poker instead." Therefore, as of 1966, all decisions for the program were handled from within the Bureau of Educational and Cul tural Affairs' Office of Cultural Presentations. Recommenda tions were presented to the Advisory Committee on the Arts, composed of private citizens well versed in the performing arts. It was also this report which recommended the con tinued use of an ad hoc drama panel which would make its own recommendations of the best groups available within the 71 budgetary limitations. Composed of fifteen producers, playwrights, and others associated with the stag; e and chaired by actress Nan Martin, its membership was not pub lished in recent years as it was put under too much pressure O O by drama groups seeking selection. As of 1972 it had dis solved altogether; the ability of the public to get govern mental information under the authority granted by the Free dom of Information Act of 1966 has proved too strong; and, as mentioned earlier, members of the drama panel have not 04 wished their opinions made public. Following this Wolfe-Larsen report, no dramatic productions were sent abroad until a study, by a special panel created to report on problems inherent in exporting American drama under the Cultural Presentations Program, could be made^ The suggestions finally made by the panel were: it is desirable for performers to use local languages for greater effectiveness; a solution to the high cost and difficult logistics of using massive scenery could be either theater-in-the-round type presentations or the use of lightweight materials that can be telescoped for shipping convenience; and extensive use should be made of two-member 8 5 dramatic reading and demonstration teams. Except for the last, these suggestions have not 71 worked out in practice. After a few experimental attempts to produce plays in the language of the country in which they were performed, it was found that foreign audiences wanted to hear Americans speak English rather than a bas tardized version of their own language. The only exception to this was the explanatory dialogue in the 1960 tour of The Play of Daniel. Simultaneous translation devices proved equally unwelcome. Also, the development of lightweight scenery proved too expensive. When, in 1968, the Ford Foundation finally had results from its 1964 investment of $75,000 in the development of a 1,000-seat lightweight* portable theater (designed by Jo'Mielziner and Donald Oenslager), the State Department could not afford to build it.®^ Although the use of two-member dramatic reading teams did meet with some success, in the very year in which those suggestions were made, 1966, the Cultural Presenta tions Program's budget began to be severely curtailed. From a usual appropriation of $2.5 million, it was reduced to $1.6 million in 1967 and 1968, $1.2 million in 1969, $1 million in 1970, and $550,000 in 1972. (The only cultural exchange program not affected by the budgetary cutback is the one with the Soviet Union. It is governed by a formal 73 bilateral agreement between the two countries. In other parts of the world, American exchanges and cultural presen tations are carried out by informal agreements, largely initiated by the United States.) With these cutbacks, drama was again eliminated from the program. In addition to financial, another reason for elimination of drama must be recognized: continuing attitudes against drama by some members of Congress. When the State Department canceled the Asian-Eastern European tour of the Center Theater Group (Los Angeles) ten days before departure in 19 69, some thought the main reason was the $125,000 cost. However, the reason given, "for the convenience of the government," seemed to some to be based on the controversial nature of the productions (short plays by Jules Feiffer, Jean-Claude van Itallie, Israel Horovitz, Lanford Wilson, Robert Patrick, Joel Schwartz, Terrance o 7 McNally, and Harvey Perr). Whatever Congressional disapproval may have existed regarding sending drama abroad was further aggravated in 1970. The Kansas University Academic Theater Workshop con sidered touring abroad under the Specialists Program produc tions of Jean-Claude van Itallie's America Hurrah and Sam Shepard's Chicago. Both contain slang and sexual imagery 74 that the Senate and House subcommittees on appropriations found shocking. Although these programs were never sent abroad, the fact that they were even considered astounded many who would be appropriating funds for the program in the future.88 Perhaps because of these instances, heckling against dramatic productions in the Cultural Presentations Program continues. If there is an article on theater which the USIA purchases to be run on the wireless file, Rooney is bound to cite it and ask, "Is this one of the things which might 89 appeal to the masses?" When the well-known director/teacher, Lloyd Rich ards, was sent abroad under the American Specialists Pro gram, one congressman in the Appropriations hearings com mented, "Africa . . . would seem to have many needs more 9 0 important than drama . . ." In addition to the expense, the language barrier, the lack of centuries-old American classic plays, and only the recent growth of reputable professional repertory groups in America, such negative attitudes must be considered as reasons that, from 1967 until 1973, no drama was sent abroad under the Cultural Presentations Program. It was almost on an experimental basis, then, in 75 the middle of 1973, when Washington's Arena State Company was chosen to take its productions of Our Town and Inherit the Wind to the U.S.S.R. It was highly successful and gave supporters in the State Department hope for future produc tions. However, as of January 1975, none had been slated.9 This makes it all the more valuable to look at what USIS and Peace Corps officers in the field feel to be the need of American theater in foreign countries. Footnotes 1 Lemuel E. Graves, Jr., "Individual Research Paper. 14 April 1965. The Exchange of Persons Programs as an Instrument of U. S. National Policy." (Washington, D. C.: National War College, 19 65), p. 15. 2H. Field Haviland, Jr., The Formulation and Administration of United States Foreign Policy (Washington, Office, 1972), p. 1. 4 Haviland, Formulation, p. 72. ^American Foreign Policy, 1950-55; Basic Docu ments (Washington, D. C.: United States Government Printing '761 D. C.: The Brookings Institution, 1960), p. 72. 3The Agency in Brief, 1972; The United States Information Agency (Washington, D. C.: Government Printing Office, 1957), 2:3161. 6Ibid. 7 The Agency in Brief, p. 1. O American Foreign Policy, p. 3162. 9Ibid. 10Ibid. 11Ibid. 12 The Agency in Brief, p. 1. 13Ibid. "^Graves, "Research Paper," p. 16. 15 American Foreign Policy, p. 3161. 1 c . Haviland, Formulation, p. 72. 17 American Foreign Policy, p. 3162. — ________ 77 1 o Haviland, Formulation, p. 74. •^Agency in Brief, p. 1. 20 American Foreign Policy, p. 3162. 21Ibid. 2 2 Agency in Brief, p. 1. 23 Interview with Eddie Goldberger, Acting Chief, VOA's New York Program Center, August, 1972. 24 Departments of State, Justice, and Commerce, the Judiciary and Related Agencies Appropriations for 1962. Hearings before a Subcommittee on Appropriations, House of Representatives, Part IV, p. 193. 25 Statement of Harold S. Schneidman, Assistant Director, USIA (ICS), before the Subcommittee on State Department Organization and Foreign Operations, Committee on Foreign Affairs, House of Representatives, 18 October 1971. Department Report, pp. 2-3. 2 6 In the "Twenty-Second Report to Congress by the U. S. Advisory Commission on Information," submitted 26 January 1967, one of the main recommendations to the USIA was to focus more sharply on its binational centers, infor mation centers, and libraries. Particularly mentioned were their abilities to coordinate all cultural activities spon sored by USIA; because they are under local auspices, to be free from accusations of having ulterior propagandistic motives; and to provide information about the United States in provincial areas least likely to have privately sponsored United States cultural programs. American Foreign Policy; Current Documents, 1966 (Washington, D. C.: U. S. Government Printing Office, 1969), pp. 1118-19. 27 U. S. Information Agency, 41st Semiannual Report to the Congress, July 1-December 31, 197 3 (Washing ton, D. C.: U. S. Government Printing Office, 1974), pp. 34-35. . 7"8] 28 . , Interview with Miss Harriet M. Baumgartner, Chief of the Appraisals Branch, Bibliographic Division, August, 1972, Washington, D. C. 29 Thomas C. Sorensen, The Word War; The Story of American Propaganda (New York: Harper and Row, Publishers, Inc., 1968), p. 67. 30 . Interview with Baumgartner. 31 Interview with George E. Yerby, USIA book review er, August, 1972, Washington, D. C. 32 A list of books on theater and plays included in Blue Books 1953 to 1972 are listed in Appendix 1. 33 Play Production Handbook: Manual of Operations andAdministration: Cultural Operations Series (Washington, D. C.: Reproduction and Special Services Branch, Office of Administration, USIA), p. 1. 34 Schneidman, Statement, p. 5. 35 For a complete list of books on theater and plays produced by foreign publishers with ICS assistance from 1952 to 1972, see Appendix 2. 3 6 Schneidman, Statement, p. 7. 37 . . Departments of State and Justice, the Judiciary, and Related Agencies Appropriations for 1960. Hearings before the Subcommittee of the Committee on Appropriations, House of Representatives, Part IV, pp. 595-631 3 8 Interview with Richard B. Joyce, USIA/ICS, Wash ington, D. C., August 1972. 39 Interview with Marilyn Johnson, Director of Programming, ICS, September, 1972, Washington, D. C. 40 Interview with Albert Roland, Chief of Publica tion, Information Center Service, USIA, September 1972, Washington, D. C. 79 41Ibid. 42Ibid. 43 . Statement of Bruce Herschensohn, Assistant Direc tor, USIA Motion Picture and Television Service, before the Subcommittee on State Department Organization and Foreign Operations, Committee on Foreign Affairs, House of Repre sentatives, 19 October.1971. 44For a complete list of films on theater produced by ISS, see Appendix 3. 45 The State Department also enables some foreign theatricians to visit the United States. A noticeable num ber of grantees in the State Department's International Visitors Program, whose primary interest was theater, began to be included during the mid-1950s. From 1957 to 197 0 there were 127 from Brazil, Greece, Italy, Uruguay, Colom bia, Turkey, Denmark, the Soviet Union, Pakistan, Germany, Spain, Costa Rica, Yugoslavia, Finland, the Netherlands, Indonesia, Ecuador, Poland, Chile, Japan, Sweden, New Zea land, Paraguay, Romania, and Lebanon. 46 Board of Foreign Scholarships. International Educational Exchange: The Opening Decades, 1946-1966 (Washington: Board of Foreign Scholarships, 1967), p. 6. 47U.S., Department of State, Educational and Cul tural Exchange Opportunities (Washington: U. S. Department of State, n.d.), p. 1. 4Q Interview with Dr. Theodore T. Dombras, Executive Associate, Committee on International Exchange of Persons, September 1972, Washington, D. C. 50 For a list of Fulbright and Smith-Mundt grantees in theater, 1948 to 1972, see Appendix 4. 51 On file in Leaders and Specialists Program, De partment of State. 52 Charles A. Thomson and Walter H. C. Laves, Cultur al Relations and U. S. Foreign Policy (Bloomington: Indiana University Press, 1963), p. 52. 80 53 U.S., President, First Semi-Annual Report, Presi dent's Special International Program, 1 July to 31 December 1956 (Washington: Government Printing Office, n.d.), f>p. 1-3. 54 . " . Interview with Gertrude Macy, General Manager, ICES, September 197 2, New York. 55Joan Hackett, "A Study of the Educational Theater Tours Sponsored by the President's Special International Program for Cultural Presentations, 1957-1960" (Ph.D. dissertation, Wayne State University, 1963), p. 39. C C . "Thompson Raps U. S. Scales for Arts Overseas," Variety, 8 May 1957, p. 2. 57 U. S. Department of State, Communications Between Peoples: The Challenge of Cultural Diplomacy (Washington: Department of State Bulletin, 18 January 1960), p. 84. C Q Hackett, "Educational Theater Tours," p. 97. 5 9 New York Times, 29 December 1959, 1:13 6 0 Letter from Mark B. Lewis, Director, Office of Cultural Presentations, Washington, D. C., 20 July 1972. ^ Folha da Manha (Sao Baulo), 13 August 1958, 1:7. 6 2 U.S., President, Second Semi-Annual Report, Presi dent's Special International Program, 1 January to 30 June 1957 (Washington: Government Printing Office, n.d.), p. 6. C o U.S., President, Fourth Semi-Annual Report, Presi dent's Special International Program, 1 January 1958 to 30 June 1958 (Washington: Government Printing Office, n.d.), p. 6. 64 U.S., President, Tenth Semi-Annual Report, Presi dent's Special International Program, 1 January to 30 June 1961 (Washington: Government Printing Office, n.d.), p. 112. 65Ibid., p. 38 66Ibid., p. 39 6 7 Departments of State and Justice, the Judiciary and Related Agencies Appropriations for 1967. Hearings before the Subcommittee of the Committee on Appropriations, House of Representatives. 93d Cong., 1st sess., 1967, p. 884. /TO U.S., Department of State, Cultural Presentations USA, 1965-1966: A Report to the Congress and the Public by. the Advisory Committee on the Arts (Washington: Department of State, n.d.),p.22. 69 American Foreign Policy: Current Documents, 1961 (Washington: U. S. Department of State, 1965), pp. 1302-3. 70 Joseph H. Blatchford, "The Peace Corps: Making It in the Seventies," Foreign Affairs, October 197 0, p. 126. 71 Joseph H. Blatchford, Letter to Nancy Hanks, Octo ber 1971. 72 Peace Corps, Visual Aids: A Guide for Peace Corps Volunteers (Washington: Peace Corps, Medical Program Divi sion, n.d.), pp. 11-12. 73 Interview with Jerome F. Margolius, Governmental Affairs Institute, 2 September 1972, Washington, D. C. 74 Departments of State and Justice . . . I960. 1:978. 75Ibid., p. 1017. 76Ibid. 77 Departments of State, Justice, and Commerce ♦ 1963. 1:756. 78 U.S., Department of State, Cultural Presentations Program of the U. S. Department of State, 1 July 1963 to 30 June 1964: A Report to the Congress and the Public by the Advisory Committee on the Arts (Washington: Department of State, n.d.), p. 78. 7^Ibid., p. 88. ^^Ibid., p. 89. ^Interview with Glenn G. Wolfe, September 1972, New York City. 8 ~ 2 o 2 Charles M. Ellison, "Cultural Presentations: A Force for International Understanding," International Educa tional and Cultural Exchange, Winter 1966, p. 17. O O Interview with Beverly Gerstein, Assistant Direc tor, Office of Cultural Presentations, via telephone, December 1974, Washington, D. C. 84 Department of State, Justice, and Commerce . . . 1966, 1:917. ^ New York Times, 12 November 1968, 1:53. ^^New York Times, 21 November 1969, 1:50. 8 7 Department of State, Justice, and Commerce . . . 1970, 1:822-867. 88 Reference made to the 1960 article by T. Mann on The Financial Aspects of the Off-Broadway Theater," in Department of State, Justice, and Commerce . . . 1963, IV: 323. 8 9 Department of State, Justice, and Commerce . 1969, 1:1019. 90 Interview with Beverly Gerstein, via telephone, January 1975, Washington, D. C. CHAPTER III AMERICA: SOME LESSONS LEARNED In most South American countries and in Mexico, government-sponsored United States theater programs, when done well, have been appreciated. In Canada, Bermuda, and in some areas of Mexico adjacent to the United States, there is, generally speaking, enough cultural exchange with the United States conducted through private channels not to necessitate government support. South America Argentina Field messages'*' from USIS Buenos Aires and Cordoba show a continuing effort to attract student and intellectual audiences through dramatic presentations. In 19 64 USIS Buenos Aires asked several leading drama schools in the United States for material that would help to explain Amer- 2 ican life and culture. In 1965 the same post wished to help the Argentine producer of Teatro 13, a regular dramatic 83 83 television program, pay the high royalties demanded for American play production rights. "While France, England, Italy, Spain and Hungary have been represented on the pro gram," reads the field message, "good American three-act 3 plays are too expensive." In 1966 USIS Buenos Aires advanced $600 to help the BNC nearby produce a professional production of Jack Rich ardson's Gallow's Humor. The project was considered valu able for two reasons: it involved young theater groups, many of which have strong political orientations, and it enhanced the center's reputation to have professional pro- 4 ductxons. When, in 1972, a professional Argentine director t r as to direct Arthur Miller's version of Ibsen's An Enemy cf the People, USIS Buenos Aires helped obtain the rights. The post regarded this play to be of particular interest to the target audience of students, professors and intellec tuals.^ Finally, a USIS Buenos Aires report in 1972 would tend to verify the opinions held throughout these communica tions that United States musical comedy was not the dramatic Eorm most in demand in Argentina, especially among target audiences. It said: 85 Most successful productions of Arthur Miller's version of Ibsen's An Enemy of the People, Arthur Miller's The Crucible and Eugene O'Neill's Desire Under the Elms were staged with Post/Agency assist ance in direct support of Country Program Objective III. Arthur Miller's The Crucible and his version of Ibsen's An Enemy of the People have broken box of fice records and are the two most important plays on stage in terms of quality of production, quality of members of the cast, media coverage and public reaction. The local psychological climate is a factor in the success of these two productions. An Enemy of the People had been originally scheduled to open in April, at a time when the assassinations of an important foreign industrialist in Buenos Aires and a Commanding General of the Argentine Army had taken place. Terms such as "subversion," "terrorism," and "totalitarianism-dictatorship" pervaded the at mosphere. The GOA, by official decree, postponed that premiere. A month later, on May 2, amid the expectant rumors that the play would again be tem porarily censored, An Enemy of the People had its official premiere. Since then, it is indeed a tri umph to be able to get tickets to see it; the house is sold out days in advance. Miller's updating and revision of the play and an excellent stage produc tion gave many of Argentina's most outstanding intellectuals, artists and writers, as well as uni versity students and professors, one of their most stimulating evenings in years. At the moment the San Martin holds the box office record of all Buenos Aires' theaters, outdrawing the burlesque houses. At the request of Mr. Kive Staif, director of the San Martin, USIS helped get copyrights, good translations, and information on stage production. Following in the wake of An Enemy of the People, Arthur Miller's The Crucible, with a cast headed by Alfredo Alcon (Argentina's "Lawrence Olivier"), opened at the Blanca Podesta Theater on Corrientes on July 6. Corrientes is the Argentine counterpart 8 ~ 6 of Broadway and most of its theaters feature come dies or musicals. The Crucible draws a larger audi ence than any of the other theaters on this street. As in the case of An Enemy of the People, intellec tuals, artists, writers, university students and professors make up a large majority of the audience. The CAO [Cultural Affairs Officer] was a guest of honor at the premiere of The Crucible. At the request of the director and the scenographer of this play, USIS provided guidance on the stage produc tion, as well as photographs and printed materials. Carlos Cytrynowski, the designer of sets and cos tumes for both of Miller's plays, commented that the ICS/IPS materials had been "of crucial importance" in his work with The Crucible. USIS efforts toward drawing the attention of largely left-wing and often anti-American members of the Argentine intellectual community to American authors, are in direct support of CMP Objective III. IGS's effective and speedy assistance was essential in realizing our objectives. Eugene O'Neill's Desire Under the Elms opened at the Candilejas Theater on July 14. This play is drawing almost as large an audience as Miller's two plays. However, this is a more heterogeneous audi ence with perhaps fifty per cent in target groups and the rest members of the general public. Bolivia USIS La Paz entered the publishing business in an unusual way in 1963. Don R. Rorrey, PAO La Paz, wrote to USIS Washington: A Bolivian miner's contribution was among the many entries during a one-act play contest sponsored by the Ministry of Education and Culture. One of our contacts brought this entry to the attention of the Information Officer, since it was an excellent anti communist work. The play described how the Communists 8T7 in the mine unions deceive the members and, instead of reserving the weapon of a strike to improve the min ers' lot, use it for their political ends. Through proper maneuvering of the post, the miner received one of the prizes for his work. Instead of a case reward, he was promised that his work would be published. The post did the lay-out of the miner's play and designed the cover to suit the new title, as selected by the post. Five thousand copies were then job printed. In return, the contest sponsor promised to undertake two efforts: to produce this play on the radio, and to distribute the play in the mining areas so that it can be put on stage by miners them selves . So far, the play has been produced by the govern ment station, Radio Illimani, as a radio play. Dis tribution of the play to the mining areas, including trade union libraries, is currently under way and being handled by the play's sponsors. The post itself is making distribution to select groups among trade unions, libraries, universities, and is currently working with the actors' union to have it produced for other radio stations. We are also trying to stimulate, with the help of the union, the formation of two, or at least one, road companies which will take this play to the in terior. ^ That was in 1963. Later field messages indicate an interest in American plays: a group of Americans and Boliv ians was anxious to reactivate a program of producing Amer ican plays at La Paz Community Theater in 1966. Since there was practically no theater in La Paz, USIS gave its assist- 8 ance. '8*8' Later that year three performances of Mary, Mary were produced at the BNC in English, and admission was 9 charged. In 1967 a group of Americans and Bolivians were meeting monthly at the BNC and at their homes to read Ameri can plays. However, these activities did not ignite larger ones. Andrew J. Schwartz, CAO La Paz, wrote in 1972: I regret to report that there is relatively little interest in U. S. theater in Bolivia. Theater is one of the less developed arts in the country. The situa tion regarding painting or music, for instance, is quite different, but the economics involved in the atrical production seem to discourage Bolivians from taking up theater with the enthusiasm they have for other art forms . . . It seems to me that, if we were to present Amer ican theater at all, I would choose musical comedies of the Oklahoma variety. Theater in English is out of the question. There has been no demand for student exchange lately in the field of theater. Brazil When the State Department's production of Teahouse of the August Moon opened in Rio de Janeiro in May 195 6, it failed. Only the leading actors escaped critics who found fault with the acting, the directing, and the quality of the 1 2 Spanish spoken. Although there had been many technical difficulties luring this tour— new sets had to be built because of damage 8 £ during travels, and the troupe complained of lack of good advance publicity— the tepid reaction indicated two bureau cratic miscalculations. Scheduling plays in Spanish trans lated from English for Brazil, where Portuguese is spoken, 13 is not worthwhile. And, Brazilian audiences are sophis ticated and should never be sent anything but the best exam ples of American culture. However, if there are good trans lations of American plays, Brazilians are eager to produce them, themselves, and have been doing so for some time. Files in the USIA/ICS reveal many requests from USIS posts in Brazil for assistance in enabling Brazilian produc ers to obtain rights to plays either through asking play wrights to lower they royalty charges or through agency 14 financial assistance. Usually, the agency has been will ing to facilitate professional play productions by guaran teeing royalty advances and by being willing to pay royalty fees for amateur productions of representative American 15 plays. Requests for such can lead to a great expense, but rarely would they amount to the cost of one Cultural Pre sentations Program tour, and they often represent a greater need. Mrs. Fannie Taylor, of the National Endowment for the Arts, visited six USIS posts in Brazil, Argentina, and ----------; -------- 90' Peru in 1966 to speak with their CAO officers. She said: I'll never forget one young man who had just completed his Peace Corps duties. "You know," he said, "the Philadelphia Orchestra was just here, sponsored by the Department of State. We needed them like a hole in the head. The audience was made up of those from the embassy, people who are close to the English and American community, anyway. What we need are small groups that can travel to outlying areas and perform in the USIS libraries, schools, and community centers. That's what would really serve the people-to-people goal."'*'® USIS theatrical activities on a smaller scale than Cultural Presentations Programs have been numerous in Bra zil. For instance, a report from USIS Porto Alegre in 1963 mentioned excellent reviews of an amateur production of 17 Tennessee William's Purification at the local BNC. A 1968 report tells of a production of Murray Schisgal's The Tiger, for which USIS Rio de Janeiro con tracted professional Brazilian actors and a director to per form, free or almost free of charge, for BNC audiences in Rio, Salvador, Recife, Natal, Fortaleza, Luiz, Belem, Manaus, Brazilia, Belo Horizonte, Porto Alegre, Santa Maria, Pelotos, Rio Grande, Florianopolis, Curitiba, Sao Paulo, 18 Campinas, and Santos. Another report, in 1970, concerns a production of Carl Sandburg's works, in song and recital, by an American group of five actors in English before an audience of mostly 91 university students. It was sponsored jointly by BNCs in Santos, Campinas, Sorocaba, and Belo Horizonte. The same report mentions a production of Sandburg's works, backed with $500 in USIS Rio funds, for which three American actors from Sao Paulo constructed the set and lighting system and, furthermore, acted in it. The report calls the production e "top rate show," for which audiences surpassed the theater's 19 capacity even on Monday, the worst theater night in Rio. Perhaps the outstanding example of how a USIS post can use theater is the one reported from USIS Rio de Janei ro in 19 57: In view of the limited number of State Depart ment-sponsored cultural presentations, and in an effort to activate a "Brazil-wide" cultural program, USIS Rio has initiated various activities, including the subject of this particular report— a theater group tour. During March and April, USIS Rio de Janeiro sponsored dramatic readings of two American plays in 12 cities throughout Brazil. The idea had been tested previously in Rio in May 1966 when a series of the works of Eugene O'Neill were an overwhelming success. A group of four professional, well-known Brazilian actors were selected to travel throughout the north and south of Brazil, giving readings of Frank D. Gilroy's The Subject Was Roses and Tennes see Williams' The Glass Menagerie in Portuguese. These two plays were selected because of their small casts, because they had been translated under the Book Translation Program and because of the value of the plays and the authors themselves. This tour was by far the most ambitious program that the Rio Cultural Section has ever sponsored, 92 as well as the most successful. All sections of the USIS Rio cooperated to make this tour so successful. The Exhibits Section de signed and produced posters, programs and an exhibit for theater lobbies; the Press Section produced advanced publicity materials in Portuguese which were distributed to all posts. Photographs of the actors and of the authors were also sent to posts for publicity use. The Audio-Visual Section produced spot radio announcements, radio programs, tapes of the plays recorded in English by the original Broad way casts, TV newsclips and background music tapes for the performances. The Boole Translation Program compiled bibliographies of books available in Portu guese on the American theater and literature and distributed copies of the books to the posts for their use in advance publicity. The March issue of the USIS Rio-produced monthly magazine Noticias Culturais had a cover story on the theater group. The library produced a bibliography of books on the American theater and literature which are available in Information Centers and BNC libraries throughout Brazil. All posts utilized these materials to the fullest, getting extensive local placement in newspapers, on the radio and on television. The amount of publicity generated, in itself, would justify the expense involved in this undertaking, since the appearance of the group in each city was used as a vehicle for a coordinated information program on American theater and literature. In several places, the play readings were com bined with other lectures, making up an American studies program. For instance, in Porto Alegre, the readings occurred at the time of the visit of the CAO to the post, who gave lectures on American education and history. He was accompanied by a noted Brazilian scientist who gave a week's series of lectures on American conquests in space, for which several hundred certificates were given to partici pants. In Vitoria, the play readings inaugurated a "Week of American Studies," programmed by USIS Rio, 93 which included lectures on American education, his tory, architecture and literature, and which was the big event of the year in the town. The play readings were received with great inter est. Audience reactions everywhere were most enthu siastic. Brazilians were so impressed with this year's "leituras dramaticas" that in every city many requests were made for the return of this type of group next year. It is felt that next year's per formances could be even more successful due to the lessons learned this year: using the term "dramatic productions" instead of "dramatic readings" since Brazilians associate "readings" with amateur produc tions; staging the performances in theaters or audi toriums which are centrally located and known to the public; providing the group with a light bar and tape recorder so that the group need not rely on local equipment and lighting. Audience attendance was as follows: Belo Hori zonte 55, Brasilia 500, Belem 1600, Fortaleza 220, Recife 240, Salvador 220, Rio de Janeiro 600, Porto Alegre 1300 (700 in Porto Alegre and 600 in Caxias do Sul), Curitiba 650, Sao Paulo 150, Campinas 350 and Vitoria 550. The director of the group, Sergio Viotti, also gave a lecture on the American Theater, particularly the avante-garde theater, to many university theater schools in various cities. This lecture did much to stimulate interest not only in the play readings but also in the American theater. . . . Due to the unfortunate dearth of State Department Cultural Presentations and the immensity of Brazil, [such programs] perform a vital function in reading vast but scattered target audiences, particularly university students and the cultural and intellectual "elite." The readings had the addi tional advantage of offering a "Brazilian-American" combination. . . . At a cost of only $4,450 to USIS Brazil, [they] reached an audience of 7,000 of our prime M l target groups, to say nothing of the thousands of other people reached through radio and TV appear ances . 0 Although theatrical presentations from the United States are appreciated by Brazilians, when they are good (for instance, the University of Minnesota Theater Group's production of Our Town was well received in Belem, Rio de Janeiro, Curitiba, Porto Alegre and at the Sao Paulo Bien nial where it tied in with the theme of the USIS exhibit on 21 the Piastre Arts of the Theater ), similar attempts to fill the need locally for more knowledge of United States theater continue to take strides. In 1972 R. Don Crider, director of Brasilia's NBC Jasa Thomas Jefferson (where all USIS cultural activities in Brasilia are programmed) wrote: Brasilia is still a very young city (12 years old). As yet it possesses only one theater and the new Cultural Center is still a year-and-a-half from being completed. Therefore, theater, except for an occasional traveling group from Rio or Sao Paulo, is quite rare. As far as USIS is concerned, we are presently involved in presenting our very first theater produc tion in Brasilia. It is being sponsored and financed by the Thomas Jefferson Cultural Center. Our selec tion is Plaza Suite by Neil Simon. It will be per formed in English. Our choice was dictated because it fell within our amateur capabilities, we felt it representative of contemporary America, and it is entertaining.22 95 In the same letter, Crider writes, "we feel Brazil warrants a larger program in student exchange than we cur rently have. Nevertheless, within that program, we feel we 2 3 do meet the demand for theatrical arts m Brasilia." It is the opinion of Carl D. Schultz, III, USIS Brasilia's policy and research officer in 1972, that" . . . theater pieces have been particularly use ful in binational centers for the purpose of teaching English. Theater productions for the general public are almost never offered. As an example of the bina tional centers1 use of theater as a way of learning English, I can cite a production of Our Town put on by students (roughly of high school age) in the binational center in Caxias do Sul. The production was simple but effective and the students fully understood their lines and the meaning of the play. Another example was the use made of Arthur Mil ler's The Crucible in nation-wide English teaching seminars conducted in binational centers in Brazil. The play was used as a means of teaching the lan guage and making available to Brazilian students a representative work of American culture. Financing of such productions comes from the income of the binational centers which charge for English teaching. If I could choose, I would probably stick with well known American playwrights. The standards would be Miller, O'Neill, Williams, etc. Opportunities for the exchange of students and people involved in theatrical arts exist but are never enough. The Iowa Writers Workshop, for exam ple, permits one Brazilian writer or playwright to study in the States for a year with writers from other countries and there are occasional opportuni ties through the Fulbright program. The problem is simply scarce resources and a relatively low priority of the theater arts plus the fact that there is not ' 9 ' 6 that strong a demand for theater exchanges in Porto Alegre. In Brazil, the best theater is in Sao Paulo and Rio de Janeiro, although Porto Alegre has pro duced a number of playwrights and theater productions which have attracted attention throughout Brazil. Wherever there is a large American-British com munity, there is usually an amateur theater group doing plays in English for the English-speaking com munity, but open, of course, to anyone who wants to attend. These productions are not, however, a part of U.S. foreign information programs. Commercial productions of U.S. plays are gener ally handled by established Brazilian theater groups which arrange the translations and negotiate rights without any U.S. government involvement. Two recent examples of this are the Brazilian productions of Hair and Jesus Christ: Superstar, the former breaking all sorts of box office r e c o r d s . ^4 In that same year, Jerome McDonough, Assistant CAO (BNC Director) USIS Forteleza, wrote: There have been no live presentations of Ameri can theater in the 18 months I've been here. The binational center recently sponsored the presentation of an original play by Ceara Federal University's Cooperative of Theater and the Arts, but this, of course, was Brazilian theater. This strengthened our contacts there and provided goodwill for us, but didn't fit within the USIS program objectives of showing American performing arts and other aspects of our national culture to aid in explaining the background of our national and international policies. If we were to get a theater group here, the USIS Cultural Operations Office at the embassy in Brasilia would make the arrangements for traveling and produce the publicity materials. The local USIS office, with substantial aid from the binational center, would handle the local publicity and administrative de tails. Usually USIS pays the fees involved and buys 9T the air tickets, and the binational center may be asked to pay local housing costs and per diem. The little we've done in the way of theater has been more in the way of providing printed materials such as magazine articles or pamphlets and films on theater. We had one large, well-illustrated pamphlet that was very well received, even though it was in English. Articles in Portuguese in the quarterly journal Pi alogo have been very helpful as well. Realistically, a small post in a large country with high domestic air fares cannot expect to have any large group visit for a presentation of theater, or any other performing art. It simply costs too much to send people to Fortaleza, and our audiences are unsophisticated in comparison to those in Rio de Janeiro or Sao Paulo. Printed materials and films may be the only possibilities. Ideally, we would program a small group, whose members had at least a rudimentary speaking knowledge of Portuguese, to demonstrate and discuss new tech niques in production, staging and actor training. Securing production rights for local groups to produce good American plays would be another possi bility. There is no street theater here, due in part to pre-censorship that prevents improvisation and re quires approval of the script and cast in advance. In the sense of the international visitor or educational travel programs of the State Department, there is almost no chance for anyone involved in theater in Forteleza to get one of the grants avail able. With an average of one or two such grants a year here, we have sent mostly political leaders or mass media people. Some people active in theater have gone in the past, but present budgets are more sparse.^5 USIS operates three libraries in Brazil: at Brazil- ia, Sao Paulo, and Rio de Janeiro. Their holdings in g-8- theater are approximately the same: 100 books about theater, three drama magazines, sixteen recordings of plays (O'Neill, Miller, and Williams dominating). A few of the books on theater are collections of plays, and a few are in transla- . ■ 26 txon. Regarding theatrical activity by the Peace Corps in Brazil, Peace Corps deputy director in Brazil, Robert C. Jacobs, writes: . . . after discussions with our staff and Volunteers in the Rio de Janeiro area, no instances have been found where the use of theater was either directly or indirectly involved in any of our Peace Corps programs in that area. It should be pointed out that most of the Peace Corps work in Brazil is in cooperative formation and assistance, rural extension and specialized pro fessional assistance programs.2^ Chile As early as 1950, USIS Santiago reported public interest in the BNC's cultural programs. Class enrollment was expanding and a course in American drama had been added to the center's curriculum. The center also spon- 2 8 sored little theater activities. In 1964 the center cosponsored with ICTUS, a local semiprofessional theater group, a production of The Cave 2 9 Dwellers. In 1970 A Delicate Balance was produced at the 9S center by the Theater Group of the Ministry of Education foi an invited audience of officials, professors, and stu- 30 dents. Such events fit in with the cultural picture of O I Chile, traditionally elitist, exclusive and worldly. Peace Corps volunteers also used theater in Chile. In 1965 the Peace Corps organized the first community devel opment theater program to operate in Central and South America in response to requests from educators and theater groups in Chile as well as in Venezuela, Costa Rica, and Panama. Forty-five experts in various phases of drama, dance, and music were engaged on a two-year basis. They received three months of training in Spanish, theory and practice of community development and social drama, and background in the culture of the country assigned to them. Their assignments covered drama instruction at universities, coaching professional groups, arranging drama, dance and music programs, and teaching at cultural schools and con servatories . In another program involving the same four coun tries, one or two volunteers were assigned to each nation to nelp put on stage productions and concerts in slums and rural areas. The overall purpose of this program was to 100 encourage people to upgrade living conditions. The Peace Corps' programs must have fizzled out. In 1972 Jeffrey B. Barber, acting director of the Peace Corps in Chile, reported that the Peace Corps had not used theater for the previous two years. "And I doubt," he wrote, "given the current political situation and the policy of Peace Zorps here, that there wili" be any during the next year or 33 30. Zolombia Colombia has been a site for continuous USIS use of theater during the last decade. Activities have included such events as Fulbright grantee Dr. Alan Robb's lectures, Interspersed with dramatic productions (in Spanish), at three universities during a week in 1964 at the BNC in Bogota. In 1966 the Bogota BNC received the direction award for a production of Herman Wouk's The Caine Mutiny Court Martial during Bogota's National Theater Festival. The production was originally produced to honor diplomatic corps 35 and government officials. Also, in 1967 BNC Bogota produced Ionesco's Jacobo 0 La Submision (the choice of the French playwright's work was that of the Spanish director). The ten-day run at the BNCs ------------------------------— --. ----- iDl "pocket theater" coincided with Washington's birthday and the post reported that the event strengthened ties between the artistic community and the BNC. In 1969 the BNC in Cali gave assistance to an exper imental university theater group called Teusaca (which USIS Bogota called the finest in Latin America) in producing a play by Megan Terry. It won a prize at the Manizales Festi val, in recognition of which the BNC presented a sixty dollar award and the CAO invited the group to his home. The final result was a coordination of the efforts of the Teusaca group and the Valley Players, an American theater jroup. The BNC had previously assisted Teusaca in other ways, such as providing program materials, film showings, music-listening sessions, and presenting them with the slide Lecture, Acting in the U.S. Also, four of its members were 37 studying English at the BNC. In 1972 Vincent Chiarello, director of the BNC in Barranquilla, wrote that the theatrical situation in smaller Colombian towns is much less active. Probably the most widely disseminated form of American theater here is the road company production such as those sponsored by the Department of State. But declining fiscal resources have prevented more such presentations during the one and a half years 1 1 ve spent here. ______ — . r02- I've had an interest to develop street theater with the university here. Unfortunatelythe Rector is very anti-American (not "un") and therefore un willing to cooperate. Barranquilla is relatively small, and theater is in its infancy. If there had been any theatrical presentations here, there would have been an admission charge. As a director, I would choose musicals and/or musical comedy. This does not necessarily represent my choice, but they would be the most successful here in Barranquilla. The reason is simple: drama is not well liked here. The buoyant, effusive character of the people tends, therefore, to accept music rather than the more serious commentary of the drama. (I must remind you that this conclusion is my own personal one based on contact with thousands of local inhabi tants .) As far as I know, there has never been a govern ment sponsored exchange of persons interested in the theater between the people of the United States and those in Barranquilla.38 Tabor E. Dunman, Jr., director of the BNC in Medel lin, offered some suggestions for the sort of United States theatrical presentations that could be used in smaller posts with an available stage. Medellin is a relatively small post with a grow ing BNC in a new building. There is a multi-purpose activities room which will shortly be conditioned with a portable stage facility and provisional the ater lighting. There will be seating for approxi mately 175 people. It is hoped that a regular theater group will be established in the BNC for presentation of the atrical works in both Spanish and English. The 103 theatrical activities at the post have been confined to this date to simple sketches for students of the BNC who are studying English as a second language. These few students are studying drama as part of their advanced conversation studies. Street theater has not been developed in Medel lin, but one such group was started in Bogota. That Colombian group, working completely on its own, has devoted its efforts to theatrical technique employ ing actors and puppets with some costuming and no scenery. The content of the productions is intended to be social commentary on matters affecting the residents of the sectors in which the works are per formed. These productions have had no connection with the American theater in terms of content or support. The BNC recently co-sponsored the presentation of the Popular Theater of Bogota's production of Death of a Salesman in Spanish here in Medellin. For that performance, there was a standing-room-only crowd of 950 in Medellin's municipal theater. The BNC committed itself to pay half the production costs of the performance if the company were not able to cover its expenses from admission prices. If I were to choose any presentation whatsoever to offer to the public in Medellin, it would be Man of La Mancha, Promises, Promises, or You1 re a Good Man, Charlie Brown. Since the musical comedy is one of the truly American contributions to the theater, the choice of one of these works seems to me the most appropriate for an audience in Medellin. One is particularly interesting for a Spanish-speaking audience; the second is representative of an aspect of contemporary American life; the third is a subject which has universal appeal thanks to the spread of the Peanuts cartoon strip. On a more practical scale, a Neil Simon comedy or an Edward Albee or Tennessee Williams drama would have the most appeal in this environment. Because of the resources available and the possibility of finding the talent locally, I have been considering 1 0 1 seriously the presentation of Jesus Christ, Super- star in the round in our multi-purpose activities room. It is in the contemporary U.S. theatrical mood, and the reception here would be enthusiastic (despite a basically conservative religious tradi tion) . The most effective of any program, however, for a long-range impact on local cultural leaders interested in the theater would be a workshop-seminar in which American theater specialists would work with small groups for two to three weeks. The depth of impact would be greater, and the influence of close contact with a theater specialist would give a much better appreciation of the character of the American theater. The opportunities for exchange of students in the field of the theatrical arts are practically non existent in Medellin. Severe budget limitations have restricted both State Department and USIA cul tural exchanges in all areas. Student possibilities for travel to the U.S. are pretty much limited to what the Fulbright program might offer. Theater representatives from the U.S. appearing locally would be confined to one guest lecturership for perhaps one or two days in any one city. This is true throughout Latin America.39 Ecuador Personnel from the American Embassy in Quito sup ported theater activities more in the past than they do at present. In 1954 PAO Walter Bastian founded the Pichincha Playhouse. Until 1962 it had an up-and-down existence. Then Anne Putnam, director of courses at the binational center in Quito, revived the amateur organization which, under her direction and sponsored by the center, struggled 105 through a production in English of The Tender Trap. Al though the production proved to be a financial failure, it was considered a dramatic success and one factor that in creased membership at the center's English classes.^ By 1962 the playhouse was an accepted cultural or ganization in Quito, and it was the only successful group to offer plays in English. It was well received, according to a post report, because some members of the group were of professional quality and were able to attract an audience of many Ecuadorians who had visited or studied in the United States.^ For instance, in 1963 two plays produced there, The Night of January 16 and Take Her She1s Mine, received good reviews. Then Arsenic and Old Lace opened to mixed reviews. Despite the fact that these productions were in English, each was well attended. In 1964 Romney Brent, a Fulbright grantee, advised the theatrical group on casting, selection of plays, and technical problems, after which he helped produce two one- 42 act plays by a young playwright from Guayaquil. Therefore, it came as some surprise in 197 2 to hear from Donald W. Mulligan, USIS CAO in Quito, that the post had made no use of theater as part of its cultural programs in recent years, except for occasional play readings at 106 binational centers.^ In addition, he wrote: If it would be possible to bring drama groups here to perform American works (necessarily in Span ish) , I would choose plays of outstanding contemporary authors such as Tennessee Williams, Arthur Miller, William Inge, and perhaps even one or two works by Neil Simon as examples of comedy. There are no programs at present for exchange of persons in theater arts, nor does there seem to be much of a demand from either the U. S. or Ecuador. Theatrical productions in Ecuador are rather sporad ic, primarily under university groups or the Casa de la Cultura.44 In 1971 USIS Guayaquil began to sponsor monthly readings of American plays for selected target Ecuadorian audiences. The purpose of these free play radings was also to serve as an encouragement for American residents to join in USIS activities and thus create "a highly desired" bina- 4 5 tional atmosphere. The first three plays of this program, 46 Harvey, Arsenic and Old Lace, and The Rainmaker, were presented in the USIS auditorium in Guayaquil which seated only sixty. However, in 1972 John D. Parker, branch CAO for USIS Guayaquil and director of the new binational center, wrote that a 600 seat theater was being built and that a theater group would then be organized to put on larger pro ductions . ^ Guyana Many Guyanese are accustomed to attending the 10-y theater in both the United States and Great Britain but, because of the constant aid from the British Council which purchases books and often pays theatrical rights, "they per form British plays more often than American ones. However, USIS Georgetown paid royalty fees and obtained the rights to a number of American plays performed by the Theater Guild of British Guyana. These included The Caine Mutiny in 1962, 4 f t The Teahouse of the August Moon in 1963, A Raisin in the AQ Sun in 1965, and Hansel and Gretel for the Children's Workshop in 1967.^® Netherlands Antilles In 197 2, Harry M. Lofton, American consul general in Curacao, wrote: Few American theater groups have performed in the Netherlands Antilles, and the most popular and successful have been dance and jazz musical groups (since they do not require an understanding of English; Dutch and Papiamento are used most often here). Street theater is unknown here. There is no formal exchange program between the United States and Curacao in theatrical arts. This consulate general is relatively small and has no USIS funds for such programs. 1 Paraguay In 1967 a field message from Asuncion reported: T 0 '8 The BNC is rapidly becoming the theatrical cen ter of Asuncion. Weekly requests are received from thespian groups to use its newly renovated and air- conditioned auditorium (seating capacity: 400), as it is the only auditorium of its kind in Asuncion. So far this year more than 1500 persons have attended plays in English, Guarani and Spanish put on by the Cosmopolitan Players (an Anglo-American group), the Teatro Popular de Vanguardia (directed by univer sity students and closely identified with the BNC), and the Nucleacion-frances (an organization which is sponsored by the French Embassy). ^2 Wallace Keiderling, director of the Centro Cultural Paraguayo-Americano in Asuncion, brought news of the BNC up to date in 1972 when he wrote: First, I feel that American plays translated into Spanish and put on by local and American actors together have been most valuable in promoting good will for the United States. A rare combination, I know, but one that can result as the effort of hard work and good contacts. (Street theater has not been tried here in Paraguay.) The facilitative and financial arrangements have been very simple: we lend the theater, absorb ex penses for lights, cleaning, etc., and the theater group does all the rest. Out of the profits at the door, if there are any, we accept a donation of what the traffic can bear. Secondly, if I could select any presentation from American theater, I would request the same thing I had once in Santo Domingo, D. R.; that is, Romney Brent, on a grant from the State Department, directing Our Town with a cast of the best Dominicans handling the acting. For me that was the very best combination of director/cast that I have ever had in almost 11 years of this kind of work. Thirdly, I would say emphatically yes, there are many, many opportunities for exchanges of stu dents, professors, etc., between the U.S. and 109 Asuncion. It just seems to be the question of money- on the part of our government. I am led to believe it just doesn't exist. And what a shamel There are at least a dozen good companies here that could use the know-how of some of our first flight stage hands, lighting experts, scenographers, etc. In fact, I have proposed just such a thing, but the king's coffers are empty. Peru Of United States theater in Peru, Parker J. Anderson, assistant CAO at the United States Embassy in Peru in 1972, wrote: Anything that informs about the internal United States generally does more good than harm here where they have so little news of an unsensational nature (they frequently accuse us of only publish ing the sensational about themselves— a generally correct observation of the media). We are limited in Lima by the generally low level of professionalism of the Peruvian theater, which at best tends toward a good university pre sentation in the United States. In this sense there is no street theater, and little amateur or student theater, although the university groups tend to pre sent what could be called practical theater. That is, they involve themselves in political and social themes and for the benefit of the community, but again on a very small scale. Our past attitude has been to encourage decent directors to produce American plays by providing scripts or helping to obtain rights, but on a very small scale financially. We have never brought any major theater group down here and have spent perhaps $150 in the last three years on theater. Anything innovative in American theater could be introduced but, as I said before, we simply encourage authors when they come to us because there is so_________ TTQ little local interest. The very actors and directors admit they perform theater in Lima chiefly for themselves. There is very little business and virtually no Peruvian government support for theater. I could give a list of plays, but they would be my personal choices and in no way reflect what a Peru vian audience would accept or appreciate. The paucity of translations of works into Spanish is very critical, since even fewer people would come to see an English presentation. There is an amateur English language workshop that presents plays in the major English church auditorium, but it has little or nothing to do with Peruvians or Peru. We could use any number of exchanges for Peru vians, but little or no educational value would come to an American living here. Due to the relative lack of interest here, we have yet to use another type of exchange grant for anyone in theater. . . . [Theater] doesn’t really deserve much attention in Latin America except for Buenos Aires and possibly Montevideo and Santiago. Surinam Donald A. Johnston, the American consul general in Paramaribo, wrote that American theater has not been used at his post. The amounts of money and time the small American staff here would be required to spend on any size theatrical production are too great. An exception could be made for informal readings of various plays selected for having a large number of participants. But the population of Paramaribo is too small to sup port workshops or lectures on American theater. Opportunities are easily arranged for theatrical exchange; the problem is funding these exchanges.^ m Uruguay When one compares the way the 1956 State Department- sponsored production of The Teahouse of the August Moon was received in Brazil (see page 88) and the way it was received in Uruguay, it seems a taste of United States theater is more appreciated in the latter. In Montevideo, the produc tion was hailed as "an eye-opening exhibition of the United States mind."^ Perhaps that explains the size of the theater col lection at the USIS library in Montevideo. It has 233 recordings of musical comedies, operas, film music, and plays. Its subscriptions to periodicals and magazines in clude The Educational Theater Journal, Modern Drama, and Players Magazine. Over 800 plays are listed in its cata- 57 Logue. (A catalogue of its films and books on theater was lot available at the time the USIS library in Montevideo was contacted for this study.) However, CAO Robert D. Cross wrote from the United States Embassy in Montevideo: There has been no active use of American theater by the embassy here in recent years. Over 10 years ago a very energetic program was apparently quite successful. Locally, there is a neighborhood theater, mostly political in nature, and not well developed, which produces American plays. 112 At this time, with very well developed local theater involving many fine groups, a straight U. S. sponsored theater would not be of great potential. On the other hand, it is my opinion that there exists a fairly large group of young people who want and need an outlet for their interest in modern communi cations. Accordingly, we are planning to open soon a very rudimentary experimental theater group. This will stress very simple events— readings, workshops and lectures as well as multi-media presentations. Opportunities for exchanges do not meet the demand here. I would not, however, advocate a large increase in official U.S. grants due to local political prob lems. More useful would be private exchanges, directly arranged between U.S. and Uruguayan theatri cal groups.58 In 1973 the rudimentary theater group mentioned in Cross’s letter inaugurated the new theater of Montevideo's binational center with a production of Godspell. It proved sxtremely successful, according to post reports and, when the same group performed the production at the binational center in Ascuncion, Paraguay, many Paraguayans said they considered it 1973's outstanding cultural event. J Venezuela Although the only response from Venezuela to the questionnaire was one from the Peace Corps deputy director saying Volunteers have made no use of theater there,one Incident concerning theater in Caracas is mentioned in the JSIA file. In 1963 the post in Caracas supported the local 113 theater's bilingual plays because they helped bring Vene zuelans and Americans in Caracas together. This theater club had a facility seating 360. Its board of directors was made up largely of United States businessmen who, reported the post, previously looked upon Venezuelans as Communists and were equally negative in their opinion of United States embassy personnel. To overcome this attitude, the post suggested they experiment in true bilingual theater by using the embassy's simultaneous translation equipment and letting an all Venezuelan cast do the Spanish dialogue to an English language play. The $250 cost for this was offset, reported the post, by good reviews, increased goodwill, and a favorable reaction to the board's distribution of free tickets to uni- f i X versity students. Caribbean The Bahamas Although there is a United States 'consulate 'general in Nassau, there is no USIS and no reply to the question naire was received. Barbados The former PAO of the American Embassy in Bridgetown 1T4' responded to the questionnaire after the Public Affairs Office there had been closed for budgetary reasons. I personally have not been able to make very effective use of the American theater in programming at the posts where I have served in India, Pakistan and Barbados except to encourage locally mounted productions of American plays. The amount of time that this takes usually has not been justified by the results. For the most part, my theater programming has consisted of helping local theater groups obtain rights to American plays and making available USIS physical facilities for their productions. To the best of my knowledge, there is no street theater in India or Pakistan and I know definitely there is none in Barbados. However, there is an active amateur theatrical group. For practical reasons, theatrical presentations travelling from the States must be easy to mount and move. All of us in the field have vivid memories of having to cope at one time or another with literally tons of baggage, lights, costumes and scenery in con nection with travelling cultural presentations. Apart from this basic consideration, theatrical presentations must be simultaneously contemporary American and understandable in a non-American cul ture. In Barbados, this shouldn't be much of a prob lem, but in the Asian societies it becomes much more difficult. Many contemporary American plays which come across as brilliant, penetrating social com mentaries at home assume the aspect of washing one's dirty linen in public when produced abroad. (This, of course, is a problem we must deal with sensitive ly in much of our programming.) There are opportunities for exchanges between the amateur theatrical group in Bridgetown and the United States. However, faced with a chronic shortage of funds for exchanges and the relatively low impact that theatrical exchanges would produce in Barbados, I wouldn't recommend it.®^ 115 Dominican Republic In 1965 the BNC Santo Domingo formed a little theater group to do plays in both English and Spanish. Ad mission was to be by invitation only/ as there is no com mercial possibility of presenting plays in English in the Dominican Republic. Before that, there had been some interest shown by local groups wanting to present American plays. One group wanted to produce Irwin Shaw's Bury the bead, but Shaw did not want his play produced in any form: he said Russia had been using his play as anti-American propaganda. In 1972 Santo Domingo CAO Martin Kushinsky wrote: The post has not sponsored American theater. Needless to say, English speaking companies from abroad would not appeal to a wide audience in this country. Street theater has not been developed here. A local drama group consisting mostly of Embassy employees and family members will offer several evenings of theater this season, but without spon sorship. In 1971 the Department of Fine Arts in cluded Tennessee Williams' The Glass Menagerie (in Spanish) in its season. In 1968 Romney Brent was in Santo Domingo as an American specialist and directed a production of O'Neill's Desire Under the Elms in Spanish. If given a choice, I would select a professional company able to perform in Spanish. It is unlikely that a sufficiently large English speaking audience could be mustered for plays in English. I would 116 place a strong emphasis on "professionalism" of the highest quality. A fine U.S. production could help stimulate a revival of interest in the theater here and provide local directors and actors with good models for their own future productions. I would also like to sponsor some dramatic readings, a form neglected here. The performance of a musical, be cause of its American origins and universal appeal, could probably bridge the language barrier here. A professional level university theater group in a musical production or in a dramatic reading in Spanish would make an impact in Santo Domingo. The limitations of our current exchange program would not at this time permit exchanges in the the atrical arts.®5 Jamaica James C. Palmer, USIS Kingston CAO, wrote in 1972: We have no official use of American theater in Jamaica. To the best of my knowledge, no street theater has been developed. If we could choose any presentation from Ameri can theater, I believe we would choose modern exper imental works, preferably done by a black theater group combined with a workshop. There is an active theater movement in Kingston and, while they do classical theater works, there is a lot of interest in modern experimental theater . . . The workshop approach would allow for interchange which would be valuable, I think, both for local performing artists and for the visiting group. I would not say that opportunities for exchange meet the demand, but in my brief experience here the demand itself does not appear to be very great. In regard to the Peace Corps's use of drama in .Jamaica, William Taylor, formerly stationed in Jamaica with 117 the Peace Corps before becoming Action's regional director for Latin America, said that Volunteers there have often used drama as a teaching device and occasionally participate in local productions. Haiti The BNC at Port-au-Prince has long been active the atrically: in 1950 several new and popular courses in Amer ican literature and drama were introduced and a small C O dramatic club was organized. In this country, as in Jamaica, there has not been a great demand for theatrical presentations from the United States but, when given the chance to see one, audiences in both countries have proved enthusiastic. When the Cornell Music Theater visited those countries in 1962 with a show of musical sketches, How to Grow a Musical, a Jamaican news- 69 paper called it a "stunning success," and in Haiti "it was universally commented on as the most successful U. S. cul tural presentation within memory" for both students and Haitian elite.^ Trinidad and Tobago As the information attache at the Embassy of Trini dad and Tobago, Washington, D. C., has written, there has -- ris been little opportunity for the exchange of people involved in the theatrical arts between his country and other na tions, although some comedy writers in his country have received international recognition: Errol John, Derek Wal- 71 cott, and Errol Hill. Still, interest m the United States theater has been evident whenever examples of it have been produced there. In 1972 William F. Gresham, PAO, USIS Port of Spain, wrote: In 1961, the American Repertory theater group (sponsored by the State Department) headed by Miss Helen Hayes, performed at Queen's Hall, the princi pal theater on Port of Spain, for three evenings in August. Audience participation was by invitation only, and the house was packed every night. The response was enthusiastic. In 1963, in commemoration of the 75th birth anni versary of Eugene O'Neill, the USIA provided this post with a large photographic exhibit on O'Neill's life and works. It was displayed in the Town Hall of Port of Spain and the "Naparima Bowl" community arts center in San Fernando. Opening nights at each location were highlighted by public readings from Anna Christie by prominent local drama groups. All financial expenses were borne by the USIA. Locations and casts for the readings were provided by the municipalities of Port of Spain and San Fernando. The Educational and Cultural Exchange Program for Trinidad and Tobago is a very small one and priority is given to other than drama projects for reasons both of policy and of budgetary restrictions. Were these limitations lifted, the most valuable theatrical projects would be workshops for the many gifted and energetic drama circles, both the adult amateur groups and those connected with the univer sity and senior secondary schools. 119 We are now exploring the possibilities of bring ing a series of Hunter College-sponsored speakers on black theater in America to the Trinidad campus Of the University of the West Indies early in 1973. Current theater emphasis in Trinidad and Tobago is on the development of locally inspired and cultural ly relevant dramatic productions, although occasion ally American plays are produced, as noted below. In 1964, Mr. James Lee Wah, deputy principal of Naparima College, San Fernando, received a Department of State Educational Exchange grant for study at Yale University in drama. Since his return he has produced (with his amateur San Fernando Drama Guild) Miller’s View from the Bridge in 197 0, Albee's Zoo Story and The American Dream in 19 69, Carlino's Cages and Schisgal's The Typist and the Tiger in 1968. He is currently planning a production of The Crucible. Another San Fernando amateur group, the Carnegie Players, presented A Moori for the Misbegotten by O'Neill in 1968. Trinidad's leading dramatist, Derek Walcott, and his professional Theater Workshop (the only such in Trinidad and Tobago) also produced Zoo Story in 1968. Mr. Walcott is an annual visitor to Broadway and off- Broadway theater. . . . there is possibly a greater margin of op portunity for exchanges in the theatrical arts than our current small program can meet. However, a case might be made that any additional (and necessarily modest) support by the U. S. government could scarce ly be significant. Large numbers of sophisticated Trinidadians and Tobagoians travel rather frequently to the United States for cultural purposes as well as for personal or business pursuits. Over 1,000 students are presently attending U. S. colleges or universities at their own expense or under some form of local sponsorship. Public funds could perhaps be allocated more appropriately to countries where there is little or no private or commercial interrelationship in the fields of theatrical and other arts or where a large T Z T 3 proportion of theater lovers lack the convenient opportunity of travel to the United States that is enjoyed by people h e r e . ^ 2 The USIS library in Port of Spain has twenty-eight books on theater, subscribes to four theatrical magazines, and has sixty volumes of plays, many being collections of several works. The library has no tapes or records but does 7 3 have three films on the subject of theater. Central America British Honduras Charles P. Torrey, the American consul general in Belize City, reported: To my knowledge, there has been no American theater at this post, at least not in the last few years covered by our records. A National Festival of Arts is held here each year, and for the past three years we have been instrumental in helping to provide one or more American adjudicators who have been help ful to local theatrical groups and much appreciated by them. Although it appears beyond the realm of possi bility, I think that an American amateur theatrical group (plays) would have more impact here than would a professional group. This is mainly because it would perhaps more closely associate with local groups which are relatively unsophisticated and inexperi enced. It would also be of great benefit if any American group coming here would also hold workshops. They would find great receptivity. At the present time, I feel that exchanges of persons involved in theatrical arts meet the demand. The Kentucky Pioneer Playhouse has granted several T 2 T short-term scholarships to Belizeans as well as helping to sponsor a local dance group in the United States. In addition, this year we hope to assist with transportation expenses of two Belizeans who have been granted scholarships in the performing arts through the auspices of the Michigan Partners of the Americas. While we have not sponsored American groups in Belize, except for adjudicators, exchanges in general are adequate.^ ^ Costa Rica There have been several attempts to establish a people's theater in Costa Rica, one of the countries men tioned previously in the Peace Corps Community Development Theater Program (see Chile, p. 98) . In 1969 the University of Costa Rica organized a traveling theater-cultural program outside the capital city of San Jose. For this, USIS San Jose arranged for Bernard Gersten, associate producer, New York Shakespeare Festival, to send his plans for the mobile theater used by the festi- i 75 val company. . In 1967 one of the most successful events at the BNC San Jose was a performance of an early American melodrama, The Poor of New York, given by some BNC members to benefit the Center. The post report said its simplicity made it easy for amateurs to perform and very entertaining. It attracted 1,000 viewers and netted $7 00.7^ 122 In 1972 Ray H. Bur son, director of the Costa: Rica- North American Cultural Center in San Jose, wrote: There is a little theater group in Costa Rica which puts on plays about three or four times a year for the English-speaking community. They will be making their headquarters in our theater in the new Centro Cultural which is due to be finished within the next few months. Their next production will be Guys and Dolls which, being a musical, should attract a lot of attention. The National Theater drama group has put on (in Spanish) such plays as The Glass Menagerie and A Streetcar Named Desire. Well-known plays by Ameri can authors that have been translated into Spanish are always popular. There is no street theater in Costa Rica, nor has there been any opportunity for student exchange programs in the field of theater arts. If we could choose presentations, we would prob ably select musicals and try to promote theater-in- the-round. A California-based drama company toured Latin America in 1965 and presented theater-in-the- round quite successfully (Cultural Presentations Program of Musical Theater USA performed by Sacra mento Theater in the Round).^ The opinion of Alberto F. Canas, Costa Rica's minis ter of dulture, is much the same: We would choose the musical comedy for the fol lowing reasons: It is an authentic North American genre; in its development, the North Americans have contributed greatly to the advancement of musical theater. Also the high costs of production have prevented this type of theater to be made known to the Costa Rican public, except in the very poor film versions. As far as opportunities for exchange between ___ rz3 Costa Rica and the United States of persons inter ested in the theatrical arts, none exist at present. El Salvador 78 The small amount of American theatrical activity in El Salvador seems to have been received enthusiastically. For example, in 19 61 the San Salvador BNC and the San Sal vador Drama Group, an organization dedicated to the English language performances, joined forces to bring arena theater to El Salvador for the first time. Eight performances of a North American comedy were given in the small arena theater built in the center, and public reaction was favorable. The last six performances were sellouts, with audiences composed of university students, professional actors, and government officials.^ In 1962 a field report stated that the directors of the two principal drama groups in El Salvador had become increasingly friendly with the U. S. Embassy, had produced two American plays, and were planning to do others. To sncourage their desire to maintain close relations with the cultural section of the embassy, USIS San Salvador supplied aoth groups with copies of American plays and made other 8 0 Irama materials available. In 1971 USIS San Salvador reported that Daniel 124 Llords1s International's presentations of two marionette concerts, sponsored by the USIS and BNC with $600 per per formance from USIS funds, were the best received and most popular cultural activities at the post that year. He was particularly pleased that, following each performance, Llords and his partner, Jones, conversed with invited guests until the last interested observer had left. "Llords was so well received that Patronato Pro- Cultura, San Salvador's most active promoters of cultural events, are inviting him to return under their auspices," 81 says the report. Salvadorans' interest in United States theater seemed further evident in 1970 when USIS San Salvador or dered the USIA Contemporary American Theater package, 8 2 including thirty-eight slides and lecture material. When the Cornell University Theater visited San Salvador in 1962, the post reported, "Salvadoran students of all political shades ranging from Communists to conserva tives were present, but the prevailing attitude was one of O O friendship." However, Beverly H. Brock, USIS San Salvador IAO in 1972, wrote: No American theatrical group has performed in El Salvador in the last several years. There has been no street theater. 1 2 1 If I had a choice, I would select a medium-sized (10-15 players) university repertory company to do selections from a variety of American plays. There is a theater high school here under the direction of a very talented young man. I would like these stu dents to see what is done on American campuses, as well as have the group perform for university student audiences. No, we do not have as many exchanges with the United States in this field as we would like. The director mentioned above has requested our help in sending a number of his best students on a short tour in the states, but our funds are not sufficient, even though it is a project in which I am personally very interested. As you can well understand, the major difficulty in programming theatrical groups here is the language barrier. The great majority of young people here whom we would most like to expose to American theater do not understand English, and very few American companies can perform adequately in Spanish. For this reason the great majority of artists sponsored in El Salvador, either by USIS or by us in coopera tion with the Department of State, are musicians. In very practical terms, music is an international language. There exist in most countries of Latin America, including El Salvador, groups of amateur actors who stage plays in English and most often by American authors. These productions are more or less well attended, but the audience is necessarily limited to the foreign English-speaking community and to those few Salvadorans who understand English very well. A moderate admission charge is usually made to cover the expenses of the group, and this is another bar rier to wide attendance by Salvadorans. The best possible use to which American theater could be put here would be for local groups to per form Spanish translations of American plays. So far, few of these are available.®^ 12€ Guatemala » Two positive reports on USIS use of theater came from Guatemala. In 1963, the same year a local Guatemalan theater group requested help from USIS Guatemala in obtaining copies in Spanish of Our Town, a group of young enthusiastic people from the low-cost housing project of Montserrat, San Sal vador, and all active members of the USIS-assisted Montserrat Community Center, performed a fellow university student's o c play in the I.G.A., the Guatemalan binational center. The Salvadoran group was hosted by members of the IGA Youth Association which arranged housing in the homes of members, tours around the city and entertainment. Upon their arrival in Guatemala . . . the Salva dorans were given a reception at the home of the ACAO where Guatemalan-Salvadoran-American relations were solidly reinforced until the small hours of the morn ing. The post believes this project was successful. Both the Salvadorans and the Guatemalans are enthu siastic about the possibility of further contact between the two centers and the IGA group plans to make a return visit to El Salvador. The two groups represent different social and economic strata in their respective countries. The Salvadorans generally come from the lower economic groups, the Guatemalans from higher economic groups. This in itself is significant since cooperation between the two groups can lead not only to increased understanding between the two countries but to in creased contact and understanding between different classes in the two countries. Moreover, a visit to 127 Montserrat by the IGA youth group may give the group some ideas for its community center work here in Guatemala. Ten leaders of the IGA youth group recently went to the United States on an educational travel grant under the Department of State's Exchange Program. Since their return, the post, through the director of the binational center, has been urging them to become involved in some t ^ " ’ * community centers. In 1964, director and actor Romney Brent again re ceived much praise when he and John Braden, lighting tech nician, visited Guatemala under the auspices of the State Department's American Specialists program. While they Were there, the post reported: . . . Brent worked with several theater groups, including the school of drama of Bellas Artes, the official cultural organization, the drama department of the Universidad Popular, a vocational type night school, and with the Grupo Artistico de Escenifica- cion Moderna, Guatemala's principal private theatri cal group. At the Bellas Artes school and at the Universidad Popular he gave short courses on acting, directing and the theater in general. He also directed two plays (both American), one at the Uni versidad Popular and the other at the GADEM theater. The plays will be put on at a later date. Brent also visited Quezaltenango and gave a very informal talk to a small but select group of people interested in the theater, including the mayor and his wife. Braden gave a course on lighting and scene design ing at Bellas Artes and assisted the school's profes sional theater group in lighting the stage produc tions put on during his stay. He also left plans for the installation of Bellas Artes' new lighting equip ment, some of which was still in customs when he left. He also gave advice on stage lighting to the University of San Carlos theater group and to the i ! >e or activity in tiuatemaxa ■ s T2'8 GADEM group. Representatives of the latter groups also attended his course. The post believes Brent and Braden were success ful. . . . By working with several theater groups this time, Brent was able to enlarge his contacts with Guatemalan theater people, many of whom would like him to return. . . . the director of the Hon duran University theater group who worked as a guest director in Guatemala during Brent's visit, also wants Brent to come to Honduras to direct an American play. Braden labored under the handicap of not knowing Spanish, so his courses had to be translated by an interpreter. Braden was able to supervise the installation of some of the new lighting equipment, left instructions for the remainder, and the light ing there is now much improved. Also, the CAO has attended a modern dance recital lit by two of the people who participated in Braden's courses, and their work showed they had improved a great deal. At the same time, both he and Brent made many friends here in Guatemala. . . . The post's contacts with the theater groups have also been strengthened as a result of their visit. Honduras There is an audience for theater in Honduras but not for a great many productions. In trying to encourage more activity, the United States Embassy in Tegucigalpa and the United States Consu late in Belize City have helped facilitate productions. For Instance, in 19 65 when a theatrical group in Teguciagalpa called El Grupo Talia performed Eugene O'Neill's Anna Shristie in Spanish, the CAO became its technical advisor r2rsf 8 8 and the embassy provided sound equipment. In 1966 Fulbright grantee Dr. Alan Robb, whose pre vious assignment had been to the University of the Andes, Bogota, Colombia, gave a two-week summer school course in theater in Belize City. The American Consul, Belize City, reported that the course was a decided success and that the Festival of the Arts Committee wanted him to return the next year, possibly as adjudicator of the annual May festival. Robb accomplished a great deal in his stay. Each day he conducted a three-hour late afternoon seminar (11 sessions in all) with a registration of 26 stu dents ranging from teenagers to middle aged. Four mornings he lectured to primary school teachers and three afternoons to secondary school teachers. He also spent mornings at Belize Teachers* College and Belize Technical College and lectured to the newly- formed Drama Society. In addition, he directed a one-act play with rehearsals every evening and on Sunday. The play, Impromptu by Tad Mosel, was performed the last evening of his visit and was well received by the audience of about 300, which included the Governor, Sir John Paul, and which was followed by a reception. After the performance, certificates were given those who had met the seminar requirements. What most impressed the British Hondurans about Robb, even more than his skill in the theater, was his manner in conducting himself. There has been considerable comment, especially from the students in his course, that Robb was extremely easy to work with and that he communicated with his students well, putting them at their ease and encouraging their par ticipation. 130 Such approachability to visiting lecturers was a new experience here and resulted in far greater en thusiasm and participation in the course by all con cerned than is usual. This rapport was quite evident in the play production. Even outside his heavy schedule, Robb spent considerable time with course Q Q participants. Concurrent with Robb's visit, the American Consul, Belize City, requested from USIA additional copies of exhib its and cultural affairs packets on theater, information as to the cost of film-strip series on basic stage lighting, movement, make-up, and stage design and "any other material 9 0 on play production that is available at little or no cost."- Y In 1972 Vance C. Pace, the CAO at the United States Embassy in Tegucigalpa, explained the Honduran theatrical situation: In Tegucigalpa there is a local theater group called Grupo Dramatico de Tegucigalpa . It is a bina tional group whose presentations run more to the light comedy than to theater as a criticism of the society. Their most recent production was Forty Carats and they did it both in Spanish and English. In San Pedro Sula there are two groups, and they have also done plays in both English and Spanish. My own judgment is that the theater group here does considerable to break down hostilities and pro mote goodwill. The fact that it is binational in composition does a lot for mutual understanding, and their plays are generally well attended. They have their own theater, and, although it isn't plush,not very much in Tegucigalpa is. They seem to be able to produce plays using their own resources. I doubt they get a government subsidy. X 3 T 1 From the standpoint of representing American culture to people outside the States, I myself would prefer plays that show something about freedom of expression in the U.S., even though it might be critical of our society. Most of what I have seen here is good entertainment, which is fine and I have really enjoyed it. But it isn't really the Now Theater of the U.S., which I think also has something to say. The only opportunities for exchange that I am aware of are grants given by the State Department for people in various professions to visit the U.S. for 30 days to see what is happening there. None of these has gone to dramatists since I arrived in Tegucigalpa. A letter from Joseph P. Oliveri, director of the sducation program of the Peace Corps in Honduras, explained the use Volunteers have made of the theater there. Volunteers in Tegucigalpa have made use of thea ter usually for their own enjoyment, satisfaction and pastime. This capital of Honduras has two main amateur theater groups, and one of them, the Grupo Dramatico de Tegucigalpa, has had Volunteers as well as other Americans ancX-Embassy personnel participate in performances since almost its founding 18 years ago. This participation is based on personal choice; no pay is received. Other groups with university and/or private affiliations exist in Tegucigalpa and elsewhere throughout Honduras. In addition to this more or less amateur scale of involvement, Peace Corps Volunteers located in various parts of the country over the years have used various forms of theater including skits, dramatic readings, socio-dramas, street-theater, short home made plays, follow-along booklets and film-strips, etc., to gain audience participation or present a point, motivate toward a desired action, organize a group, undertake a project or just plain entertain. T32 We carry on, presently, a program which assists the Honduran Education Ministry in teacher-training and teaching. The significance of these activities has been varied. Some have met with great success, others with failure and still others made no effect whatsoever. By and large, I'd venture a guess (as we don't keep statistics on such things) that they were more positively received and the reactions ob tained were the desired ones. As an amateur thespian myself, I've grown to see an awful lot of positive value from theater and theater-related presentations for the doer as well as the onlooker.^2 Nicaragua The first Experimental Theater of Nicaragua which opened in Managua in 1972 signaled the birth of, not a development in, Nicaraguan theater. Managua has a reputedly fine theater, the Ruben Dario, but all plays presented come from outside the country. However, Peace Corps Volunteers working in Nicara gua 's rural areas have used a type of sociodrama to develop community leaders. They also use illustrated materials, either on film strips or drawings, to help them give basic 93 lessons xn nutrxtxon, health, and co-ops. Anthony M. Thielen, deputy director, Peace Corps, Nicaragua, explained the use of the sociodrama. The socio-drama is a short skit in which person alities and especially attitudes are conveyed through actions, gestures and words. Take, for example, a setting where a small community wants to elect a 133 leader. What type of leader do they want? The auto crat? The pessimist? The democratic type? The loafer but gladhander? Actors are chosen to repre sent each of these personalities. The actors come from the people themselves or Volunteers. The words and actions come spontaneously from the actors once they understand the personality and have been given a scene setting. These scene could be anything from buying a house to fixing a pump. The point is how to do it and why it's worth the bother.®^ Panama An interesting report regarding BNC Panama's lively theatrical activities during a period of political turmoil was received by the USIA in 1968: BNC Panama has just completed a 10 performance run of a new Panamanian farce, Esto Lo Arreglo Yo (I'll Fix This) written by the BNC librarian, Mrs. Acracia de Smyth. Despite the political crisis in Panama, which caused the postponement of the National Theater performance, the play was well attended and served to publicize the name of the BNC and to demon strate, as did the 1966 production of Born Yesterday, that the BNC has a healthy interest in promoting Panamanian culture. Like Born Yesterday, this produc tion amply showed that the binational approach to theater pays off. The cast of nine included six Panamanians, two Argentinians and one American. (A member of the Peace Corps, he is one of three theatrical special ists assigned to Panama.) The script, design and stage management were all handled by Panamanians; co-directors for the show were Americans Joseph Young, BNC director, and Steve Treacy of the Peace Corps. Publicity for the show was excellent and the amount of space allotted by newspapers was rather surprising since the impending election as well as : _ _ the impeachment proceedings against President Robles dominated all the news media. The play's title helped to gain some of this publicity, for Esto Lo Arreglo Yo has been a political slogan in this year's presi dential campaign. This play was produced jointly by the BNC and La Union Nacional de Artistas de Panama, a newly organ ized theater union structured along the lines of the American Actor's Equity. The idea for producing jointly was to help the Union become established as a theater producer and to promote the Union so that it becomes known to the Panamanian public as the leading organization devoted to furthering the professional advancement of Pana manian actors. In this venture the Union took responsibility for the program and stage management; in return the BNC paid Union initiation fees and one month's dues for every member of the cast and crew. The BNC, in effect, produced the play and assumed all responsibilities for the mounting, touring and other costs involved; the Union lent its name to the production, thus facilitating many of the bookings, including those at the University of Panama, in David and at the National Theater. Audience reaction to the 10 shows was excellent. It is estimated that approximately 1350 saw the show, the largest audience being the Rotary-sponsored per formance in David (500 tickets were sold, although tear-gas-filled streets kept about 200 away). Also worthy of note are the two performances at the University of Panama, the first such post spon sored activity since Born Yesterday in 1966. Besides financial help given by three Panamanian companies and Coca-Cola and Sears Roebuck, USIS Pan ama provided all of the transportation of scenery and allocated $200 as well to assist with the Colon and National Theater performances. The Rotary Club of David provided hospitality as well as round trip airplane transportation for the entire cast and crew. TJ5 The entire show cost around $700 with total in take being around $850. Profits donated to the ac tors and crew amount to $10 per person. Ticket prices varied with location. At the BNC and National Theater, tickets cost $1 each; at the University of Panama, 25 cents; at David, $2.50 and $1.50; and at Colon, no charge. The post feels that, although the play was not a great cultural contribution as far as the writing goes, the liveliness of the actors and staging and the binational character of the presentation served to further USIS objectives by demonstrating American interest and professional competence in the theat rical arts.^ In 1972 Fred Becchetti, CAO in Panama, wrote that the post has helped Panamanian groups present United States plays in translation. However, he stated: . . . I would not venture a measurement of the goodwill generated, if any. A play is a play is a play, and if it's good (as were Virginia Woolf and Zoo Story) so much the better, and nobody worries about the nationality of the playwright. Some socio-dramatization is used in the interior rural areas by volunteer groups in community devel opment, but it is not street theater as such. Use of theater at the post is arranged by inde pendent theater groups, mostly amateurs, with some financial backing from the University of Panama in some cases, but this is minimal financial assist ance. Theater in Panama is mostly work of love. I would choose plays for the post involving small casts and simple scenery, with uncomplicated light ing. Serious drama would be better than comedy. Lectures by theater specialists are always welcome; that is, they are if the specialist knows Spanish. IT6 The reasons for these choices are: theater facil ities are very much impoverished; U. S. comedy does not translate well because of the development of humor around colloquialisms of American speech; seri ous drama usually deals in universals with which the Panamanian can more readily identify; and special ists in any of the arts are needed. The director of the binational center in Panama, Jerry Scott, reported: A few years ago the then director of this center produced quite a few plays. As I understand, they were quite successful in terms of audience reaction and attendance. I don't know if you can say that any goodwill was generated, but I have it from a good source that the players had fun and were inspired to look for additional opportunities in Panama. Street theater has not had any impact here. There is a group of university students who have Panamanian government sponsorship to perform origi nal plays with some sort of propaganda or social message. I don't know if it is still in existence, but they were going strong in the interior of Panama for a while. The university has a theater group that puts on plays now and then; their latest kick is trying to interpret Artaud and Growtowski (French and Polish theatricians). It's pretty bad stuff. They charge admission, but the bulk of the costs, if one can imagine there being costs to produce the Theater of Cruelty in the form in which they present it, is handled by the Department of Artistic Expres sion of the University of Panama. There is also a group of dedicated foreigners working here trying to establish a repertoire group. So far, they have been moderately successful. They have taken over a cellar-like place and are putting on weekend performances of French, Argentine and American dramatists. They are supported morally by a quasi-government art gallery (Panama stuff). I've been to three or four of their performances and have never seen more than 15 people in attendance. 131 Panama is so indifferent to theater that I doubt any play would have much impact. The university put on Butterflies Are Free and drew a very small audi ence, and at that it was composed of mostly Univer sity of Panama types. I am trying to get a LeRoi Jones play, The Dutchman, underway here in the cen ter. I chose Jones because he's black and perhaps, who knows, may awaken a chord of response in the black Panamanian. Also, any play must be limited in scope because of the lack of facilities. There is no theater in Panama. Anyway, back to your question . . . there have been many attempts to establish good theater here but the good intentions have died a lingering death. We have had specialists who have gotten things going and after their departure, zero. I would be willing to try anything, though, even if it is another flop. Maybe the time is here for another attempt. ;if one had the money, you know the rest of the story. I don't understand your third question. What do you mean by demand? If a Panamanian wants to study theater in the U. S., he is free to hop a plane. Now, in USIS we have a few so-called leader grants to send "deserving" cats to the states if they can pass muster on our security roll. Do you have any idea of the percentage of foreigners who are in any way connected with the arts who are not in some way compromised by their associations? It is something else. The last group from the states that I had the opportunity to work with was a State Department spon sored function from Catholic University, Washington, D. C. They were top notch amateur stuff with clean faces and lots of apple pie enthusiasm. They didn't go over. Period. So far, nobody has been invited down here to lec ture, perform, etc. However, if you let it be known that there is a scholarship in drama available, you'd have a line a block long outside with every would-be actor around. This jazz about exchange works best if we pay the bills. There is not too much self-help in Panama.^ 1~3¥ The USIS library in Panama is very small (10,000 volumes), due in part to its being completely destroyed by fire ten years ago. It has about 120 volumes of plays (in both Spanish and English) and books on theater. In addi tion, it receives Theater Crafts, The Drama Review, Player1s Magazine, and Dance Magazine and has recordings of most of the popular Broadway musicals and a few dramatic readings. I has only one film on theater, Lincoln Center: The Place 98 and the Idea. No tapes are stocked there. North America Bermuda From the United States Consulate General in Hamil ton, Bermuda (U.K.), American Consul General Donald B. McCue wrote: Out of a population of about 55,000, 25,000 Ber mudian visit the U. S. annually. Given our prox imity to the U. S. and the many ties the islanders have with the continent, there is little need for additional input from the U. S . 99 Canada Sarah R. Anderson, third secretary to Leopold J. Leclair, PAO at the United States Embassy in Ottawa, Ontar io, replied to the questionnaire. IT9 Due to the proximity of Canada to the United States, American theater touring companies regularly visit this country at the invitation of Canadian organizations and impresarios. These companies represent the entire spectrum of theater in America and are indeed valuable in promoting goodwill toward the U.S. American actors are frequently invited to appear with Canadian companies as well. Likewise, Canadian theater groups and students of the theat rical arts have numerous opportunities to tour and study in the U. S. Consequently, only in exceptional instances does USIS Ottawa become involved in sponsoring an American theater group's appearance in Canada. One of these unusual situations arose last summer when the Na tional Arts Center (NAC), Ottawa, requested USIS financial assitance to bring to the area Workshops for Careers in the Arts, a dynamic negro street theater group from Washington, D. C. The group had originally been spotted and recommended to the NAC by a Canadian cultural affairs officer in Washington. Whereas facilitative arrangements for the Workshops visit here were carried out by Canadians for the most part, USIS did set up media contacts for the group's director, Miss Peggy Cooper, and provide tourist information for the 60 to 70 high school age members of the cast. During FY 197 2, Workshops was the only American theater group which figured in the USIS program in Canada. Alexander Peaslee, consul general for the United States in Halifax, Nova Scotia, observes that the vitality of Canadian theater groups in the Maritimes are certainly applicable in Ontario and throughout most of Canada. I would also echo his belief that, in light of Canadian sensitivity to American cultural domination, more goodwill is created when knowledge able Canadians in the field of dramatics choose for themselves rather than accept the advice of a repre sentative of the U. S. government about which Amer ican theater production would be most beneficial to and appreciated by the people in their area.100 Alexander L. Peaslee, the consul general at the 140 United States Consulate in Halifax to whom Sarah Anderson referred, wrote: There is some belief that direct government sup port of cultural activities in each other's country is less conducive to goodwill than the non-official flow. Our consular district covers three provinces: Nova Scotia, New Brunswick and Prince Edward Island, all of which have noteworthy live theater. Prince Edward Island has the Confederation Center in Char lottetown, New Brunswick has the Lord Beaverbrook Theater, New Brunswick group primarily in Fredericton and Nova Scotia has the professional Neptune Theater group here in Halifax. Their range has been wide with perhaps one-third of their productions being U. S. plays, tending toward Neil Simon, Arthur Miller, Thornton Wilder and Eugene O'Neill. Street theater has been used primarily in summer programs (the only good time in view of the climate) involving recreation and summer work programs fi nanced by federal, provincial and local government funds. As far as what I would choose (although I doubt it would effectively promote goodwill if a U. S. government agency were directly involved in the selection), depends on the audience priorities on hand. For example, the majority of people in this area would prefer a moderately conservative approach to drama. A much more restricted group of younger peo ple would like the kinds of plays produced in some of the Halifax experimental theaters (there are five universities and colleges in the urban area, two strong amateur groups and two professional experi mental theater organizations). Support for theater here on a community per cap ita basis appears to be considerably stronger than in many large United States cities. (The Neptune Theater proportionately receives much greater finan cial support from the community than does Washington's Arena State.) 141 I think, on the whole, it would be better if some of the knowledgeable people in dramatics here, many of whom have had U. S. experience, would choose from the plural society productions in the U. S. rather than have a government official choose for them with a manipulative purpose in mind. I have a lot of faith that a look at the U. S., warts and all, in the long run will be better than trying to present a certain point of view. Plays are most popular here, followed by work shops, lectures and dramatic readings, all of which have some popularity. One could say the demand for such exchanges is met, if one allows for the concern in various parts of Canada that the United States theatens to inundate Canadians culturally. The demand for theatrical exchanges with the U. S. depends a great deal on the relative opportunities for exchanges with the U. K. (there is much cultural exchange.here with that country, much of it a natural product of the Mari time provinces' history), France and other European countries. It also depends on exchange opportunities with central and western Canada. Also, professional teaching of drama here tends to be most heavily influenced by Britishers with Canadians second. But the interchange with Americans is quite heavy. For instance, one of the five winter season plays Neptune Theater presented this year was Arthur Miller's The Price. All four professional parts were taken by Americans.-*-®-*- In order to obtain a Canadian's point of view, a questionnaire was sent to David Haber, director of program ming, National Arts Center, Ottawa. He responded: The United States theatrical presentations which have achieved the greatest success in Canada have been musical comedies. This art form, unique to the United States, is in great and constant demand in Canada and I feel greatly represents a discipline of your country better than any country. ___________ : . 142 If I could choose any theatrical presentation from the United States, I would again come back to the musical comedy, preferably something which breaks away from the now considered old fashioned format of OklahomaI to My Fair Lady variety, except a possible revival of these great works. As for straight theater, I would like to see an exchange of companies. The United States has some superb regional companies as we do in Canada and it could be rather interesting to have, say, the Arena Stage of Washington visit the Neptune Theater in Halifax while this Canadian company plays the Arena From Quebec, Consul General Everett K. Melby, of the United States Consulate General, replied: There is no USIS program at this post and only one USIS officer in Montreal whose program is small. I do not have any record that American theater has ever been brought to Quebec City under USIA auspices. American plays are given in Quebec and some are very popular. This past season, a French translation of Arthur Miller's Death of a Salesman had a good run. The lead role was played by Jean Duceppe, one of the best actors in Quebec today, and some critics say it is the most outstanding role he has portrayed. A theatrical group at Laval University in Quebec put on a week of American plays this past winter. They were all avant-garde pieces, which I confess did not mean anything to me when I read about it and, because of other commitments, I did not attend any of the performances. Last summer an English-speaking group held a theater workshop for several weeks. This was held at the Holy Trinity Anglican Cathedral but brought together young people from all sections of the English-speaking community. This was partly a project to keep teen-agers occupied and out of mis chief, but I understand it had a viable theatrical ___ T O ] life of its own.^^ Regarding the number of theatrical exchanges between the United States and Canada with respect to the demand, Melby's answer was similar to Peaslee's, "the proximity of the countries precludes the necessity for a formal exchange program." Replies from the consuls general of the United States; consulates general in Calgary (Alberta),1^4 St. 105 John's (Newfoundland), and Vancouver (British Colum- . . 106 bia) were similar. There are no active information pro grams at those posts, but local Canadian groups have per formed American plays and do not seem lacking in knowledge of American theater. Mexico A letter from Richard B. Phillips, CAO at the United States Embassy in Mexico City, reported in 1972 that the * USIS has made little use of theater at his post. There are two principal reasons for this: lack of sufficient funds and the language problem. Most U.S. professional groups would find it impossible to present a U. S. play in Spanish. At times, we facilitate U. S. productions in translation by Mexican amateur groups including uni versity students. We have no idea how many produc tions of this kind are given each year in Mexico since we believe most are done without our knowledge. Mexico City has two or three amateur groups that 14i present plays in English. The most successful of these is the Theater Workshop. It was founded some four years ago and since that time has put on six or eight major productions a year. The Workshop, however, meets mainly the needs of that part of the English-speaking group interested in drama. Rela tively few Mexicans take part in the productions or attend the performances. At the present time, the Workshop has about 1000 members. There is some private exchange between the pro fessional theater people of Mexico and the United States, but again most of this is done without the intervention of the Embassy. Frankly speaking, the theater, because of the reasons given above, is a miniscule portion of our Cultural Program.-'-^ Hector Cardenas, counselor of cultural affairs iiv.the Embassy of Mexico in Washington, D. C., in 1972, agreed that United, States theater presentations in Mexico have been few due to the language barrier. To my knowledge, there have been several English theater productions in Mexico, but they have been mostly from the Royal Shakespearean theater, the Old Vic and the Aldwich theaters in London. On some occasions the American Embassy has presented some American plays, and the Institute of Fine Arts has included in its international repertory some actors like Helen Hayes who performed in Mexico City. Apart from these groups, I don't really see any demand for American theater in Mexico. Of course, all theatrical presentations are welcome, especially performances of classical plays like the ones the Shakespearian Oregon Company includes in its reper tory.108 From Jalisco in 1972 Robert D. Barton, branch PAO at the American Consulate General, wrote that during the 145 previous three years there had been no USIS sponsored thea ter at his post. However, he said: In the last three years we have had a lecturer on U. S. theater, stage designing and puppetry. These have all been excellent. If I could choose, I would prefer workshops and dramatic readings in Spanish. It is the difficulty of translation that makes me less enthusiastic about bringing in complete casts for a play.-*-^ In conclusion, Barton made the even less enthusias tic statement: "No, we have no exchanges in this field but, on the other hand, no one has ever asked for one either."^^® A more encouraging note came from Brayton Wood, executive director of the binational center in Guadalajara: Perhaps the most successful use of American theater in promoting goodwill toward the U. S. in recent years was a series of performances of Our Town, organized by the Fulbright grantee Romney Brent. I was not here at the time, but I understand they were very successful. Also extremely important, although given in Eng lish, was the visit of the American Repertory Theater with Helen Hayes sponsored by the U. S. State Depart ment. In addition, around 1964, this institute spon sored some 20 performances of You Can't Take It with You by a local company. We would be most interested in plays by contem porary American authors, with special emphasis on translations into Spanish. We have several companies here of at least semi-professional calibre which would be interested in giving performances if translations and author's rights could be obtained. 146 From Monterrey, PAO Miro Morville replied: . . . very little use of the American theater can be made at most overseas posts for a number of reasons, the language barrier and our budgetary limi tations being the first to come to mind. However, a number of U. S. plays in Spanish translations have been given here at Monterrey and in our Consulate General1s area during the seven months since I was assigned to this post. The latest offerings were Death of a Salesman and A Hatful of Rain, very well performed by a local and a Mexico City company. Avant-garde and off-beat plays are performed quite often by drama students at the three major universi ties of this city and, I am sure, at several nearby locations. If I could choose any presentations for my post, and had the money to afford it, I would probably use the entire range of offerings you mention and then some. My guiding principle would be the quality of the subject matter and the artistic level of the per formers . About the opportunities for exchange of students and performers, again I would point to the difficulty presented by the language difference in a medium which depends almost entirely on the spoken word to communi cate with the audience. Such a barrier not existing in other art forms— figurative and musical for exam ple'— exchanges in those fields are naturally far more numerous than in the theatrical arts.^"^ Later in 1972, Morville wrote that, while he did not have a list of the holdings on theater at the USIS library in Monterrey, the small "13,000-odd volume collection contained a good selection of plays and books on U. S. theater. We also have films and occasional filmstrips on that subject which we regularly lend to universities and r47 USIS Hermosillo's PAO Stephen M. Chaplin responded: I have tried to arrange a theatrical exchange between the closest U. S. university (the University of Arizona) and the University of Sonora. It is my understanding that many years ago such an exchange was realized and with good results. In recent years a lack of funds and heavy demands for programming within the Tucson area have ended the exchange pro gram. Both sides are eager in principle for such an exchange but limited budgets and the lack of outside (i.e. foundation or local cultural group) funding have effectively stymied attempts at such exchange. The question of language differences is of course a factor, but I gather this was overcome by having an announcer introduce the play with a description of the action. Program notes (in the host country's language) also help. Street theater has never been tried in Northwest ern Mexico. As far as what type of plays might best promote goodwill, I think the answer is simply good theater. Good plays with fine acting and directing with a story line that is understood by Mexican audiences will, in my opinion, go over. In this regard, "lighter" plays (musicals and perhaps even light farce) or plays with political or historical themes known to Mexican audiences, would probably be suc cessful. "Heavier" plays or those that require a great deal of thought would probably not go over as well simply because the public in Northwestern Mexico has not been regularly exposed to that type of the ater. If I had to choose plays I would go for well done student or amateur performances. My reasoning is two-fold. Cost would not be a significant factor since no salaries would be involved; and an amateur or student group is usually more interested in learn ing about the society they visit, more flexible about theater conditions and audience response and less demanding. This type of attitude not only makes our job easier but their warmth and spontaneity come across to local audiences, and goodwill, and mutual 148 understanding result. As to the plays, again, I would opt for Broadway- style musicals and plays on familiar U.S. historical themes (177 6 or some Arthur Miller works). Musicals such as Hair or Promises, Promises or especially Fiddler on the Roof and Man of La Mancha would be extremely popular. More avant-garde works or even the type of street theater works I have read about would probably not be popular in this area. I think the will for more exchanges exists, but funding and timing are the important ingredients. I think a lecturer on theater or a theater workshop would be successful, if the lecturer spoke Spanish and had an audio-visual presentation and the work shop dealt with basic techniques of acting, directing, producing, etc. The need for communicators in Span ish can not be over-emphasized. Unless the lecturer and some of the workshop members spoke Spanish, the impact would be slight. We are, of course just as interested in arranging for visits of Mexican artists and directors (amateur more than professional) to U.S. campuses. We do have contacts in the Southwest, but the problem which always arises is the question of funding . . . Outside help is necessary, and we are constantly seeking out organizations to help us in this.-*--^ Matthew D. Smith, Jr., United States consul at the United States consulate in Matamoros, replied that his post neither has nor sponsors a theater program of any kind.'*"'*'^ United States vice consul in Mazatlan,. Gilbert J. Donahue, 1 - i /r answered the same. The reply from Morris N. Hughes, Jr., United States vice counsul in Merida, was a touch more elaborate. PT9' During the past year and a half I cannot think of one example of a production of an American play or dramatic presentation. The Benjamin Franklin Institute (formerly USIS supported) does sponsor two plays yearly but in these past two years the plays have been written by Spanish or Latin American playwrights. However, in June they plan to present an Oscar Wilde work which has music added by local talent. These plays are financially backed by the institute and institute facilities are used for rehearsals. The works are then presented in a local government-owned theater. Any presentation has to be done in Spanish as we have few Americans in the community. The theater audience is quite unsophisticated and thus modern istic, existentialist productions would be unappre ciated. Situation comedy and gripping mystery are most popular. To my knowledge, there is no exchange of people interested in the performing a r t s . E. Paul Taylor, United States consul in Tijuana, reported that his post1s location on the United States-Mexi- can border makes American cinema, theater, and television readily available to local citizens without government spon- 118 sored exchanges in the arts. Remarks In Canada, Bermuda, and some Mexican cities private ly sponsored United States theatrical activity is generally sufficient not to require government sponsorship. In the majority of South American countries and in some parts of rsu Mexico, however, the case is just the opposite. In trying to fulfill this need, the United States government has not managed the theatrical programs it has sponsored consistently well. Some lessons learned are: musical comedy is not always the United States theatrical export most in demand; more small groups, easily transport able to hard-to-reach areas, are needed; United States the- atricians using foreign languages poorly would do better to perform well in English; United States theater specialists must be fluent in the language of the foreign country visited to be effective; despite the need for a Cultural Presentations Program export to maintain a heavy performance schedule once the expense to send it abroad has been under taken, to allow a cast to run ragged, thereby lowering its performance level, is worse than missing a few stops. T5T1 Footnotes ■^Field messages, communications from USIS posts to USIA Washington and to the State Department, are filed at USIA/ICS, Washington, D. C. 2 USIS Buenos Axres field message, Spring 1964. 3 . USIS Buenos Aires field message, Fall 1965. 4 USIS Buenos Aires field message, Spring 1966. 5 USIS Buenos Aires field message, Fall 1972. USIS Buenos Aires field message, 25 July 197 2. ^USIS La Paz field message, 21 June 1963 ^Ibid. . 9 USIS La Paz field message, Spring 1966. ■^USIS La Paz field message, Fall 1966. "^Letter from Andrew J. Schwartz, CAO, USIS La Paz, 4 May 1972. ~^New York Times, 10 May 1956, 1:30 ^ New York Times, 13 May 1956, 1:85 14USIA field message to USIS Rio de Janeiro, 13 February 1963. 15Ibid. ■ I C Interview with Fannie Taylor, Washington, 'D. C., August, 197 2. ^USIS Rio de Janeiro field message, Fall 1963. 1 f t USIS Rio de Janeiro field message, Winter 1968. 152 ■^USIS Rio de Janeiro field message, Fall 1970. 20USIS Rio de Janeiro field message, 7 June 1967. 2-*-U.S., Congress, House, Committee on Appropria tions , Hearings before the Subcommittee of the Committee on Appropriations, 85th Cong., 2d sess., 1958, p. 413. 22Letter from R. Don Crider, Director, Casa Thomas Jefferson, USIS Brasilia, 9 June 1972. 23Ibid. 2^Letter from Carl D. Schultz, III, Policy and Research Officer, USIS Brazilia, 30 May 1972. 23Letter from Jerome McDonough, Assistant CAO (BNC Director), USIS Fortaleza, 8 May 1972. DMimeographed list from USIS Library, Rio de Janeiro, 1972. 77 'Letter from Robert C. Jacobs, Deputy Director, Peace Corps, Brazilia, Brazil, 9 May 1972. Op ^°U.S. Advisory Commission on Educational and Cultural Affairs, Two-Way Street: International, Educational and Technical Exchange in Fiscal Year 1950 ’ (Washington, D.C.: Government Printing Office, 30 June 1950), p. 29. 2^USIS Santiago field message, Fall 1964. 3®USIS Santiago field message, Spring 1970. p I J Santiago, Information Office of the Ministry of Foreign Relations, Facts about Chile 1971 (Santiago: Infor mation Office, 1971), p. 17. 32New York Times, 20 October 1965, 1:53. - 3 - 3 . Letter from Jeffrey B. Barber, Acting Director, Peace Corps, Chile, 26 May 197 2. 34 USIS Bogota field message, Spring 1964. 35 USIS Bogota field message, Fall 1966. 151 ■^USIS Bogota field message, Summer 1967. 37 USIS Bogota field message, Summer 1969. O Q Letter from Vincent Chiarello, Director, Centro Colombo-Americano, Barranquilla, 2 May 1972. 3 9 Letter from Tabor E. Dunman, Jr., Director of the Centro Cultural Colombo Americano, Medellin, 17 May 1972. 40 USIS Quito field message, Spring 1965. 41Ibid. 42Ibid. 4 3 Letter from Donald W. Mulligan, CAO, USIS Quito, 7 June 1972. 44Ibid. 45 USIS Guayaquil field message, Spring 1971. 46Ibid. 4^Letter from John D. Parker, Branch CAO, USIS Guayaquil, May 1972. 4 8 USIS Georgetown field message, Summer 1963. 49 USIS Georgetown field message, Fall 1965. 50 USIS Georgetown field message, Fall 1967. 51 Letter from Harry M. Lofton, American Consul Seneral, Curacao, Netherlands Antilles, 16 May 1972. 5 7 USIS Asuncion field message, 19 July 1967. 53 Letter from Wallace Keiderling, Director, BNC Asuncion, Paraguay, 4 May 1972. 54 Letter from Parker J. Anderson, Assistant CAO, J. S. Embassy, Lima, Peru, 23 May 1972. 55 Letter from Donald A. Johnston, American Consul General, United States Consulate General, Paramaribo, Surinam, 19 May 1972. : 1541 56 New York Times, 13 May 1956, 1:85. 57 . Mimeographed catalogue from USIS Montevideo, Uruguay, 1972. CO Letter from Robert D. Cross, CAO, United States Embassy, Montevideo, Uruguay, 11 August 1972. 59 • United States Information Agency, 41st Semiannual Report to the Congress, July 1-December 31, 1973 (Washing ton: Government Printing Office, 1974), p. 36. ^Letter from William R. Bullion, Deputy Director, Peace Corps, Venezuela, 18 May 1972. ^USIS Caracas field message, Spring 1963. 62 Letter from Christopher Snow, former PAO at USIS Barbados, 1 July 197 2. 6 * 3 USIS Santo Domingo field message, Fall 19 65. ®^USIS Santo Domingo field message, Fall 19 62. ^Letter from Martin Kushinsky, CAO, USIS Santo Domingo,,15 May 1972. 6 6 Letter from James C. Palmer, CAO, USIS Kingston, 19 July 1972; c * 7 Interview with William Taylor, Regional Director, Latin America, Action, in Washington, D.C., September 1972. 6 8 U.S. Advisory Commission, Two-Way Street, p. 29. 69 The Daily Gleaner (Jamaica), June 1962 (reprint, USIA files). 70 USIS Port-au-Prince post report, July 1962. Letter from Kenneth Ablack, Information Attache, Embassy of Trinidad and Tobago, Washington, D. C., 21 July 1972. ^Letter from William F. Gresham, PAO, USIS Port of Spain, Trinidad and Tobago, 16 May 1972. -------------------------------------------r 5 ' 5 ' 7 3 . Mimeographed list from USIS Library, Port of Spain, 1972. 7^Letter from Charles P. Torrey, United States Con sul General, Belize City, British Honduras, 3 May 1972. 7 3 USIS San Jose field message, 25 September 1969. 78USIS San Jose field message, 9 May 1967. 77 Letter from Ray H. Burson, Director of the Costa Rica-North American Cultural Center, San Jose, 24 April 1972. 7 8 Letter from Alberto F. Canas, Minister, Costa Rica Ministry of Culture, San Jose, 22 November 1972. 7^USIS San Salvador field message, 24 May 1961. Q A USIS San Salvador field message, 22 May 1962. 81Ibid., Summer 1971 82Ibid., Fall 1970. 82Ibid., Summer 1962. 84 Letter from Beverly H. Brock, CAO, USIS San Salva dor , 9 May 197 2. OC USIS Guatemala field message, 31 August 1963. 8^Ibid. 87Ibid., 25 November 1965. 88 USIS Tegucigalpa field message, Summer 1965. 89 . Report from United States Consul, Belize City, to the Department of State, 28 September 1966. 90 United States Consul, Belize City, Operations Memorandum to USIA, 27 September 1966. 91 . Letter from Vance C. Pace, CAO, United States Embassy, Tegucigalpa, Honduras, 10 May 1972. T 5 F 1 92 Letter from Joseph P. Olxveri, Director, Educa tional Program, Peace Corps, Honduras, 8 May 1972. 93 Letter from Anthony M. Thxelen, Deputy Director, Peace Corps, Nicaragua, 27 April 1972. 94Ibid., 17 May 1972. 95 USIS Panama fxeld message, 2 May 1968. 96 Letter from Fred Becchettx, CAO, USIS Panama, 5 May 1972. 97 Letter from Jerry Scott, Dxrector, Centro Cul tural Panameno Norteamericano, 5 May 1972. 98 Letter from Carolyn V. Scruggs, USIS Librarian, Balboa, Canal Zone, Panama, 6 November 1972. 99 Letter from Donald B. McCue, Unxted States Consul General, U.S. Consulate General, Hamilton, Burmuda, U.K., 23 May 1972. "^^Letter from Sarah R. Anderson, Third Secretary to the PAO, U.S. Embassy, Ottowa, Ontario, Canada, 2 May 1972. ^"Letter from Alexander L. Peaslee, Consul General, U.S. Consulate General, Halifax, Nova Scotia, Canada, 25 April 197 2. 102 Letter from David Haber, Director of Programmxng, National Arts Center, Ottawa, Ontario, Canada, 2 August 1972. 103 Letter from Everett K. Melby, Consul General, U.S. Consulate General, Quebec, Quebec, Canada, 26 April 1972. 104 Letter from James F. Hughes, III, Consul, U.S. Consulate General, Calgary, Alberta, Canada, 2 May 1972. 105 Letter from Richard Straus, Consul General, U.S. Consulate General, St. John's, Newfoundland, Canada, 25 April 1972. — -------- — X57" i n f \ Letter from Milton C. Rewinkel, Consul General, U.S. Consulate General, Vancouver, British Columbia, Canada, 24 April 1974. I 07 Letter from Richard B. Phillips, CAO, U.S. Embas sy, Mexico City, Mexico, 27 April 1972. 108 Letter from Hector Cardenas, Counselor of Cul tural Affairs, Embassy of Mexico, Washington, D.C., 11 July 1972. 109 Letter from Robert D. Barton, Branch PAO, United States Consulate General, Guadalajara, Mexico, April 1972. 110ibid. ^"Letter from Brayton Wood, Executive Director, Instituto Cultural Mexicano-Norteamericana de Jaliso (In Guadalajara), 22 May 1972. 112 Letter from Miro Morville, PAO, United States Consulate General, Monterrey, Mexico, 10 May 197 2. II 2 Ibid., 20 October 1972. 114 Letter from Stephen M. Chaplin, PAO, USIS Hermosillo, 9 May 1972. 115 Letter from Matthew D. Smith, Jr., United States Consul, U.S. Consulate, Matamoros, 8 May 1972. ^Letter from Gilbert J. Donahue, United States Vice Consul, Mazatlan, 11 May 197 2. 117 Letter from Morris N. Hughes, Jr., United States Vice Consul, U.S. Consulate, Merida, Yucatan, 22 April 1972. 118 Letter from E. Paul Taylor, Consul, U.S. Consul ate General, Tijuana, 27 April 1972. CHAPTER IV EUROPE: LESS IS NOT BETTER Their distance from the United States and use of different languages prevent most European countries from having an abundance of contacts with United States theater and theatricians. Even in those countries that do, more would be appreciated. Austria According to Dr. Hildegard Weidinger, USIS Cultural Advisor, United States Embassy, Vienna, theater is of sec ondary importance in Austria. Music is first. Also [she wrote in 1972] the important American plays are performed by Austrian theater groups at the Amerika Haus theater and elsewhere. We consider these productions of greater impact than anything we could do ourselves at the Amerika Haus with the re stricted means at our disposal.1 The American theatrical works which performed at the Amerika Haus theater with USIS assistance during the 1971- 1972 season exemplify much activity on the part of Austrian groups. Productions of only one American group, the 158 X5"9" University of the Pacific Players (who traveled to Europe under private auspices, with some assistance from USIS while abroad), are listed: Your Own Thing, by D. Driver; joint production with the Reinhardt-Seminar students at Schoenbrunn- Schlosstheater. The Absence of a Cello, by Ira Wallach; produced by an amateur group, The Embassy Players, at Amerika Haus Theater. The Matchmaker, by Thornton Wilder, produced by the Youth Drama Group of the Amerika Haus at the Amerika Haus Theater. Niagara Falls, by Leonard Melfi; The Golden Fleece, by A. G. Gurney, Jr.; A3, by James Bridges; Animal, by Oliver Hailey; Dr. Kheal, by Terrance McNally; Botticelli, by Terrance McNally; and Mimes by John Casserley; presented by the Univer sity of the Pacific Players directed by Sy Kahn at Amerika Haus Theater in cooperation with local universities. Three One-Acts: Here We Are, by Dorothy Parker; Before Breakfast, by Eugene O'Neill; Sorry, Wrong Number, by Lucille Fletcher; presented by the Youth Drama Group of the Amerika Haus at the Amerika Haus Theater. The Haunting of Hill House, by F. Andrew Leslie; pre sented by the Embassy Players at Amerika Haus Theater. In addition, the following lectures on American theater were given at the Amerika Haus Theater during the same season: Preston Held, Antelope Valley College, Lancas ter, Calif., lectured on Recent Trends in American Theater— Nudity, Crudity and Christ; Dr. Imimbert Ganser lectured on r6- 0 3 Kellertheater— Konzept, Geschichte und Thematik. Neither had traveled to Vienna under government auspices. Weidinger also listed two operas that had been per formed at Amerika Haus Theater during the same season. One of them, The Consul, by Gian-Carlo Menotti, produced by the American Opera Workshop of Vienna at the Amerika Haus Theater, she considered to be one of the two most valuable theatrical events, in terms of creating good will toward the United States, performed in Vienna that year. The other two she considered most valuable for the same reason were the University of the Pacific Players' and the Reinhardt- Seminar students' productions of Your Own Thing -^ Weidinger also reported that although Austria has its own street theater, the Pawlatscher theater which dates back 100 years to the Biederraeier period, no American 5 street theater has been used in Austria. She wrote that USIS has given very little financial assistance to theatrical groups in Austria, except in the case of the University of the Pacific Players. However, the Embassy Players and the Youth Drama Group do receive use of the Amerika Haus Theater free of charge. The Opera Work shop finances its production through donations.^ If she could choose any presentations from American 161 theater, Weidinger said her choice would be university theater productions and workshops because The plays that are good are being performed in the Austrian theaters in excellent translations. It would be of little value to bring them here under USIS auspices.^ As far as exchanges meeting the demand, Weidinger concluded: Generally speaking, exchanges in the theatrical arts do meet the demand. Normally, the Austrian authorities, particularly the management of the Fes tival of Vienna, import; to Vienna noteworthy Amer ican attractions in the theatrical field such as The Amen Corner with Beah Richards, New York1s La Mama Troupe and Anna Sokolow's Players Project. This is far above our expectations and what could be financed under our programs. Usually the calibre of such presentations is an outstanding one, otherwise the attraction would not be imported to such an important international festival as is the one in Vienna.** With regard to meeting the demand for exchanges of individuals interested in studying theater, Anton Porhansl, executive secretary of the Austrian-American Educational Commission for Fulbright grantees, wrote: The general answer is yes for U. S. citizens, since they can apply for Fulbright-Hays study grants through the institute of International Education in New York and, if the project can be executed in Austria, the resources are available and an affili ation with an Austrian university is possible and sought. All qualified candidates could be accommo dated in the past. r62 Grant opportunities for Austrians seeking study and research in the field in the U. S. are limited in view of the well known shortage of funds of U. S. institutions. Under the Fulbright-Hays program, only travel grants are available for Austrian candidates. Financial support in the U. S. has to come from other sources.^ A different opinion was expressed by Dr. Gottfried Heindl, director of the Osterreichischer Bundestheaterver- band (Austrian Theater Administration) and formerly head of the Austrian Institute in New York (1967-1970), who re sponded that such exchanges seem to meet the demand even for Austrian students.10 In addition, Heindl wrote that his choice of the American theatrical presentations in Vienna would be con temporary plays by young companies in order to be informed about trends in American Theater. Yet, he did recall the past State Department-sponsored productions of Porgy and Bess in 1955 and the three plays performed by the American Theater Guild in 1961 as creating much goodwill toward the United States.11 Sy Kahn, the director of the University of the Pacific Players, whom Weidinger felt had made a favorable impression in Vienna, explained one way it is possible for a professor to help his students make such a tour without State Department support. 163 I was the Fulbright professor of American Liter ature at the University of Vienna in 197 0-71. While there, I was asked to direct a production at the Amerika Haus Theater, and in the spring of 1971, I directed three American one-act plays which played to capacity for nine performances. USIS people were invited to these performances, and this led to an arrangement with USIS in both Germany and Austria to help support a performance tour by the University of the Pacific Drama Depart ment. That took place during January 1972 and con sisted of me and 11 students. There were 12 cities on our tour. We have 21 performances to a total audience of about 4,000. The only difficulty was with the performance tour; we traveled in two vehicles which we drove ourselves. Exhausting. We performed in English and were obviously suc cessful, since we were invited back with probable extentions into Paris and Eastern Europe. MUch goodwill was generated, valuable contacts made and information exchanged by our meeting, for mally and informally, with university students of drama and American literature and with American and European cultural officials.-*-2 Belgium Interest in United States theater in Belgium has been spurred by productions both with and without United States government assistance. For instance, United States government assistance did enable the documentary film of the Baylor University (Waco, Texas) production of Hamlet to 3e presented at the 1958 Brussels Fair, but it was under 164 private auspices that the theater group of Eastern Kentucky- State College was able to perform at the Festival du The'atre Universitaire de Nancy (France) in 1966 and at the 13 International Festival at Liege, Belgium, in 1966. The Eastern Kentucky State College production was so well received that the USIS post in Brussels recommended that the Department of State consider reasonable requests for assistance from top-level university theater groups wishing to tour Belgium.^ In 1967 it was the rector of the University of Ghent, with the assistance of USIS Brussels, who sponsored American Week. During seven days in January, three American Drama professors, in Europe under the auspices of the State Department's American Specialists program, spoke. There was a performance of Spoon River, based on Edgar Lee Mas ters ' Spoon River Anthology, by the Ruth Brinkmann American 15 Players of Vienna. James D. McHale, USIS CAO in Brussels, mentioned that, while the Department of State's dramatic presentations « in Belgium have consisted solely of the 1961 American Repertory Theater tour, there is an active local American theater group of amateurs that does a professional job. They rent local theaters and present five or six well- F 6 3 attended plays annually. Among those presented in 1972 were Mary, Mary and The Effect of Gamma Rays on Man-in-the-Moon Marigolds.^ In a subsequent letter McHale mentioned that, al though he could not provide a complete list of the theatri cal holdings at the USIS library in Brussels as it would be a major undertaking, its periodical subscriptions included Drama Review, Modern Drama, Educational Theater Journal, 1 7 and Yale Theater. Denmark William T. Crocker, cultural attache, United States Embassy, Copenhagen, wrote: For many years USIS has not actively sponsored or co-sponsored any theatrical presentations in this country. From time to time groups traveling under professional auspices have given performances here with the emphasis on modern and experimental groups such as La Mama and the like. Limits on the USIS budget prevent considering support of even traveling amateur theater groups from the United States. We would welcome a first-class theater workshop which could travel to cities outside Copenhagen and perform for little or no charge at universities and teacher-training colleges. But financial considera tions rule out this kind of possibility. Occasionally students and other practitioners of the theater arts receive travel grants under the Ful- bright program to visit the United States. Other individuals and groups receive support for U. S. visits from the Danish Ministry of Education.^ r 6 - g Regarding exchanges, Niels-Jurgen Nielsen, assistant head of section, Royal Ministry of Cultural Affairs, Den mark, wrote, "... since allocations for international cul tural exchanges are limited and many countries and activi ties are involved, it cannot be said these opportunities meet the actual demand. Although a complete list of library holdings was not available, the third issue of USA Focus, a USIS Copen hagen publication which provides samplings of the American Library's holdings on contemporary American subjects, high lighted the library's theatrical holdings. Even for a short list (about fifty titles) it is broad, including creative dramatics for children and several black and avant-garde playwrights. The four major playwrights on which it focuses are Eugene O'Neill, Edward Albee, Arthur Miller, and 20 Tennessee Williams. Finland Finnish theaters have produced much American theater during the last decade. In 1966, for instance, the Central League of Finnish Theater Organizations' statistics on pro fessional performances in Finland from 1964 to 1965 showed that the foreign author most frequently performed was 1~67 Edward Albee, his Who's Afraid of Virginia Woolf? being the most popular. American plays were performed more frequently 21 than those of any other nation. In 1972 Lilian Alenius, director of the American Center run by USIS in Helsinki, wrote: There is a great interest in theater in Finland. There are professional repertory theaters in prac tically every city and the latest plays from all over the world are performed as soon as their foreign rights become available. This means American plays are presented all the time in Finnish and Swedish, the two official languages of the country. Original American productions in English are very rare in Finland. During the 1960-61 season there were the three plays produced by the American Theater Guild company sponsored by the Department of State. During the 1965-66 season a small group of the Ruth Brinkmann Theater resident in Vienna toured three Finnish cities with a production of the Spoon River Anthology. These performances were well received, although the quality of the Theater Guild productions varied. If a choice had to be made among American theater programs for Finland, a good professionally done contemporary play or musical production would most likely be well received. There would be less inter est in dramatic readings and lectures. Theater students do most of their foreign travel ing in Europe. There has not been a great demand for opportunities to study theater in the United States. If grants were offered, however, applicants could be found easily.22 The dramatic holdings in the USIS library, Hel sinki, according to a list sent by the library's chief T68 librarian, Eila Heikkila, include approximately forty-six books of criticism, one hundred and four books about thea-. ter, and well over two hundred individual plays and twenty- seven collections of plays. In addition, the library sub- scribes to The Drama Review. Jorma Ranta, director of the Finnish Center of the International Theater Institute, offered an opinion from the Finnish point of view about United States theater in Finland. The visit of Anne Halprin [dancer] from San Francisco some six years ago is well remembered. Another presentation very much liked was Gibson's Miracle Worker performed by Helen Hayes and the American Repertory Theater. We would like to see such groups as La Mama, Bread and Puppet and Dionysus '69. I think these groups have a great influence in today's theater. Of course, a tour of some good American theater in Finland could arouse a desire to see theater in the U. S. But the essential restrictions for the exchange of people between the U. S. and Finland are, from our point of view, purely economical. In short, without sufficient grants and scholarships, students and other people involved in the theatrical arts prefer going to Continental Europe. The eco nomical possibilities should be widened and new kinds of arrangements ought to be established.24 France Because of its many international festivals and its to tourist attractions in Europe, France has seen 169 more than one theatrical presentation sponsored by the U. S. Department of State. In Paris, the audiences for these performances have been among the program’s most enthu siastic. In fact, after official United States participa tion at the Salute to France in 1955 and the Paris Inter national Drama Festival in 1957, it seemed difficult for the French to understand why there would be none in the Theatre des Nations festival in Paris in 1963. John W. Nowinckel, counselor, United States Embassy, Paris, sent an airgram regarding this to the Department of State: Planson [Claude Planson, festival director] stated that, at this early date, the festival has received applications for performance dates from the USSR, the German Federal Republic, the United King dom, Italy, Spain, Poland, Romania, Greece, Bulgaria, Switzerland, Lichtenstein, Finland, Japan, India, Communist China, South Korea, Israel, Guinea, Mali, Cameroun, Algeria, U.A.R., Brazil, Canada, Argentina, Mexico, Uruguay and new requests are being received every week. After the experience of past years, Planson is aware of the budgetary difficulties of the United States. Still, he finds these difficult to under stand, and others such as the international critics who cover the festival and the representatives of other governments, attribute the absence of official American entries to a lack of interest. In other years this was supposed to reflect in difference to the arts of the stage, music and dance. Under the present administration and in the presence of Lincoln Center [New York], the coming National Center [Washington, D. C.] and the White House enter tainments of the highest artistic level, the lack of interest is interpreted, according to Planson, as rro~ a kind of lofty distain for art forms other than American. The embassy hopes, above all, that American representation in 1963 will not be limited to such sordid portrayals of the United States as were pro duced in 1962 (The Connection and The Apple, two productions that got to France under private aus pices and which portrayed drugs and sex in America) Nonetheless, the State Department did not send an official representative of the American theater either to the Theatre des Nations festival that year or to any other French festivals in the years following. It was entirely up to the USIS in Paris and elsewhere in France to promote cultural ties between the two countries. Within the means at its disposal, it has done well. Theatrical activities at the Dragon Center, the United States cultural center in Paris, have been varied and well attended. The extent of the center's programming is detailed in a field message from USIS Paris, reporting on the week of 17-22 April 1972: The news of the week for the Dragon is that the center's repertory experimental theater company, only three months old, has been invited to partici pate in the Avignon Festival this summer. There will be only two American groups appearing: La Mamma of New York and the center's company. Since French cultural life moves to the south and particularly to Avignon in the summer, our group will have substantial exposure. It will take the impact of our theater program beyond the confines of the center and reach a new audience including many professionals. 171 Last week the group performed successfully at the American College and, more important, at UNESCO for a first-class audience of UNESCO officials, including the UNESCO director. He was completely taken in by The Serpent and the center's presentation of it. The center has become for UNESCO a real spark of the exciting and new things that are happening in the U. S., and our cooperation will probably increase even morel With a full-time local employee now working on our dramatic program and in cooperation with French theater greats such as Jean-Louis Barrault, we feel that this program has considerable potential. On Tuesday, the center presented the first part of the entire Eugene O'Neill play, Mourning Becomes Electra, in French by a company of French students from the Sorbonne directed by professor Claude Cou- lon and presented by a second Sorbonne professor. Parts two and three will be presented in the next two weeks, and then the entire series will run for a second time. The effort has not only resulted in excellent cooperation with this group of students and professors from the Sorbonne, but also it is bringing in a new student audience and creating the potential of dealing with them closely in the future. It should be noted that Dragon is packing in the audiences at a time when US actions in Vietnam are coming under increasing attack in the media. Though our involvement in Southeast Asia is raised during the discussion sessions at Dragon, and though most Left-Bank Frenchmen have very strong views against western involvement in Vietnam, they keep coming back to Dragon Center for this kind of fare.^° Also produced by that experimental theater group at the Dragon Center in 1972 were Michael McClure's Gargoyle Cartoons and Robert Montgomery's Subject to Fits. Beatrice 21ive, director of the cen te.r_!_s_ar.t _d.ep.ar-tmen-t-, 172 We usually try to put on, at least with our ex perimental theater group, plays not yet performed in Paris, although The Serpent had already been. As part of our program, we also do intend to have a classical American repertory theater both in French and in English. This year, a French amateur group, the Theatre de Boheme, composed of Sorbonne students and professors, put on a performance of Mourning Becomes Electra in French. We also had a very successful performance of a play adapted and directed by Gordon Heath from Dos Passos' U.S.A. Because of its success, this play is ---------------------- - p - . ’ -£ scheduled again this month. ' USIS Paris is responsible for most of the USIS cul tural activity in other parts of France, even though there are consulates general of the United States in Bordeaux, Lyon, Marseille, and Strasbourg and a consul in Nice. Ramon Garcia, information specialist, United States Consulate General, Marseille, wrote: Our cultural office in Paris has a limited pro gram of activities which includes the presentation of American lecturers with a variety of subjects, Amer ican musicians and theater groups who perform mostly for the benefit of French students who are majoring in American Studies. We hear of professional troups which tour Europe and, consequently, France, but these groups travel on their own and make their own arrange ments . ^8 Kenneth W. Larke, cultural advisor, USIS Lyon, replied, "There is nothing in the Lyon consular district 2 9 that coincides with your field of research." From Bor deaux, USIS officer B. Gatheron responded, "We never had any 173 request concerning the exchange of students and practition- 30 ers of the theatrical arts." And from USIS Strasbourg, Ronald E. Woods wrote, "The amount of U. S. theater avail able for use in eastern France is very small and all pro grammed by USIS Paris Germany USIS type programs in Germany began in 1945 under control of the Office of War Information. Although Austria was also an occupied territory, its different political status in Allied diplomacy made Germany, rather than Aus tria, a better example of curbed freedom of speech, press, and the arts. Radio, newspapers, magazines and other publica tions, film and theater, music, cabaret, and circuses car ried on by the German and Austrian governments, the Nazi party and other organizations and individuals were con trolled in the two countries. These restraints were intended to counteract the previously wide influence of the Nazi propaganda ministry. The purpose of such control was not just to create good will toward the United States. The primary goals of information control in Germany and Austria were to destroy T71 the Nazi propaganda machine, guide reconstruction of the German information services, and foster desired ideas and 32 attitudes among Germans. The organization of Information Control Division included media sections for radio, press, publications and film, and theater and music. Each had policy, intelligence, administrative, and media operations to perform. By May 1946, when Information Control ended regis tration of personnel in the theatrical and musical fields, it had registered nearly 58,000 conductors, directors, stage managers, actors, singers, dancers, and instrumental per formers. By 194 7, twenty United States information centers were established.3^ Theater proved an important outlet for material from the United States. As early as 1945 there was a strong de mand for plays from the democracies. OWI received requests from Germans as well as from Austria, Japan, Greece, Yugo slavia, Bulgaria, Italy, and Czechoslovakia, and from unoc cupied countries such as New Zealand, Australia, and 35 Egypt. J During those years, plays approved for presentation in German theaters were much more restricted than in the later Blue Books. They included such pro-American or 17 E uncontroversial plays as Robert E. Sherwood's Abe Lincoln in Illinois, Rose Franken1s Another Language, Bella and Sam Spewack's Boy Meets Girl, George Brown and Bertram Block's Dark Victory, S. ,N. Behrraan's End of Summer, Owen and Donal Davis' Ethan Frome, Emmet Lavery's First Legion, Colin Clements and Florence Ryerson's Harriet, John van Druten's I Remember Mama, and Jerome and Joseph Fields's Junior Miss * They also included Maxwell Anderson's Knickerbocker Holiday/ Howard Lindsay and Russell Crouse's Life with Father, M. Anderson's Mary of Scotland/ Paul Osborn's Morn ing 's at Seven, Eugene O'Neill's Mourning Becomes Electra, William Saroyan's My Heart's in the Highlands, S. N. Behr- man's No Time for Comedy, James Hagan's One Sunday After noon, Sidney Kingsley's The Patriots, M. Anderson's Satur day' s Children, Eugene O'Neill's Strange Interlude, Rachel Crothers' Susan and God, Thornton Wilder's The Happy Jour ney, William Saroyan's The Time of Your Life, Thomas Job's 37 Uncle Harry, and Jesse Lynch Williams' Why Marry? On the other hand, some plays considered to be tech nically and politically excellent by Information Control officials were stricken from the list because of attacks on their authors by the House Committee on Un-American 176 Activities. Plays by Clifford Odets and Lillian Heilman were censored during that period because authors were considered O O to have "wrong ideas in general." Despite their many requests for American plays, the Germans, after twelve years of Nazi propaganda and now inun dated with Soviet propaganda, were sensitive to such con trols and to plays with an overt message. Plays that Amer icans would greet with enthusiasm, such as Abe Lincoln in O Q Illxnoxs, left the Germans cold. Compared to control procedures in other occupied territories including Japan, those in Germany were rigor- 40 ous. Even so, after the perxod of Allxed Information Con trol, United States theater remained popular in Germany. From 1953 on, when the number of American Houses was greatly reduced from what it had been during the post-War period, American drama occupied a favored position on German stages. Karl F. Braukmann, who served with USIS in Germany from 1949 to 1954, recalled: There remained a real hunger for theater, for anything in the area of culture. With bombed out theaters, the Germans were almost dependent on the American group in Hamburg where I was stationed to present them with whatever was going on culturally in the world. That was in spite of the fact that the Germans felt that we Americans had no such thing as culture, that we were not even a cultural people. T77 Being of German parents myself, this hit me par ticularly hard. I felt it our job to prove to them that this simply was not true. As often as we could put on plays in Hamburg, we did. Probably every seven or eight weeks. We had tremendously active groups. They were Germans, not Americans, and many of them played for us for noth ing. In every instance, they did American plays. When it was possible later on, we did pay small fees. At no time in Hamburg, or in Essen or Frankfurt where I was also associated, was the theater not filled. Repeat attendance was nothing. Some came back every night of the performance, three to seven nights a week. This is a good indication we had something to offer. In 1962 a survey published by the Deutsche Bueh- nenverein (German Stage Association) showed that Germans' interest in American plays continued. Nearly one-tenth of the plays produced in German-speaking countries were Amer ican, and three American plays were among the top twenty- five each season.^ The survey covered all productions staged by the professional theaters in the German-speaking countries dur ing the seasons of 1956-57 to 1960-61. Those professional theaters numbered 23 6 and included 143 theaters located in the Federal Republic of Germany and West Berlin, 18 in Austria and 9 in Switzerland. During that period, 182 of the approximately 1,900 plays presented were American.^ 178 USIS Bonn reported: In view of the sheer quantity and the tradition al popularity of European classics of dramatic lit erature, which makes up about half of the average theater’s repertoire, this percentage is considered rather impressive.^ USIS Bonn went on to report that The Diary of Anne Frank set a record for the greatest number of performances of a single work during the period. American drama held up well in comparison with plays by other foreign authors produced in German, Austrian, and Swiss theaters. While works by indigenous playwrights accounted for forty-five percent of all plays produced at least once during the five seasons, American plays, with eight and seven-tenths percent, occupied fourth place after French (twelve and six-tenths percent) and British (eleven 46 and two-tenths percent) imports. Most prominently represented among the 95 American authors were Goodrich/Hackett with 149 productions, Eugene 3'Neill with 125, Thornton Wilder with 107, Tennessee Williams with 81, Budjuhn/Rose with 74, and Arthur Miller 47 with 66. The post's report said: While the plays by Goodrich/Hackett (The Diary of Anne Frank) and Budjuhn/Rose (Twelve Angry Men) appear to have been characteristic hits for one or two seasons, those by the other playwrights were produced repeatedly throughout the five-year period. This indicates that, evidently, the American modern_____ 179 classics have become an integral part of the German- language Theater *s repertoire. A survey of the 35 American plays most often pro duced includes A Touch of the Poet, The Glass Menag erie , A View from the Bridge, Our Town, The Rain maker , The Curious Savage and The Matchmaker among the top 10. American musical stage works, although repre sented to a relatively small extent, have also achieved a measure of success in the German-speaking countries. . . . The musical Kiss Me Kate held fifth place among the musical stage works most often per formed in the 1956/57 season . . . ^8 The USIS Bonn follow-up report the next season said American modern classics were standing up well despite ris ing competition, immense volume of European classical drama, and productions of plays by young German authors which doubled. Miller's Death of a Salesman had almost as many performances last season as in all the preceding five; so had Faulkner's Requiem for a Nun, , while per formances of O'Neill's Ah, Wilderness! surpassed their previous five-year total. It is also note worthy that serious American drama-— the works of Miller, O'Neill, Wilder, Williams and such younger playwrights as Albee— maintains a favorable balance against the lighter fare among the American plays most often produced and performed.^9 USIS Bonn credited USIS promotion with much of this success of American drama in Germany. Whereas such traditional elements of Amerika Haus programs as exhibits, photographic and book displays, cultural newsletters and feature stories, discussion groups, play readings, occasional live performances by local or visiting American companies, 180 panel discussions and lectures on American theater and drama (often featuring prominent American and German experts such as John Gassner and Oscar Fritz Schuh) continue to attract the broader public, more direct approaches to t;he professional theaters have been developed in recent years. To infuse American drama into local repertoires, USIS staff members cultivate close personal contact with theater people in their cities and areas. They recommend titles, present reading copies, furnish critical reviews of American productions and last year distributed to producers, directors, readers and critics 1,200 copies of a USIS/Bonn-produced catalogue of American plays available in German translation. Some centers may be singled out as providing particularly interesting examples of such systematic promotional activity. Amerika Haus Cologne, for instance, has made an arrangement with the Freie Volksbuehne Koeln, a theater-goers' organization with some 8,000 members, whereby two American plays annually are presented by the Theater am Dom company before Volksbuehne subscribers in the Amerika Haus auditorium. In return for offering its facilities on 10 evenings a year, the Amerika Haus is given 300 free tickets for distribution to its own patrons. It is thus able to participate in the planning of the Theater am Dom and suggest American plays which later become an integral part of the city-supported theater's repertoire. Plays produced under this arrangement include Orpheus Descending, The Merry-Go- Round , The American Dream, The Zoo Story and a reading of The Seven Ages of Man. In preparing the production of an American play, theaters as a matter of course turn to the Amerika Hauser for information and advice on proper back ground, costumes and props. This support is readily given. In their function as community cultural centers, Amerika Hauser also assist in publicizing the performances by poster display, printed program notes and programs tied in with the local event. A most effective technique developed for this purpose is the Theatergespraech (theater colloquium), which 181 also fulfills another important function by helping audiences to gain a wider perspective of the back ground of an American play. A Theatergespraech is usually scheduled immediately before or after the play's premiere and combines an introductory lecture on author and work with a reading of scenes and panel discussion. Examples of this technique are the colloquia sponsored during the last few years by Amerika Haus Hamburg on Settled Out of Court, Requiem for a Nun, Toys in the Attic, The Night of the Iguana and All God's Chillun Got Wings and Amerika Haus Frankfurt on A Life in the Sun, Our Town, A Moon for the Mis begotten , The Iceman Cometh, Strange Interlude, The Rose Tattoo and Welcome to Our City. The systematic promotion in which these two centers are engaged has consistently enjoyed the participation of the lead ing local theater directors, actors, critics and scholars and is rewarded by a perceptively increas ing receptivity of the local theaters and public to American drama. How the promotion of American drama can be devel oped into an effective approach to the priority task of reaching youth audiences was recently shown by Amerika Haus Kiel. With the cooperation of a jury composed of local university faculty members, crit ics and teachers, the Amerika Haus sponsored a one- act American play production contest among Gymnasien (high schools). After three months' rehearsal time, three schools, one for the 40-mile distant city of Luebeck, vied for the book and record prizes provided by USIS. Their productions (The Death of Bessie Smith, Sleeping Car Hiawatha and The Happy Journey from Camden to Trenton), in which more than 50 stu dents and teachers participated actively, were pre sented in a local school auditorium before a stand ing-room audience of over 1,000.^® In the early 1970s, USIS Bonn reported on USIS ac tivities in Germany during the 1960s. Between 1960 and 1965, under the auspices of the State Department's Cultural TET21 Presentation Program and in collaboration with commercial bookers or on its own initiative, USIS Bonn brought many theatrical productions to Germany. They included Daniel Llords and his puppets, Helen Hayes and company, Celeste Holm, Hal Holbrook as Mark Twain, students' productions (The Catholic University Players, The University of Kansas Theater), black theater (The Amen Corner, Black 51 Nativity, Black New World), and the Karamu House Players. The report said of these and USIS presentations in music and dance: Wide-ranging as these and similar activities may seem, they claimed only a small share of USIS program time and budgets— 5 percent perhaps and less in the years following. Moreover, they varied considerably in intensity and regional focus— often according to the America House directors' personal interests, sometimes under the influence of differing attitudes taken by branch post and Bonn officers. Spread out over a fragmented and parochial cultural scene, they could never reach more than a fraction of the public and a minority of the leaders, not unlike all other USIS programs. Nevertheless, with increasing emphasis being put on the presentation of new creative talent and aca demic or amateur performers from the United States, these activities were at least capable of making two principal points: that the performing arts play a vital and dynamic role in American society and that American creative artists contribute in significant ways to the life of the human spirit.^2 The type of American theater productions popular in Germany changed drastically in the second half of the decade, continued the report. As the impetus of the student movement carried over into Germany, the German image of America was once again subjected to a revision. At the same time new movements in the arts— ritual and political theater, happenings and multi-media events, chance choreography, underground cinema, rock music, post modern literature and the discovery of themes long taboo for artistic representation such as the Pope, sex, sacrosanct values and creeds— began to catch on. As nearly all of these phenomena emerged first in America, a genuine need for information arose once more (as after the war in war-torn Europe), and people again looked to USIS to communicate to them a sense of the revolutionary developments that threw their shadows onto the Germany cultural scene. The consistent effort to bring new and vital American drama before the German audience continued to attract a modicum of public attention and criti cal praise. Between 1965 and 1969 USIS Bonn commis sioned four semi-professional theater groups resi dent in Europe— The Bremerhaven Green Room Theater, The Port City Players, The Vienna American Theater and The Munich American Players— to produce recent works by such young playwrights as Lewis J. Carlino, Maria I. Fornes, John Guare, Jack Richardson and Murray Schisgal. None of these plays had been per formed in German theaters before. After the tours, Richardson and Fornes began to appear on German theater schedules. Young German audiences were particularly drawn to a slightly rag-tag band of Californians who rep resented American youth culture with folk rock musi cals and irreverent satire. On three Amerika Haus tours, the University of Southern California Festi val Theater attracted capacity crowds and created the kind of atmosphere that made the houses look a bit more "with it" than usual.53 Some USIS officers felt the main emphasis of theater from the United States should be on university theater r8- 4 groups. In 1962 USIS Bonn assisted the managers of the International Student Theater Festival Erlangen to schedule a performance by the University of Kansas Theater, then participating in a seminar in Austria. Afterwards, the post reported, this performance awakened a desire for repeat contact with American groups. In fact, the post recommended to the State Department that university theaters be consid ered an essential type of attraction under the Cultural 54 Presentations Program. In 1972, before the University of the Pacific Play-, ers went to Austria for performances sponsored by USIS Vienna, they toured Germany under the auspices of USIS Bonn. They went to Hamburg, Luebeck, Goettingen, Berlin, Freiburg, Frankfurt, and Munich. USIS Bonn reported that particular ly popular were improvisational pieces done with audience 55 participation, many of which were sellouts. Even though USIS Bonn received many requests from German festival directors during the 1960s for presentations by the American musical and university theaters, those sponsored by the State Department were almost nonexistent. USIS posts in Germany had to be content with sponsoring of local troupes or of groups already in Germany for some other reason. 185 As an example, the four local theater groups that performed under the sponsorship of USIS Bonn between 1965 and 1969 were composed of Americans resident in Germany and Austria. They were either private individuals or members of the U. S. Armed Forces and their dependents. The plays, performed in English, were I'm Herbert by Robert Anderson, Snow Angel and Epiphany by Lewis John Carlino, Dr. Kheal by Maria Irene Fornes> The Loveliest Afternoon of the Year by John Guare, Mrs. Dally Has a Lover by William Hanley, Before Breakfast by Eugene O'Neill, Momma as She Became Not as She Was by John Rechy, Gallow's Humor by Jack Richard son, Memorial Day and The Tiger by Murray Schisgal, and 56 Auto-da-Fe and Something Unspoken by Tennessee Williams. An idea of how such productions are financed is given in a letter from Hans Holzapfel, director of field programs, USIS Bonn: . a. . the financial arrangements with American performers and lecturers who appear in Germany under our sponsorship generally involve payment of a small recognition fee— up to $100 for soloists or speak ers, slightly more in exceptional cases— or a per diem for members of a touring company, plus payment of travel from another European country to Germany and within the Federal Republic. Professional companies of high caliber who per form under commercial auspices— occasionally with State Department support and/or under the Embassy's patronage— receive no financial but merely facilita- tive assistance from us. Such assistance may consist 186 of advice and help in finding bookings, cooperation with German agencies in promoting and publicizing appearances, organization of press conferences, re ceptions or other offstage activities and the like.^8 Regarding street theater in Germany, he stated: Such a theater has indeed been developed in Ger many, but it is of very small importance. It has no connection with either its American equivalent or our program, since its motivation and themes are those of the Agitprop theater of Germany in the 1920s.^9 Other comments came from foreign service officers in Munich, Hamburg, Berlin, Bremen, and Dusseldorf. Thomas E. O'Connor, acting PAO in Hamburg, said: . . . of programs in our America House, univer sity theater groups have contributed the most towards fostering goodwill between their audiences and the United States. Two recent examples are the Univer sity of Southern California Festival Theater and the University of the Pacific Players. The USC Festival Theater presented Next by Terrence McNally and Feiffer's People, based on the writings and cartoons of Jules Feiffer at the America House in July 1971. The University of the Pacific Players presented a program of one-act plays and other pieces from the off-off-Broadway and university theater of the past decade at the Hamburg America House, a Hamburg high school and several other locations in northern Ger many . Professional troupes find exposure in Hamburg through numerous established theaters and studio theaters. We prefer presenting amateur student groups because they are better able to relate to and identify with the primarily student audiences attracted to our institution. Not only do these imaginative and near professional presentations demonstrate the students' level of training and willingness to experiment, but the energy and vitality they put into their perform ances is much appreciated. The improvisational pieces 187 done with audience participation by the University of the Pacific Players prompted the Luebecker Nachricten to comment: "Germany's young thespians and playwrights, having tried in vain to establish contact with their audiences, ought to be sent to American universities for apprenticeship." America House Hamburg has not been directly in volved in the development of the street theater in Hamburg. New York's Bread and Puppet Theater did perform in Hamburg in more conventional circumstances under the sponsorship of the Hamburg City Government. The field programming office of the USIS at the American Embassy, Bonn, arranges German-wide tours for groups like the USC Festival Theater and the University of the Pacific Players. The Bonn office makes initial contacts with these student groups in America and arranges their tour. An average tour will last two weeks and the theater group will perform in eight or nine German cities. The Bonn office does not fund transatlantic travel but does fund their intra-German travel and provides a nominal per-diem to cover hotel and food expenses. American House Hamburg would choose contemporary plays performed by amateur student groups. Contem porary plays demonstrate the innovative qualities and the vitality of new American Playwrights; university students possess the near-professional talents of well-trained artists, but at the same time identify with and relate to their audience. Performances with a special relation to American literature and theater are naturally welcomed. For example, Nancy Cole in Gertrude Stein's Gertrude Stein was presented at the America House on May 5, 1972. In a recital of selections from the writings of Ger trude Stein, the American actress drew a living portrait of the personality, work and era of the famous woman. Nancy Cole is a professional and some times acts with the La Mama experimental theater in New York. Before presenting her show in Germany, she appeared in the United States, France, England and Switzerland. T88 Although the student groups mentioned were very successful in establishing people-to-people rela tionships with their German hosts and even though American professional theater groups have found ready acceptance here, because of language differ ences, a great demand for further exchanges of stu dents and performers is not present.^ Robert D. Miller, director of Amerika Haus Berlin, wrote: The U. S. information center in Berlin has, dur ing the past years, regularly presented American theater performed by both professional and amateur groups. American university students, particularly a University of California, Los Angeles, group which performed Feiffer's People, have been very success ful, as has Berlin's own American Community Theater group with plays by O'Neill, Tennessee Williams and Albee. No street theater has been developed, but that is not to say we would not favor such a project. The Amerika Haus contributes financially to theater performances here by paying for the printing of invitations and programs. In addition, all Amerika Haus facilities are made available to the troupes. In our future American theater program planning and within the framework of our financial possibili ties, we will put more emphasis on experimental the ater by professional or amateur groups or theater workshops with American and German student participa tion. Whenever possible, lectures by good American theater specialists are presented which contribute to closer contacts with local drama schools, students and theater people. We have also been examining the possibilities of establishing our own English-language theater group which would perform here regularly. If we could choose any type of theater activity for programming here, we would prefer a La Mama T 8 " 9 i repertory type setup with a lively young cast favor ably inclined to working with local actors and acting students. L.a-.Mama troups performing here in Berlin have been most successful in attracting audiences and in favorably influencing local theater experts as well. Greater exchange opportunities for exchanges are always welcomed by USIA at home and USIS posts abroad. There are exchange programs, but the biggest problem, as you know, is with financing.®^- From Bremen, American Consul General K. P. T. Sulli van commented: The following paragraphs were prepared by Miss Ruth Garbe who directs the program activities of USIS Bremen and has been in this work here for 25 years. The USIS operation at Bremen is part of the USIS district of North Germany which is headquartered in Hamburg. There are no American USIS personnel sta tioned in Bremen. For rough purposes, the district which we cover includes Land Bremen and the western half of the Land Lower Saxony. During the past 25 years of USIS operation a number of American plays have been presented. Among the most successful ones, I should like to mention performances of Thornton Wilder's Our Town and Born Yesterday, both performed by lay-actors from posts in Germany. Among the visiting groups, .the Kansas University Players under the directorship of Dr. Signey Berger were outstanding. They presented scenes from various plays, such as Spoon River Anthology and After the Fall. American actors residing in Europe presented a number of plays in English for USIS Germany. To give a few names: Diana Sowle, Heidy Maynard, Ruth Brinkmann, David Heminway. 190 German versions of the American plays were pre sented by German actors. The most frequently pre sented authors were Tennessee Williams, Eugene O'Neill and Arthur Miller. People were also greatly inter ested in very current writers such as Murray Schis- gal, Edward Albee, Neil Simon and James Baldwin. All expenses for these productions were paid for out of the USIS budget. If we could choose, we would like to present the latest productions from Broadway, because often reviews appear in German newspapers and patrons in quire about them. Since we do not have adequate facilities which are needed for professional performances, we prefer amateurs. Most successful are dramatic readings from plays, preferably with introductions, and lec tures by theater specialists. The reason for this is that a great number of American productions are produced on German stages, and personnel from the. theater, students and interested theater goers like to familiarize themselves with a play before seeing it. Among our clients in the USIS library are many professionals from the theater who read Best Plays or other textbooks a v a i l a b l e . ^ 2 Frederic A. Fisher, United States consul in Dussel- dor f, re sponded: We have not been too active in the presentation of American theater works in the Dusseldorf area. The greatest successes we have enjoyed with Amer ican theater groups in our area have been with uni versity theater groups. These have usually been small companies, and we have arranged programs with dramatic schools in our area. Normally, we have taken care of the financial arrangements for such visits. As to the types of presentations we would choose, these would fall generally into the area of short one- or two-act plays with minimum set requirements and small casts. We can also make good but limited 191 use of individual dramatic readings and workshop sessions by theatrical specialists. By and large, the opportunities for the exchange of specialists in the theater field are satisfied by the existing arrangements which obtain either through our office or between professional promoters in Germany and the United States.^3 From Munich, Edward J. Hinker, director of the Amer ika Haus Munchen, wrote: Goodwill is more often engendered by an ener getic and talented young group of Americans. An example is the University of the Pacific Players. After their formal performance here, they enter tained questions from the audience and had a very lively discussion. The only street theater of which we are aware in Munich is one planned for the cultural Olympics this summer but not under our auspices. Concerning finances and facilitative arrange ments, the players from the University of the Pacific had already arranged for travel to Europe and had contacted the American Embassy in Bonn for both the financial and facilitative aid. Our costs were sim ply promotion of the evening and house expenses. Our overwhelming support would go to performances by either professional or very good amateur groups. One of the attractions to a German public of a play, in contrast to a reading, is that it is not entirely necessary to understand a play's language, having also the play's action to rely on. To my knowledge, we have never exchanged a Ger man performing group for an American group. We would like to have many more of these groups perform for us, but it is simply too expensive for us to pay travel and board for a group of any size. We are bound to take advantage of the presence in Europe of such groups.®^ 191 The USXS libraries in Germany have extensive the atrical collections. In general, they subscribe to The Drama Review, Chicago Review, Educational Theater Journal, Modern Drama, Players Magazine, and Yale Theater. Their recordings include up to twenty plays and their collections of plays and books on theater usually number more than 6 S three hundred. Iceland The USIS librarian in Reykjavik sent the only con tribution from Iceland for this study. The lone periodical on theater to which the post subscribes is The Drama Review. Neither of its two films concerns theater. The post has eighty-five books on theater and about two hundred plays and collections of plays.66 The CAO in Reykjavik did not respond to the ques tionnaire, but a field message from USIS Reykjavik to the USIA in 19 68 said theater is highly developed in Iceland and that the post was interested in starting a play-reading group. Many Icelanders would like to improve their Eng lish.67 rg - 3 Ireland There was no response from the United States Embassy in Dublin. Italy From Genoa, Thomas H. Murfin, the American consul general, wrote: There have been no American theatrical presenta tions in Genoa during my three years here. Occa sionally American plays are given in translation at the Italian theater Eleonora Duse, which is one of the best in Italy. About the only American theater seen in Genoa in recent years is the ballet. The Harlem Ballet is scheduled for the Nervi Ballet Festival this summer, but I am not sure whether it is straight ballet or ballet theater. The Alvin Nikolai dance theater was here five or six years ago and the New York City Ballet has been here. There have been no American government sup ported theatrical presentations in recent years. Many years ago, Porgy and Bess was a great success here. Local groups have tried street theater, not al ways with great success. It is unlikely that American theater will be used in USIS programs here in the near future and I am not really in a position to suggest what type of presentation would be most useful. I think it rather unlikely that English language plays would be popular but I can envisage some value from lectures by American theatrical specialists to some very selective audiences. : r9i Educational exchange in the theatrical field has been entirely on an individual basis and I do not believe that we have had any request for assistance in this regard.^® Although there was no response from USIS Milan, that post was active in theatrical presentations at least a decade ago. In 1961 USIS Rome sent a field message to the USIA regarding USIS Milan's plans to initiate its third season of theatrical activity in collaboration with the Italian little theater group, Lo Scrigno. In the message was a report on the 1960-1961 season. Five plays— The Other Part of the Forest by Lillian Heilman (first performance in Italy), The Beautiful People by William Saroyan, The Man Who Came to Dinner by George S. Kaufman and Moss Hart, The Spoon River Anthology by Edgar Lee Masters and Harvey by Mary Chase— were skillfully presented to capacity audiences to show the vitality of the con temporary American theater and the variety of its trends and themes. A total of 30 performances was given free of charge at USIS Milan, and Spoon River Anthology (artistically the best work of the season and also the most easily transported production) was performed six times in other towns (Lecco, Sesto San Giovanni, Como, Brescia, Crema and Bergamo); the estimated total audience for the season is slightly less than 5,000. USIS Milan feels that its Teatro del USIS— as far as is known the only theater in Italy which pre sents a regular season of exclusively American plays— has now earned itself a modest but respectable place in the cultural life of Milan. Moreover, it has attracted many new customers to USIS who thereby have become familiar with other activities and facilities. 195 Attention and recognition from the press has grown with each season, and audience response has been increasingly gratifying. Three extra perform ances of The Man Who Came to Dinner were scheduled in response to enthusiastic crowds, and other plays would have been held over had finances permitted. The most sincere compliment was that paid by 50 theater fans from Crema (a town 45 kilometers away where the group had performed earlier in the season) who hired a bus to come to Milan to see Harvey in the USIS Little Theater.69 From Naples, Joseph I. Krene, PAO for Southern Italy, commented: English speaking audiences are, of course, inter ested in viewing American drama in the original Eng lish. Perhaps the most interested groups are teach ers of English and students in English or American literature classes in universities. The use of theater presentations at this post has not been high, however, because of the difficulty in finding qualified actors for performances. On occasion we have lent facilitative assistance to a local amateur group here in Naples, helping to put them in contact with appropriate audiences for performances. We have found that a general English speaking foreign audience prefers light comedy, the text of which they can follow rather easily. University groups prefer more difficult works, especially ones they have been studying as part of their curricula. We have no exchange program per se for the the atrical arts, though applicants for scholarships under the programs administered by us could choose theater for their studies in the United States.^0 Cameron R. Hume, American vice consul, Palermo, wrote: American theater has not been performed here, but it has been dealt with as an academic subject in 19~6 lectures given on a limited number of occasions by- American and Italian scholars. There is no teaching of the dramatic art in the local university and schools, and none of the few theater groups active in Sicily have performed American plays. Local repertory companies limit their produc tions to plays in the Sicilian dialect which satir ize local life. Amateur groups here have had a sporadic existence, and generally they present left ist and anti-American material. The national theater groups that tour Sicily infrequently present American plays, but all of these are independent from our post. Consequently, in answer to your second question, it is difficult to visualize the use of the American theater in any but an academic context. Finally, each year the Educational Exchange Program offers scholarships to the United States in all fields, including the theater. However, appli cants in this area have been few, and none has ever received a scholarship. Margaret Haferd, assistant CAO, USIS Rome, wrote: We do not use theater as part of our program here. Theater is not strong in Rome (probably the city is too theatrical for iti), and even the Premio Roma, which was founded by an American who was mar ried to an Italian here, has not been a great suc- 72 cess. However, there has been some previous interest in United States theater in Rome, judging from the following 1961 field message from USIS Rome to USIA Washington: The student Theater Club of the University of Rome, Centro Universitario Teatrale (CUT), an influ ential and serious group, wishes to devote the major part of its 1962 season to the American theater. This association, which has over 500 members, has approached the cultural attache and discussed the T91 project. In collaboration with USIS, CUT will organize a series of eight or nine playreading seminars, which will include works of American playwrights such as O'Neill, and also four or five works by newer play wrights such as Albee, Gelber and Lionel Abel, whose works have not yet been produced or translated in this country. To conclude their season the group would also like to stage a new American play under the direction of a young American director. Their cultural program will also include a series of lectures on theater by top Italian critics using recent material received from USIA (Acting in the United States illustrated with slides) and concerts of American music. The playreading seminars will include (in Ital ian) : Mourning Becomes Electra by Eugene O'Neill, The Skin of Our Teeth by Thornton Wilder, Winterset by Maxwell Anderson, The Petrified Forest by Robert Sherwood, The Zoo Story by Edward Albee, The Death of Odysseus by Lionel Abel, The Bait by J. Merrill and The Brick and the Rose by Lewis John Carlino. The group will use existing Italian translations for older plays and make new ones for plays not yet translated in Italy. In closing, the field message called the project 74 "worthwhile" and said it would reach a key target group. The American consul in Trieste, Theodore E. Russell, responded to the questionnaire by saying the USIS office at his post was closed in 1963 and that no theatrical programs 7 S had been a part of recent information programs there. Such has also been the case in Turin. American Consul C. Melvin Sonne, Jr., reported: r98 USIS in the distant past (since 1965 it has not maintained a full-scale operation here) carried on a limited theatrical program here. Now, practically all activities of this nature are organized by pri vate impresarios with companies of Italian actors. While occasionally they present the work of either contemporary or classic American playwrights, the performances are given in Italian. Although French productions are occasionally offered in Turin, very few people understand English well, and the language barrier represents the major handicap to presentation of original American the ater in this area. In fact, most plays of any kind presented here have very short runs, seldom more than a week. In addition, no street theater of which I am aware has been developed, and I have seen relatively little evidence of interest in amateur theatricals. In the choice of works which might be presented here we are fortunate that some of the best American contemporary drama is ultimately translated into Italian and is presented and attracts audiences on its own merits. Both serious drama and light come dies are included and, if audience for the latter tend to be somewhat larger, the Italians are no different from Americans in this respect. My personal feeling is that there would also be a market for musical comedy in Italy, and this might provide a means of making American theater known to a wider audience than presently exists for it. Perhaps, however, the playwrights and actors with the special talents needed to transpose this type of production into Italian have not been forth coming. One also has to consider that relatively large companies are generally needed. As for the exchange of theatrical specialists, the possibilities remain very limited, particularly because there is no established school of drama in Turin. I am aware of no instance in recent years ---------------; ----------------------------------------------------------- r9- c in which we have sponsored such an exchange. How ever, some of the local practitioners from the Teatro Stabile (Municipal Company) or the Italian Radio- Television studios located here would certainly be interested in such a program and could undoubtedly benefit from exposure to the American theatrical world.76 In signing, Sonne called himself "one of those in government service who would welcome the expansion of U. S. 77 Cultural activities abroad." The Italian Embassy in Washington, D. C. and the Italian Cultural Institute in New York City were both asked for a response from the Italian point of view. B. Attolico, replying for Ambassador Ortono, wrote: The subject which you have chosen is indeed one of great interest, for American theater is undoubt edly a most effective vehicle throughout the world. Of course, one problem arises, and this concerns the language. In Italy, for instance, plays by Americans are widely performed but usually in trans lation and thus by Italian companies. In the framework of the Spoleto Festival, the American performing arts have been presented most effectively to the Italian public. The Festival has been a success year after year, and it has been instrumental in bringing to Italy young American artists and amateurs as well as experimental theater. It is in such context that we see the best pos sible setting for exchange and meetings of students and people involved in the performing arts in the two countries.78 Giuseppe Cardillo, director of the Italian Cultural Institute, responded: — 200 American theater has been well known in Italy over the last 40 years. Among the dramatists who have made the greatest name we need only mention Thornton Wilder, Arthur Miller and Edward Albee. We do not feel it is our role to suggest Ameri can presentations that would be successful in Italy. The repertory theaters in the chief Italian cities quite frequently put on American plays. And, as you may know, the Festival of Two Worlds held every year at Spoleto has held performances by many small American groups of value. Exchanges of students and people involved in the theatrical arts are sporadic and unplanned. We may note that the Institute for Advanced Studies in the Theatrical Arts of New York has had Giovanni Poli of Venice, an expert in the teatro dell'arte, conduct courses. From statistics in the Directory of the Italian Theater: 1963-1969, we see that, in 1968, there were 604 performances of American plays (nine per cent of the total number of performances in Italy), with a sale of 370,000 tickets sold (14 per cent of the total number of tickets sold in all Italian theaters). Besides the authors mentioned above, we find also the names of Eugene O'Neill and Neil Simon. It is not our function to record tours of Amer ican theatrical companies performing in Italy. We do have news, however, that the Commedia Theater of Washington University in St. Louis performs this summer at the Festival of Two Worlds in Spoleto and also at the International Theater month in Venice and during the music festival, "Maggion Musicale," that takes place in Florence every spring.^ Luxembourg No response to the questionnaire was received from the United States Embassy in Luxembourg. 201 Malta Robert D. Plotkin, USIS PAO in Velletta, replied to the questionnaire: A number of Maltese producers have adapted Amer ican productions (Neil Simon, Moss Hart, George S. Kaufman) for presentation in the very handsome Manoel Theater located in Valletta. There are also experimental theater groups writing and producing in Maltese which include street theater and open air productions. The USIS occasionally assists in pub licizing theatrical events that feature American authors or participants. The USIS post in Valetta would likely choose a small touring professional company to present two or three modern (1960s or 1970s) plays to Maltese audi ences. A visiting specialist might also command an interested audience. The Salzburg Seminar and the USIS hope to coop erate to send one or two Maltese producers/directors to the Salzburg Seminar in American Theater this Rn year. u Netherlands Philip A. Benson, cultural attache, United States Embassy, The Hague, wrote: There is a highly developed theater in this coun try which maintains close communication with other theaters around the world and a not infrequent ex change of plays and performers. Our direct support is unnecessary, even undesirable. In its perform ance, theater tends to be more parochial than other less expensive and more immediately communicative art forms. '2U2T1 There is a close contact and exchange between numerous Dutch and American theater people, but I know of no grant opportunities specifically for this purpose. ® - * • Norway Robert C. Voth, director of the USIS in Oslo, com mented : Some years ago, Hal Holbrook performed in this city, and we were fortunate to have this well-known Mark Twain impersonator at our Embassy, an event which drew a large audience. Margaret Webster visited Oslo in 1970 and in our program for her was included a party given by former PAO William Astill. The elite among Norwegian ac tors, theater directors and theater critics were given the opportunity of having long discussions with her about the role of American theater. She gave a lecture on that occasion and, all in all, it was a most worthwhile program. The Little Theater of the Deaf visited Norway in 1971 and, as this kind of group was unique to most Norwegians and because the group itself was so de cidedly talented, their visit was a great success. As a matter of fact, USIS gave a luncheon for the director of the National Theater in Oslo discussing the possibility of having that theater present the whole Theater of the Deaf at some later date. We discard our records after three years, so unfortunately I could not tell you how much we paid Hal Holbrook. Margaret Webster received $300 and The Little Theater of the Deaf about $450. The International Festival in Bergen has pre sented the following programs: in 1969, the Seattle Repertory Theater's productions of Who's Afraid of Virginia Woolf? by Edward Albee, and A Little Set-to and Short Sacred Rite of Search and Destruction by — = : 201 Swan; in 1971, Daniel Llords' musical marionettes for adults performed. All performances took place at Den Nationale Scene (The National Stage) in Bergen. Should our budget allow my choosing special types of theater groups and plays, I would like to see a prestige performance take place every two or three years, perhaps preferably during the Interna tional Festival in Bergen. First rate American uni versity theaters would be an asset to our program, if performances could be arranged either at the Norwegian universities or in the cities where they are located. Lectures and workshops are, in my experience, of less interest to this country. Whereas we have no exchange of students and other people involved in theatrical arts between the United States and Norway, we assist the Salzburg Seminar in American Studies in Austria in their efforts to obtain worthy candi dates for their sessions, including those on the ater. For a Norwegian's point of view, the director of the main theater association in Oslo, Fra Teatersjefen, was sent a questionnaire. He replied: Presentations of American theater in Norway have been very rare. As far as I can remember, we had only two, one being a production of Porgy and Bess which was very successful, the other being Thornton Wilder's The Skin of Our Teeth which was no great success from the box office point of view. I should think that productions for which the American theater is specially known would be the most interesting, for example plays acted with great emotional realism or musicals. There also would be an audience for experimental theater of the La Mama type, though a more limited one. To my knowledge, there has not been any student from the American theater here to study in our schools. Some Norwegians have been to drama 204 departments at American universities, but only a few have worked in the professional theater there.^3 Portugal According to a letter from Maria Torre do Valle Sampaio, director of the American Library in Lisbon, the small collection of theater books on file there include some important American plays such as those by Edward Albee, Maxwell Anderson, Carson McCullers, Eugene O'Neill, 84 and Tennessee Williams. Asta-Rose Alcaide, assistant CAO, United States Embassy, Lisbon, wrote that there is no American theater program conducted by USIS Lisbon: However, we are making plans to present dramatic reading sessions next winter. We plan to include the most representative American theater works of the last 10 years. There has been no exchange in the field of the atrical arts as far as Portugal and the United States are concenred. Last winter, a young Portuguese actor was given a Ford grant to observe theater in the U. S. for four months, but this was not done through the embassy. William L. Jacobson, Jr., second secretary, press and cultural section, United States Embassy, Portugal, ex plained : We have a very modest budget and staff in Lisbon and therefore have not been involved too heavily in ---------205' U. S. theater presentations. No street theater has been used. This week we are presenting three programs fea turing the U. S. actress Nancy Cole who does a one- woman show on Gertrude Stein. She is giving this program all over Europe and in the United States because of a reborn interest in Gertrude Stein and the influence she had over modern art and literature. Two of the programs are being presented at the Gul- benkian Foundation auditorium and the Cascais exper imental theater in a suburb of Lisbon. The third is a private showing for culture lovers at the PAO's residence. Miss Cole seems to go over well with those who are familiar with the life of Gertrude Stein. The performance is in English. Another plan features Portugal's prize-winning actress for 1971, Miss Gloria de Matos, in a program describing the difficulties— cultural, linguistic, traditional— in presenting Albee's Who 1s Afraid of Virginia Woolf? which played in Lisbon this past year. It will be presented to a small audience in our cultural center here.^ From Oporto, Anne M. McHugh, American vice consul, wrote: Oporto has no USIS representative and the con sulate's information program consists primarily of film lending and library services. From time to time we do have visits by American musical and dance groups. We have no theater programs and foresee that such programs would be difficult to promote because of the language problem. We have a small collection of books regarding theater in our library, but upon checking I find that these have minor popularity. The film program consists of distribution of films to schools and organizations. The arts portion consists mostly of exposition of the plastic arts and dance.^ 2TT6] From Porto Delgada, Azores, American Consul Hyman Bloom wrote: This small consulate does not conduct an informa tion program. The only uses of American theater in the Azores is that of interested American amateur groups who live at the Lajes Field Air Base situated on Terceira Island. These groups, consisting of military personnel and their dependents, once or twice a year put on a show for people at the base. Two years ago they put on South Pacific and last year Damn Yankees. To put on these amateur shows, military person nel and their dependents use their own financial resources and work up the sets themselves. A show is performed two or three times and is attended by a limited number of Portuguese Air Force personnel who are also stationed on the base. It is my opinion that musical productions go over best at the base because of the dull and boring life the families lead. They require action and humor to make life more interesting. Most Azorean people are poor and amuse them selves with their own simple folk dancing and sing ing, so there is no opportunity for an exchange of people involved in theatrical arts here. However, the local high school last Easter performed a Portu guese language version of Arsenic and Old Lace.88 Spain The USIS Cultural Center at the United States Embassy in Madrid does not program American plays, according to Diane Stanley, assistant CAO. For one thing, many contemporary U. S. plays are performed here commercially. Another consideration is simply that we have no adequate stage. Finally, 207 because we do almost all of our programming in Span ish and many American plays are not in translation, we are somewhat limited by what might be performed. During the past year, however, we have done a few play readings in English: a Miller play, two short plays by Tennessee Williams, and one by Sar oyan. Street theater has not been undertaken. If we were to program American theater at our cultural center, I suppose we would prefer some of the best things by O'Neill (simply because he is so good and well known) and relatively contemporary plays that deal with social problems in the United States, such as those by Miller, Kopit, etc. Work shops could be of interest, but again we would prob ably have problems with the language barrier if those conducting the workshops were American. Certainly we could program theater specialists, as we would provide simultaneous translation. But, of course, this is not as effective as having a speaker who is able to lecture directly in the lan guage . Certainly there is interest in the U. S. theater, not only on the part of Spaniards involved in the theater, but also on the part of persons who attend plays. There are some 27 theaters in Madrid which usually offer two performances a day, so there is a large theater-going audience here.^® However, she concluded, there is the problem of censorship: . . . all plays must be submitted to the govern ment censorship offices before they can be performed. This somewhat limits the production of American plays. Or, if a play is allowed to be performed, lines are often changed or eliminated. This also severely limits contemporary Spanish playwrights.90 . - - ■ 208 Edward Mattos, who was the CAO in Madrid from 1966 to 1970, wrote that, in his opinion the amount of American theater in Madrid does not meet the demand. He was musical consultant for professional productions of Man of La Mancha and Sound of Music, both completely commercial productions. In addition, he presented The World of Carl Sandburg on a tour of Spanish universities and numerous dramatic readings of American literature and poetry at the USIS centers in 91 Spain. All, he felt, were greatly appreciated. The USIS library in Madrid, the Biblioteca Washing ton Irving, has thirty-three books on United States theater, one on Asian theater, twenty-five histories of United States and world theater, five on theater in New York City, nine on play production and direction, three theater year books, and two on drama in education. Its collection of plays included those by Thornton Wilder, William Saroyan, Tennessee Williams, Arthur Miller, William Inge, and other prominent American playwrights (complete list not provided). Et also subscribes to The Drama Review, Educational Theater 92 Journal, Modern Drama, and Yale Theater. From Seville, Curtis C. Cutter, the principal offi cer at the United States Consulate General, wrote: 209 Seville is a city which has a very small cosmo politan population. Even movies in the original language with subtitles are not common here, and the theater in a foreign language could not be expected to have a very large following. (A small university type audience could possibly be expected for any important cultural event.) In the performing arts, musical presentations have the greatest acceptability, as there is no lan guage barrier. I would think that mime, if it were not too sophisticated, might find an audience in Seville, if proper publicity were given to the pre sentation . To my knowledge, no American theater company has played in Seville in recent years and street theater is virtually unknown. Lectures, of course, could be given to small groups and dramatic readings would also be a possi bility before the same forum. The British Institute presents events of this kind and might be willing to host American presentations. No American cultural center exists in Seville, therefore the scheduling of such events would be more difficult (but not im possible) . I would imagine that there are opportunities for the exchange of students and other people involved in theatrical arts. However, I am at present un aware of what these possibilities would be.9^ From Bilbao, American Consul Joseph L. Smith wrote, "interest in theater among the populace in northern Spain is 9 4 nil," and from Barcelona, PAO Howard E. Shetterly stated: "while Barcelona is the outstanding leader in all other cultural activities in Spain, Madrid is more of a theater town."95 210 Luis Javier Casanova, cultural attache, Embassy of Spain, Washington, D. C., gave a Spanish point of view: Theater presentations from the United States and introduced in Spain which have been the most valu able would be those works presented since the Second World War, and particularly those depicting univer sal themes. The Spanish public is especially open to experimental theater, including musical versions of well known classical works. Essential to the success and acceptance of theater from the United States in Spain would be plays which have been easily adapted into the Spanish language. I am not familiar with the current demand for exchanges between theatrical groups. It would only seem natural to assume that as general cultural and educational exchanges between our two countries expand, so too will the demand . . . Sweden During the first part of the past decade, USIS Stockholm took advantage of the Swedish public's appetite for presentations of other nations' theater. A growing national knowledge of the English language facilitated efforts of the post. The situation was described in a 1961 field message from USIS Stockholm to USIA Washington: Swedish interest in the American theater has again been demonstrated by the opening in Stockholm's Old Town of Edna St. Vincent Millay's Aria da Capo in the English language at the Marsyas Theater (57 seats). Also playing in English in Stockholm is the Swedish drama, The Legend, by Hjalmar Bergman. 2T1 The two theaters are obviously aiming to attract American and English tourists flocking to Sweden during the summer, but the Embassy feels that this language innovation of the Swedish stage world may be indicative of a future trend. So many Swedes speak English fluently that, if successful in their current ventures, the two theaters might well con sider presenting American dramas and English-languaqe translations of other dramas on a year-round basis. ^ In the years following, USIS gave much assistance to the Swedes for the 1962 world premiere of Eugene O'Neill's More Stately Mansions. USIS Stockholm arranged taped radio interviews with Arthur and Barbara Gelb, authors of the extensive biography, 98 O' Neill, and tape recorded excerpts from O'Neill's A Long Day's Journey into Night, which was provided by USIA Wash- 99 ington. USIS Stockholm also worked closely with and assisted Dr. Karl Gierow, director of the Royal Dramatic Theater, where the premiere was to be presented. Similar USIS plans in conjunction with other Swedish productions of American plays included assisting with Ingmar Bergman's production of Edward Albee's Who's Afraid of Virginia Woolf?^^^ at Stockholm's National Theater in 1963, and with Stockholm's Royal Dramatic Theater production 102 of James Baldwin's Blues for Mr. Charlie in 1965. With such extensive past activities regarding the ater at USIS Stockholm, it was a surprise to receive the 2T2 following statement from Bo Gyllenpalm, program director, USIS Stockholm: We have hardly used any American theater at all in our programs. We have no experience whatsoever. The theater world in Sweden is completely differ ent in comparison with the U. S. We do have con tacts with Swedish groups, but so far no working relationship has been established. Some Swedish students have made study visits to New York, which I have helped get up. Apart from that, there has been no exchange, and there seems to be no interest, at least very little, in further exchange programs. However, this may be presumptious, as we really have not discussed this with the people involved. The political climate has not given us very much chance to work closely with them, but hopefully we will be able to cooperate more in the future. Switzerland According to Lucien Heichler, PAO, USIS Bern, 1972, the USIS in Switzerland has always been too small an opera tion to have a theater program. If such a program did exist, the plays chosen would depend on the availability of translations.In addition, Heichler stated that there is no government-sponsored student exchange between Switzer- 105 land and the United States. Maria A. Stevens, program officer, Office of Western European Programs, Bureau of Educational and Cultural 213 Affairs, Department of State, said the reason for this lack of USIS teatrical activity in Switzerland is lack of demand. I understand that it is rare that any plays are performed in English in Switzerland. There is no British theater, either, apart from an occasional amateur performance. Most foreign plays, including American ones, are eventually picked up by the local theaters in either German or French translations, if and when they have been successful in France, Germany and Austria, or by occasionally even for a first performance. Dramatic readings, workshops and lectures by theater specialists are not in demand in Switzerland. United Kingdom England Although the United States Embassy in England has a large cultural section, its theatrical activities are al most nonexistent. The commercial exchange between British and American theater needs no encouragement. However, there is one mention of USIS London theatrical activity in the USIA/ICS files: Some 50,0 student and youth .leaders gave five cur tain; calls to the Oxford Players at the conclusion of Ken Kesey's play, One Flew Over the Cuckoo's Nest. The office arranged the presentation on April 23 at the Mermaid Theater. The play cost us a total of $100 and another $8 00 was contributed by three stu dent organizations whose members were given free tickets to the play. 2T5 Several West End theater producers and the director of BBC television features are now inter ested after seeing the play in producing it either at the West End or on BBC television. The general manager of the Mermaid, whose cooper ation helped greatly to make the show possible, thought it was an extremely successful evening, as did the directors of the British University North American Club, Intergrad and Beaver College, all of whom contributed cash to make the production possible. The Oxford University College Players and the Wadham Drama Society originally gave their perform ance at the Oxford Playhouse where it was previewed through the efforts of this office by our student group backers. The production was semi-pro and was technically excellent, thanks to the professionalism of the Mermaid Theater staff.107 In addition, the files contain a message in which the American Embassy, London, specifically stresses its non involvement with the American theater group, The Living Theater. The New York-based group, which portrays social ills and social discontent in the United States through avant-garde theatrical presentations, had just produced The Brig, a play about imprisoned marines, in London. The play opened here with the American cast at the Mermaid Theater on September 2, got bad notices and closed on September 26 after three and a half weeks. Almost uniformly, the reviews commented on the fact that the play ceased to be interesting at all after the first few minutes. One made the point that, while it might be interesting editorially to comment in the United States about conditions in Marine prisons, it could hardly be expected to be of major interest in the United Kingdom. 2X5 Since the play closed in London, it has been reliably reported to several USIS officers that members here obliged the play to close because it found the drama to be a disservice to the U. S. It is further claimed that the Embassy paid the pro ducers for any loss the early closing caused them! These rumors have no foundation whatever. To the post's knowledge, no member of the Embassy staff saw the play or commented on it in any way. The Cultural Affairs office was asked to supply Marine Corps uniforms for the cast, but replied that the required sort of uniform was not available here.-*-®^ Northern Ireland In 1972 Grover W. Penberthy, the American Consul General in Belfast, wrote of the use of theater in that troubled part of the United Kingdom. United States information programs do not make a prime target of Northern Ireland with its familial links to the United States. The strength of modern communications also makes for relatively deep under standing here of the United States, its people and its objectives anyway. Of course, the fact that the area is in the grip of urban guerilla warfare is also a major point. Since my arrival here last August, when the cur rent campaign of violence took a dramatic upturn there has been, to my knowledge, no representation of the American theater here in Northern Ireland. In fact, the troubles have virtually dealt a death blow to indigenous theater. If I had my druthers, the kind of American the ater I would like to see here would be something like the Alvin Ailey Dance Troupe. In fact, any thing that would show the depth of American progress in the theater would be a wonderful thing for this community, although I think it could well do without dramas focusing on violence. . 2r6 One of the casualties of the security situation here is the exchange of students and others involved in the theater arts. Not only has the theater vir tually vanished, as I have said, but no American in his right mind would want to come here if he could go elsewhere just as well. I would say that the people here are starved for the kinds of things your letter talks about. Remarks Even though the rationale that Nazi propaganda must be countered is no longer viable as it was during and immediately following World War II, in most European coun tries there is still a need for more, not less, United States government-sponsored theater than presently exists. In England, Switzerland, and the Netherlands where there is an abundance of privately-sponsored United States theater, this is not the case. Yet, in others, more United States theatrical productions, play translations, and the ater specialists would find an appreciative audience. Based on the USIS experience in Germany alone, United States government support of such an increase shows that the more a theatrically active people know of United States theater, the greater is their demand for it. Also, throughout Europe the USIS experience shows that for United States theater to not be represented in countries where 2T7 theater is considered important prevents the United States image from being one of a nation of culturally active people who care for an exchange of ideas as well as of material goods. In addition, the USIS European experience reveals that where the United States does not strive to achieve such an image, the Soviet Union does. Tl8 Footnotes ^Letter from Dr. Hildegard Weidinger, USIS Cultural Advisor, American Embassy, Vienna, 10 May 1972. 2Ibid. 3Ibid. 4Ibid. 5Ibid. 6Ibid. 7Ibid. 8Ibid. 9 Letter from Anton Porhansl, Austrian-American Educational Commission (Fulbright Commis sion) , Vienna, Austria, 21 July 1972. ^Letter from Dr. Gottfried Heindl, Director, Osterreichischer Bundestheaterverband, Vienna, Austria, 8 October 1972. i:LIbid. 12 Letter from Sy Kahn, Chairman, Drama Department, University of the Pacific, Stockton, Calif., 30 June 1972. TO USIS Brussels field message, Spring 1966. 14Ibid. 15 American Studies News, Autumn 1967, p. 1. 16 Letter from James D. McHale, CAO, United States Embassy, Brussels, 12 May 1972. ^7Ibid., 24 October 1972. “I O Letter from William T. Crocker, Cultural Attach^, United States Embassy, Copenhagen, Denmark, 1 May 1972. 19 Letter from Niels-Jurgen Nielsen, Assistant Head of Section, Royal Ministry of Cultural Affairs, Copenhagen, Denmark, 2 August, 1972. 219 20 USA Focus, publication of USIS Copenhagen, No. 3 n.d., pp. 12-15. ^USIS Helsinki field message, Fall 1966. 22 Letter from Lilian Alenius, Director, American Center, United States Embassy, Helsinki, Finland, 24 May, 1972. 23 Letter and accompanying list from Eila Heikkila, Chief Librarian, American Center Library, Helsinki, Finland, 31 October 1972. 24 Letter from Jorma Ranta, Director, Finnish Center of the International Theater Institute, Helsinki, Finland, 24 July 1972. 25 • Airgram from John W. Mowinckel, Counselor, United States Embassy, Paris, to the Department of State, 9 March 1963. 2 6 Letter from Beatrice Clive, American Cultural Center, Paris, 18 May 1972. 27 Letter from Ramon Garcia, Information Specialist, United States Consulate General, Marseille, France, 5 May 1972. 28 USIS Paris field message from Burnett Anderson, PAO, 27 April 1972. 29 Letter from Kenneth W. Larke, Cultural Advxsor, USIS Lyon, France, 28 August 1972. 3^Letter from B. Gatheron, USIS Bordeaux, France, 26 April 1972. 31 Letter from Ronald E. Woods, United States Con sulate General, Strasbourg, France, 24 April 1972. 32 Charles A. H. Thomson, Overseas Information Service of the United States Government (Washington: The Brookings Institution, 194 8), p. 243. 33Ibid., p. 246. 34Ibid., p. 265. 220 ^New York Times, article by Sam Zolotov, 6 Novem- ber 1945, 1:25. ^New York Times, 4 November 1947, 1:4. 37 Ibid. 38 . , Ibid. 39 New York Times, article by Kathleen McLaughlin, 19 May 1946, 11:1. 40 , . . Thompson, Overseas Information Service, p. 272. 41 Interview with Karl F. Brauckraann, Washington, D. C., 1971. 42 USIS Bonn field message, 25 June 1962. 4 3,., 44. Ibid. Ibid. 4 5 . 4 6 . Ibid. Ibid. 47 48_, . , Ibid. Ibid. 49 USIS Bonn field message, 6 September 1963. 50 . Ibid. 51 USIS Bonn report, "The Performing Arts m the German Program" (reprint sent from USIS Bonn in 1972, n.d.), p. 3. 52 53 Ibid., p. 3. ^Ibid., pp. 5-7. 54 Letter from PAO James E. Hoofnagle, Bonn, to Morrill Cody, Assistant Director for Europe, USIA, 28 March 1967 (copy in USIA files, Washington, D. C.). 55 USIS Bonn field message, Summer 1972. 5 6 Letter from Hans Holzapel, Director of Field Programs, USIS Bonn, 9 June 197 2. 57Ibid., 3 May 1972. 58 t k • j 59^., Ibid. Ibid. 221 r n Letter from Thomas E. O'Connor, Acting PAO, USIS Hamburg, 9 May 1972. / T * | Letter from Robert D. Miller, Director of Amerika Haus Berlin, 8 June 1972. 6 2 Letter from K. P. T. Sullivan, American Consul General, United States Consulate General, Bremen, Germany, 9 May 1972. go Letter from Frederic A. Fisher, Consul, United States Consulate General, Dusseldorf, Germany, 16 May 1972. ^Letter from Edward J. Hinker, Director of Amerika Haus Munchen, Munich, Germany, 19 May 1972. ^~*List sent from Karin Stephen, Regional Librarian, USIS Frankfurt, Germany, 19 October 1972. ®^Letter and mimeographed list sent from Vigdis Arnodottir, Librarian, USIS Reykjavik, Iceland, 15 Novem ber 1972. ^USIS Reykjavik field message, Spring 1968. 6-8 Letter from Thomas H. Murfin, American Consul General, United States Consulate General, Genoa, Italy, 10 May 1972. 69 • Field message from Edmund Schechter, Acting PAO in Rome, to USIA Washington, 2 November 1961 (on file at USIA/ICS, Washington, D. C.). 70 Letter from Joseph I. Krene, PAO for Southern Italy, USIS Naples, Italy, 8 May 1972. 71 Letter from Cameron R. Hume, American Vice Consul, United States Consul General, Palermo, Italy, 9 May 1972. 72 Letter from Margaret Haferd, Assistant CAO, USIS Rome, Italy, 3 May 1972. 73 USIS Rome field message, 7 December 1961, written Dy PAO Joseph B. Phillips. 222 74Ibid. 7 5 Letter from Theodore E. Russell, American Consul, Trieste, Italy, 2 May 197 2. 7 € % Letter from C. Melvin Sonne, Jr., American Consul, Turin, Italy, 14 August 1972. 77Ibid. 7 8 Letter from B. Attolico, Ambasciata D'Italia, Washington, D. C., 11 July 1972. 7 9 Letter from Giuseppi Cardillo, Director, Insti- tuto Italiano Di Cultura, New York City, 25 July 1972. ^°Letter from Robert D. Plotkin, USIS PAO, United States Embassy, Valletta, Malta, 5 May 1972. O 1 Letter from Philip A. Benson, Cultural Attach^, United States Embassy, The Hague, Netherlands, 19 May 1972. o o Letter from Robert C. Voth, USIS Director, Oslo, Norway, 8 May 197 2. 8 3 Letter from Toralv Maurstad, Director, Fra Teatersjefen, Oslo, Norway, 21 August 1972. 84 Letter from Maria Torre do Valle Sampaio, Direc tor, American Library, Lisbon, Portugal, 13 November 1972. 8 5 Letter from Asta-Rose Alcaide, Assistant CAO, United States Embassy, Lisbon, Portugal, 8 June 1972. 8 6 Letter from William L. Jacobson,, Jr., Second Secretary, Press and Cultural Section, United States Em bassy, Lisbon, Portugal, 13 November 197 2. o *7 Letter from Anne M. McHugh, American Vice Consul, United States Consulate, Oporto, Portugal, 1972. 88 Letter from Hyman Bloom, American Consul, United States Consulate, Ponta Delgada, Azores, Portugal, 2 May 1972. 2-2 3 8 9 Letter from Diane Stanley, Assistant CAO, United States Embassy, Madrid, Spain, 5 May 1972. 90 . Ibid. 91 Letter from Edward H. Mattos, Director of Public Affairs, John F. Kennedy Center for the Performing Arts, 9 June 1972. 92 List supplied by Biblioteca Washington Irving, Madrid, Spain, August 1972. 93 Letter from Curtis C. Cutter, Principal Officer, United States Consulate General, Seville, Spain, 3 May 1972. 94 Letter from American Consul Joseph L. Smith, United States Consulate, Bilbao, Spain, 12 May 1972. 95 Letter from PAO Howard E. Shetterly, United States Consulate General, Barcelona, Spain, 5 June 1972. 96 _ Letter from Luis Javier Casanova, Cultural Attache, Embassy of Spain, Washington, D. C., 17 July 1972. 97 USIS Stockholm field message to USIA Washington, 16 April 1962. 9 8 USIS Stockholm.field message, 16 April 1962. 99 USIA message to USIS Stockholm, 29 May 1962. ■^^USIA message to USIS Stockholm, 5 June 1962. ■*"^USIS Stockholm field message, 8 February 1963. 102 USIS Stockholm field message, 2 April 1965. 103 Letter from Bo Gyllenpalm, program director, USIS Stockholm, Sweden, 4 May 1972. 104 Letter from Lucien Heichler, PAO, USIS Bern, Switzerland, 27 April 197 2. 105 . Ibid. 221 106 Letter from Maria A. Stevens, Program Officer, Office of Western European Programs, Bureau of Educational and Cultural Affairs, Department of State, Washington, D. C., 14 August 1972. 107 USIS London field message to USIA Washington, 3 May 1972. 108 American Embassy London message to Office of Western European Programs, Bureau of Educational and Cul tural Affairs, Department of State, Washington, D. C., 14 November 1964. 109 Letter from Grover W. Penberthy, American Consul General, Belfast, Northern Ireland, 28 April 1972. CHAPTER V AFRICA: THE EXCEPTION IS THE RULE In addition to reasons of language barrier and dis tance from the United States, USIS posts in African coun tries, unlike those in most European countries, have not supported many United States theatrical activities because of insufficient staff, suitable United States plays, and facilities. Central Africa, Malagasy Republic, and Mauritius Burundi Marshall W. S. Swan, PAO at the United States Embassy in Bujumbura, said most of the theater in Burundi consists of the real life drama of its citizens' tumultuous daily lives. Burundi is a small, isolated country without TV, Mewspapers or magazines. It has five small movie houses but no theater of any kind. Some imaginative foreign missionary teachers try to mount an annual play at their schools. Most of these are French; Raisin in the Sun (in French and shortened) was an exception and a notable success. 225 226 There are no exchanges such as you asked about. If I could choose any American plays, I'd try to find something simple, straightforward and, if pos sible, not hopelessly remote. Obviously, a play about, by or including blacks would be desirable, but clearly protest plays and those featuring alien ation would serve little constructive purpose here. You ask about street theater. As I write, this country is in the throes of an agonizing upheaval. Thousands have already been killed— butchered is a better word, since machetes are the weapons. Hun dreds are being arrested without any visible provo cation. Nightly during the 6 p.m. to 6 a.m. curfew we hear shooting here in the capital. This is street theater for real!1 Cameroon USIS does run an American cultural center in Yaounde where there is a theatrical organization of French-speaking 2 students taking English lessons. However, USIS Yaounde sent no reply to the questionnaire. Central African Republic The only theater used by USIS at the United States Embassy in Bangui is the occasional reading of an American play in the post's English teaching program. PAO Harold F. Radday reported that local unfamiliar ity with the English language is the primary obstacle to the post using American theater. If he could use any play productions, he said he would look first for plays 3 translated into French. 22.7 Gabon Although the USIS English Club in Libreville has given play reading performances in the past,4 PAO Aris Rounes reported that no programs of a theatrical nature are C currently being sponsored by USIS Libreville. Malagasy Republic Three major problems pose themselves whenever Eng- list language theater is presented in the Malagasy Republic: few English-speaking actors, suitable plays, and regular theater-goers. Despite these barriers, USIS Tananarive has produced many American plays during the last eight years, with beneficial results. In 1967, USIS Tananarive reported: USIS Tananarive possesses a very active English language program divided into two major groups: regular, for the most part adult, students through out the day but principally at night during the school year (October--June); and secondary school and university students during the school vacation (July — August). Over 250 students are enrolled in the regular courses, and some 180 were enrolled for the 1966 vacation course. These enrolled students then con stitute the pool from which English-speaking actors were, and continue to be, drawn. In addition, some outsiders, that is non-stu dents, have participated. Although there are some regulars now, there have been many new persons drawn into this activity for each new play presented, a , : 2"2'8 large number of whom are acting in their first play. The changeover is permitting the growth of a pool of seasoned English-speaking actors that we hope to use at a later time to present more serious works. The Theatrical Group of USIS Tananarive is thus an adjunct of its English language program. When the first tryouts were held, 20 students responded and 14 were eventually given roles. By chance, there was a good stock of the Ladder Edition of Robert E. Sherwood's Abe Lincoln in Illinois and three scenes from this play were presented and well- received by the audience. The audience was comprised of the students of the . . . course assembled for a certificate-giving ceremony. A French translation of the play was dis tributed to the audience.® Following this first program, The Cleanest Town in the West, from the collection One Act Plays for Teen-agers, edited by Earl J. Dias, was produced and well received, according to the report. . . . it was included as a part of the week-long celebration of the centennial of Malagasy-American relations. The audience was composed of the same students who had seen the previous program. Later, it was again presented. To provide an audience, tickets were sent to all secondary schools in the Tananarive area, directed towards English teachers for their students. Attendance was held down by a thunderstorm, but was nevertheless respectable. A final special performance was later given . . . at PAO Robert A. Lee's house for a selected audi ence. A Malagasy translation was distributed to all spectators.^ A third play, Mystery at Bentley Inn, was prepared next, the students began to get some public notice, and 229 the post decided to make the productions a regular part of 8 its programs. In 1972, USIS Cultural Attache Frederic J. Gaynor wrote that the American Cultural Center, Tananarive, had presented a staged reading of extracts from three plays by Eugene O'Neill. The center used lights, taped music and slides in conjunction with the one hour reading in English. . . . Having worked with dramatic readings in several African countries, I find the technique very popular among students and adults. I would like to see a good professional trio present a series of dramatic readings using slides, film clips and taped music covering the works of such authors as O'Neill, Rice, Odets, Williams, Miller, Albee, Schisgal up to and including several black American playwrights. One could organize extracts from their best plays in order to present a reflec tion of American society through theater. Chamber theater, as I call it, is efficient, workable, inexpensive, mobile and communicates ideas better and swifter than standard productions. In Africa, the latter are difficult to produce because of the lack of modern theater facilities in most countries. (Regarding exchanges), I feel that the opportu nities for exchange in the field of theater arts between America and Africa is sorely lacking in both quantity and quality.^ Mauritius Although Mauritius has a long and varied cultural listory, (in 1972, the Port-Louis Municipal Theater cele- 230 brated its 150th anniversary), no American play productions have ever visited there,^ and the USIS does not have a representative at the United States Embassy in Port-Louis. Rwanda E. Michael Sothwick, American vice consul, United States Embassy, Kigali, wrote: The United States and other countries with cul tural information programs in Rwanda have in general avoided the use of the theater for a variety of rea sons . The most obvious is that Rwanda lacks a theatri cal tradition, and only a minute proportion of the Rwanda population, mainly those educated: in Europe, would be interested. Programs of greatest appeal in this country would probably consist entirely of music or rely heavily on purely visual aspects of expression such as pantomime.H Zaire Judith R. Jamison, assistant CAO, USIS Kinshasa, vrote: . . . the use of U. S. or any English-language theater is extremely limited in this country where French, Lingala and Swahili are more apt to be the languages employed for theatrical events. We do distribute French translations of American plays (for example, Raisin in the Sun and Lost in the Stars), however, and Raisin in the Sun was per formed in Kinshasa by a local company two years ago. Next year we hope to send the director of the Zairian National Theater on a leadership grant to the U. S. 231 This summer, Roger Askew, a U. S. play director, will visit Kinshasa for a six-week period to work with the National Theater on a French-language pro duction of an American musical (perhaps South Pacific or Carousel) and/or a Zairian p l a y . -*-2 From Bukavu, American Consul R. G. H. Seitz re sponded ; 9 Kivu is perhaps the most remote province in the Republic of Zaire. Since independence (Zaire was formerly the Congo), it has suffered tribal disor ders, revolutions, rebellions and a mercenary upris ing so that as recently as 1968 Bukavu was a ghost town. Our Consulate and Cultural Center, both of which were gutted during the 1967-68 troubles, were reopened on a modest scale in late 1969. The Cultural Center is not presently active in organizing theatrical performances and its normal functions do not go beyond the basic services of a library, film showings, exhibits and news, tape and article distribution. There has been no theater whatsoever and among many other obstacles, the Center has no American official and no truly qualified local employee. (Regarding question 2) I have the feeling that for Bukavu the play is not the thing but rather the production. The translation would have to be excel lent, the pacing fast and the symbolism clear; in short, very professional. I think powerful and almost operatically dramatic renditions of something like Tennessee Williams or Leroi Jones would go down well. Simple and suspenseful productions like Desperate Hours or Andersonville Trial and almost any good musical like West Side Story would work. Un fortunately, I think most of our really good theater about the American family from O'Neill or Albee or Miller would require a more sophisticated audience than we have here. Furthermore, I think readings or lectures would anesthetize the crowd and street theater would be ridiculed. ---------------------------- 2'3 2 To my knowledge, there has been no demand by students of any arts in Bukavu to participate in any exchange program in t h e S t a t e s . 13 W. H. Crosson, Peace Corps director, Zaire, wrote: No use of theater per se has been made by volun teers in Zaire. Those teaching in schools use the skit or "show and tell" approach where appropriate. Too, they use readings by volunteers and students, but not on a formal basis.1^ South Africa Angola Howard L. McGowan, the American consul in Luanda, replied: Our post, unfortunately, does not have a large information program. In fact, due to a severe shortage of funds, we are limited to issuing press releases and running a film and radio tape loan library. We have therefore never been able to make use of American theater in Luanda. In fact, Luanda has only one fully organized theater company. Aug mented occasionally by theater stars from metropoli tan Portugal, this company is more burlesque than true theater. Were such a program as you mention financially feasible in Angola, I believe theater workshops (on technique, lighting, staging, sound effects, etc.) would be the most practical vehicle to get the Amer ican theater's message across.^ Botswana The USIS has no officer in Gaborone, and the only reply to the questionnaire came from the Peace Corps acting _ 2T3~ director for Botswana, James A. McCaffery. To his know ledge, no volunteers have made any use of theater. Lesotho The Peace Corps director in Lesotho, Louis James Altrutz, also reported no use of theater in volunteers' 1 7 work. Although no answer to the question was received from the United States Embassy in Maseru, PAO Alfred J. Waddell did sent a list of plays and films about theater at the USIS library there. The short list, representing the sort of selection ICS makes for many African libraries, is: Edward Albee's Who's AFraid of Virginia Woolf? James Baldwin's The Amen Corner and Blues for Mister Charlie Best Plays: 1965-1970 B. H. Clark's Nine Modern American Plays Edna Ferber and George S. Kaufman's Stage Door Lorraine Hansberry's A Raisin in the Sun Moss Hart and G. S. Kaufman's You Can't Take It with You Sidney Howard's They Knew What They Wanted Langston Hughes's Five Plays William Inge's Picnic Arthur Miller's Collected Plays 234 Eugene O'Neill's Ah, Wilderness!, Beyond the Horizon, The Iceman Cometh, Long Day's Journey into Night, Nine Plays Clifford Odets' Golden Boy John Patrick's The Teahouse of the August Moon Robert E. Sherwood's Abe Lincoln in Illinois Thornton Wilder's Three Plays Tennessee Williams' Sweet Birth of Youth, A Streetcar Named Desire, The Glass Menagerie The films include Vision USA, a series that con tains occasional scenes portraying United States theater, 18 and College Actors in Liberia. Ambassador M. T. Mashologu at the Embassy of the Kingdom of Lesotho in Washington, D. C., also offered an answer to the questionnaire. To our knowledge, there have not been any live theater presentations from the United States in Lesotho. If we could choose, we would have (a) classical plays (both comedy and tragedy) preferably by ama teur groups; (b) workshops; (c) lectures by theater specialists. The reason for this order of selection is that it comes closest to the purpose of developing amateur theater in Lesotho. Moreover, facilities do not yet exist for professional theater. There are no opportunities for the exchange of students and persons involved in theater between Lesotho and the United States. There is a growing number of people interested in amateur theater in 2-35 Lesotho, but so far they are forgotten in exchange programs. The University of Botswana, Lesotho and Swaziland at Roma, Lesotho, could provide a useful exchange point. South Africa There was only one response from the United States posts in South Africa: a list of theater holdings at the USIS library in Johannesburg. Since two other posts, those at Pretoria and Cape Town, also have at least one USIS representative, one can surmise that the theatrical activi ties engaged in now, even if they are few, would be somewhat guided by those that had proved successful in South Africa during the 1960s. When actress Margaret Webster spent three months in the summer of 1961 lecturing, directing, and giving Shavian and Shakespearean recitals in South Africa as a recipient of an American Specialist grant, she won praise from the United States Embassy in Pretoria as "a gracious, lovely, 2 0 highly intelligent exponent of American culture." u The embassy said she "revitalized the somnolent National Theater (Pretoria) as a recognized expert of Shakespearean scholarship, . . . the symbol of culture in this country ..." She advised dramatic groups, directed Eugene O'Neill's A Touch of the Poet, appeared before many 236 school groups, women's clubs, Rotary Clubs, and non-white organizations of all kinds. Her estimated total audience during those three months was 20,000.^ Further, reported the embassy: Of particular satisfaction to the post, which keeps its non-white projects in low key, were her frequent appearances before non-white groups, espe cially her greatly admired first presentation of her Shakespearean recital for the non-white Union Artists Association before an audience of 14 00 in Johannes burg .... At no time has Miss Webster been other than dis creet in her press interviews and public statements. She has kept her personal feelings completely under control and has charmed Nationalist and Liberal, Colored and Bantu alike.22 An opposite reaction was created with the 1968 commercial production of Who's Afraid of Virginia Woolf? After having run for two weeks in Port Elizabeth and Durban and after having completed all but three performances of a scheduled two-week run in Johannesburg, it was banned on moral grounds. However, Argus J. Tresidder, the PAO at the Ameri can Embassy in Johannesburg, wrote to the USIA and State Department that the real reason for the ban may have been the production's affront to apartheid. When the production, the first in the world outside New York, had been brought to South Africa, the author, Edward Albee, had insisted 231 that it be presented only in theaters which permit multi racial audiences. Since it was playing to capacity audi ences and reviews were enthusiastic, he felt that the author's conditions rather than the Board of Censors' find ings were the real reasons the play in its original form was banned. (The board found the play's contents "calcu lated to give offense to religious feeling, large sections of the public and contrary to good morals.") J Warned Tresidder: The arbitrary treatment of a foreign play and actors will probably make holders of copyrights and members of Actors' Equity reluctant to release plays to South Africa or to enter into contracts for act ing under conditions of censorship which may abrupt ly halt productions.2^ His prediction had become reality by 1972. Peter Curtis, artistic director for Cape Performing Arts Board, Cape Town, wrote: Most of the serious playwrights whose works we should like to present are refusing to have their work performed in South Africa. We are, however, inundated with musicals and lighter fare, both pro fessional and amateur. As far as the exchange of students and people involved in the theatrical arts is concerned, our experience has not been very satisfactory. In May, 1969, I wrote to the American Consul in Cape Town explaining that prior to the opening of the new Nico Malan Theatre Centre in 1971, I intended to visit the United States on a study tour. I asked for assistance, not only financially but also in regard to introductions and suggestions as to the best 238 approach and itinerary. I eventually received a reply in November 1969, giving a negative reply on all counts explaining that funds in travel assistance were terribly scarce this time of year. No mention was made of any assistance in any other way, . . . ^ As the performing arts councils in all the provinces must accept official government policy with respect to racially separated audiences, scarce travel funds may not have been the only reason for that negative reply. The theatrical activities of USIS posts in South Africa have not drawn the line between blacks and whites. A Fulbright grantee who visited the United States in 1967, 2 6 Khabi Mngoma, was black. At one of USIS Cape Town's cul tural evenings in 1967, the Gugleto Community Center Drama Society (Gugleto is a large African township outside Cape Town) presented a selection of American Negro spirituals and poetry, as well as a play of their own creation in the Xhosa language, at the USIS library. The integrated audience included an African school teacher, the president of the Students' Representative Council at the University of Cape Town, a politically liberal student from the University of 27 Stellenbosch, and a black high school teacher. The evening was an evident success. The audience refused to leave until the performers gave three encores. Furthermore, the following day two African members of the 239 audience returned to the library to borrow books, and the director of the African Community Center projects expressed interest in receiving regular copies of USIS' Pictures in the News and any other news photos that could be provided by USIS Cape Town.28 However, very little American theater is presented under private sponsorship in South Africa, according to Casper S. C. Venter, information counsellor, Embassy of 9 Q South Africa, Washington, D. C. t % D. G. Burton, director of the Performing Arts Coun cil, Silverton, Transvaal, wrote that artists from the United States are employed on an ad hoc basis. Although his organization utilizes quite an extent of American 30 material, few American artists have been available. USIS libraries in South Africa have surprisingly small theatrical collections. USIS Johannesburg has only two films, six books, and one magazine subscription pertain ing to American theater. The films are Face of Genius, a 54-minute documentary which explores the professional and personal life of Eugene O'Neill, and includes comments by Arthur Miller, Jose Quintero, and Brooks Atkinson, and scenes from O'Neill plays; and Miracle in Minnesota, a 26- 31 minute film on the Tyrone Guthrie Theater m Minneapolis. '2T0 The library's books on theater are: The Theater, by Oscar Brockett; The American Theater Today, by Alan S. Downer; Dramatic Soundings, by John Gassner; Broadway's Greatest Musicals, by Abe Laufe; Thirty Plays Hath Novem ber, by Walter Kerr; and The Performing Arts: Problems and 32 Prospects, sponsored by the Rockefeller Brothers Fund. The one theatrical journal to which the library subscribes is Players Magazine, a British publication. Swaziland John H. Eriksen, Peace Corps director, Mbabana, provided the only response to the questionnaire from Swazi land. He said that little use of theater is made by volun teers other than those who teach English. Their curriculum includes several American plays which are read regularly over the radio as an adjunct to formal studies. However, people interested in United States theater have found the 34 USIS library m Mbabane very helpful. East Africa Ethiopia USIS Addis Ababa and Asmara both failed to respond to the questionnaire, and the Peace Corps director for Ethiopia replied that no volunteers are now involved in the iwr o t r theater in that country. However, field messages from the United States Embassy, Addis Ababa, indicate theater has been used to good advantage in the past. USIS officers have been closely involved with the Creative Arts Center at Haile Selassie I University since its founding in 1962. Marianne Farn, Peace Corps assistant director for Ethiopia in 1964, conducted a drama course for 3 6 ninety students at the center. Also, there have been many successful productions of American plays in Ethiopia, one being Dore Shary's Sun rise at Campobello in 1963. USIS Addis Ababa met local costs and the play's producer paid Shary his royalty in primitive Ethiopian paintings— after Shary declined a leopard skin.^^ Haile Selassie I University joined with the USIS Addis Ababa in sponsoring Tennessee Williams' The Glass Menagerie, the first production there of the American Showcase Theater in 1963. The theater was an informal project of the USIS and a number of Americans interested in performing at the university. According to post reports, 3 8 the project met with much enthusiasm. Kenya The USIS library in Nairobi has a large enough 242 theater collection to indicate a strong interest in the United States theater in Kenya. In 1972 the theater sectior consisted of seventy plays, thirty-five books on the sub ject, two films, and a subscription to the Educational 39 Theater Journal. Peace Corps theatrical activities in Kenya mostly involved the occasional production by volunteers with stu dents of plays as a means of English study. Plays usually performed were Robert Bolt's A Man for All Seasons, and some by Shakespeare.^® Bob Siegal, formerly with the Peace Corps in Kenya up to 1969, added some examples: A volunteer in the first group of Kenya Peace Corps volunteers who arrived taught English in Nai robi. At the same time she worked very closely with an African theatrical club which had a fair amount of success including a television presentation of a play in English written by an African. One volunteer in 1968 worked with the dramatic society in his school and produced a medieval reli gious play in the local language of the Kamba peo ple. The play was also adapted to the dress and customs of the local people. After winning a prize in Kenya's annual scholastic dramatic competition, the play was produced several times in small Kamba towns. A handful of other volunteers worked with their school's dramatic societies in producing plays in English. One of them, a Shakespearean play, costumed and portrayed in African style was produced at several secondary schools in the area.^ 2- 4-3- In 19 67 USIS Blantyre wrote to USIA Washington, "We have succeeded in having the University of Malawi include 4 2 American plays as part of next semester's curriculum." In the years following, USIS Blantyre's own play-producing group, the Lilongwe Players, produced many American plays in English. In 1972 James P. Thurber, Jr., who had been PAO in Blantyre before assuming a new post in Lagos, Nigeria, answered the questionnaire as it related to his tour in Malawi from 1969 to 1971. Basically, the American theater as an art form was not used per se in Blantyre by USIS, as we did not have the facilities or funds to put on a produc tion that would be of real credit to the United States. What we did was to work with existing the ater groups, suggesting American plays they could use, helping them obtain performance permission, often paying royalty fees, providing scripts, etc. While the end product was often pretty amateurish, the theater groups were able at times to show the vitality and experimentation of American theater. I did not look on this as only providing good will, although I hope some rubbed off. Rather I saw it more as Malawians exposure to American theater. I saw no real street theater in Malawi, but, of course, many of their cultural events take place in the streets. Plays by writers such as T. S. Eliot were par ticularly sought after, as were musical comedies that one could relate to Malawi. A prime requisite was a play with lots of action. A major taboo was anything involving sex or the slightest overtones of this. Malawi is a very strict, moral country and 244 plays had to be cleared by the censor before produc tion. Higher education in Malawi is in its infancy. Most of the college work is extremely practical. Perhaps in a few years, theatrical arts will come into their own at the University of Malawi, but at this point, it is too early to even think about it. Our exchange work was in vocational fields as well as American history and politics.^3 Somali Republic ^ Donald E. Soergel, CAO at the American Embassy in Mogadiscio, wrote that politics combined with nondeveloped theater must make his statement regarding theater in the Somali Republic entirely negative. Somalia has declared itself a Socialist country and now regards with great suspicion any activities of the so-called Capitalist countries including our own. However, a few months before the revolution in 1969 which led to the present government, the U. S. Embassy did sponsor a highly successful presentation called the Jazz Dance Theater. But the kind of seri ous theater you mention has not, as far as I know, ever made any showing in this country. Even under ideal political conditions, I do not believe there would be any great interest in Somalia in any kind of theater which did not include music and dance. The Somalis themselves are skilled in their native dances, while oral poetry (Somali is not a written language) is probably their most highly developed art. As for opportunities for exchanges, there are none at the present moment and I do not see any in the near future.^4 . _______________---------- 2T5~ Tanzania Politics has also added to the negative picture of United States theater in Tanzania. Andrew D. Schlessingerf CAO, United States Embassy, Dar es Salaam, wrote: I don't know that any use of theater has been valuable in promoting goodwill between Tanzania and America, nor in fact that there is goodwill. In the 10 months since I arrived, I haven't seen or heard of any American theater performed out here and the only play I know of which received any atten tion from Tanzanians was the university's performance of Brecht's The Paris Commune. Tanzania has a socialist government and finds very little of American culture relevant in its struggles to achieve self-reliance. I think the only interest in American theater which exists here is the nascent black theater of Ed Bullins, Imamu Baraka and Van Peebles, and that interest is not deep. Tanzanians and, in particu lar, university students are most interested in polemics and find the didactic theater of Eastern Europe following the pioneering work of Brecht as being most in sympathy with their aspirations. The head of the theater department at the Univer sity of Tanzania, Bob Leshoai, is currently on a United States government grant for a study tour of black theater in America and will most likely come back with a number of ideas to put forward to the University Council for the expansion of the program. I doubt the university will implement them, however, as theater is not a high priority item in the devel opment agenda. . . . Opportunities definitely do exist for exchange, but almost wholely on racial lines. We have sent a university junior instructor to Indiana University to get a master's of fine arts in theater, and we hope he will come back. This year we also have a . 2T& Fulbright professor in theater from Morgan State University in Baltimore and we're looking forward to some very exciting innovations. I think with both Leshoai and our graduate stu dent coming back soon, we'll be in a position to bring in, by Tanzanian request, more American theater specialists. What they'll do, whom they'll talk to, what kind of committment they'll bring forth from the government, that all remains to be seen.^ Thor H. Kuniholm, the American consul in Zanzibar, was even less encouraging. There are no theatrical arts in Zanzibar today. The government of Zanzibar, through its legislation and policy announcements, has discouraged foreign cultural influences on the island, such as foreign libraries, believing that all cultural and informa tional activities should be the monopoly of the government. As for student exchanges in the theatrical arts, the educational policy of the Zanzibar government has been directed solely toward practical and techni cal training.^6 For a reply from a Tanzanian, Bob Leshoai, mentioned in Schlessinger1s letter, was sent a questionnaire upon his return from the United States. He answered: We have hardly had any presentations from the United States theater in this country. The reason is that, in our desire to develop our own theater, we concentrate on plays from home and those written in other parts of the continent. Now and again the expatriates in the country put on American shows, but, in the past five years, the only one in Dar es Salaam has been the musical, Guys and Dolls. At the present time we would find it very diffi cult to use much of what has been written or is being written in American theater. The reason is that our V 2~47 theater wished to develop along the Socialist lines for which our country stands. Not much of the Amer ican theater is sympathetic to our Socialist ideals. Any readings, workshops, or lectures would have to have this orientation to be useful and acceptable to us. We advocate the growth and development of a theater of education first and entertainment second. We support the idea of staff and student ex changes, and, where possible, we would welcome visi tors from the United States. We would, of course, also show great interest in sending our own experts to visit the United States to share and exchange ideas and views.^ Uganda USIS Kampala field messages on file at the USIA in Washington indicate an interest in United States theater in Uganda, as there have been many requests for rights to American plays. These have included Eugene O'Neill's All 48 49 God's Chillun Got Wings, Robert Ardrey's Thunder Rock, 50 Arthur Miller's The Crucible, James Baldwin's Blues for Mr. Charlie, which USIS Kampala tried unsuccessfully to 51 replace with Amen Corner, and The Effect of Gamma Rays on Man-m-the-Moon Marigolds by Paul Zindel. However, the USIS part in this has been small. As Arthur S. Berger, PAO in Kampala in 1972, wrote: The American theater has not had any place in our programming in Kampala other than major plays as part of our library collection. No street the ater has been developed, and none is projected. 248 The most useful type of American theater in Uganda would be those plays most representative of contemporary black American theater. This is what interests Ugandan artists and creative intellectu als . Although it will be under private sponsorship, in the fall of 1972 a Ugandan professional group called Theater Ltd. and directed by Robert Serumaga will tour the United States.^3 The Peace Corps director for Uganda, Henry L. Smith, added somewhat to the picture of American theater in Uganda and revealed another way theater can be used by volunteers. Ninety per cent of Peace Corps/Uganda's programs are concerned with secondary education and thus basically are limited to the boarding school situa tions with little outside activity in the communi ties. Most of our English teachers, however, use theater as a method of teaching novels and plays. Some of them have also from time to time directed plays at their schools. The only other area in which we have used theater is in our local training programs. Last year we had a local playwright produce a play about Uganda and Ugandans concentrating on cultural biases and dealing with students preparing to attend secondary schools. The purpose was to introduce Peace Corps trainees to the cultural situations from which their students would be coming. In the play, we hoped to show the kinds of anxieties students would have, motivational forces influencing their studies and some of the communication barriers the trainee would be confronted with when addressing his students. The play was a moderate success and did stimu late some deeper study on the part of trainees in figuring out how to deal with their students. It also helped warm them up for their first contact with Ugandan students. 24-91 We have also used short one act plays and dia logues during our language training programs as a means of variation in learning activities and to get trainees to role play situations they are apt to encounter in their day to day activities as volun teers. These have been very useful exercises in that they are an enjoyable method of learning language as well as a means of motivating trainees to practice what they are l e a r n i n g . ^ 4 These few uses of theater by USIS and Peace Gorps in Uganda came to a halt in late 1973. The deteriorating political climate forced the entire American mission there to withdraw. Zambia In 1966, USIS Lusaka wrote to USIA Washington about an apparent increase of interest in American plays among Zambian amateur t h e a t e r g r o u p s . ^5 That same year, the post requested amateur performance rights for Thornton Wilder’s 56 Our Town and Garson Kanin's Roshomon. Also requested were the rights for Blues for Mr. Charlie, but USIA replied that, because of the extreme coarseness of language, the play could easily have a negative impact on audiences unfamiliar 57 with the subtleties of contemporary American society. That interest, however, came from only a small part of Zambian society. When Patricia K. Taylor, USIS Lusaka librarian, responded to questions regarding her library's holdings in 1972, she said literature and the arts as a 250 whole only make up about seven per cent of the total circu lation in a given month, whereas social science subjects account for nearly fifty per cent.^ The USIS library in Lusaka has fifty-five plays; playwrights represented more than once include Eugene O'Neill, Tennessee Williams, Lorraine Hansberry, and Erank Gilroy. It also has fifty books on the history and tech nique of American theater, three theater dictionaries, about twenty-five musical comedy records, and one film that could be considered quasi-theater— an interview with Burt Lan caster discussing the actor's responsibilities toward society. Peter T. Antico, deputy director, USIS Lusaka, explained that the basic reason there had been little use of theater by USIS in Zambia and at most African posts in recent years is shortage of funds. The State Department's cultural presentations program in Africa has, of late, been a rather low- budget affair. Accordingly, we have concentrated more on small, inexpensive musical groups than on theatrical presentations which are so often— though not necessarily— expensive. Of course, I am aware that limitations on funds would not rule out smaller dramatic presentations using few actors (perhaps local talent) and minimal props and costumes. At other posts where I have served, this sort of thing has been done, often with considerable success. Last year, a couple of young folksingers-pantomimists, Steve and Anne-Marie 251 Waring, toured several African posts sponsored by the State Department's Cultural Presentations Program. I saw them conduct a very successful workshop at the Department of Theater Arts of the University of Ibadan, Nigeria. Also, in recent years, Latin American posts have made considerable use of young graduate students from the Drama Department of Catholic University in Wash ington. Groups of two or three students each have made several tours through Latin America presenting one-act plays, play scenes or dramatic workshops at cultural centers and universities. If we in Lusaka were to program some theater here, I think we would get the best results from theater workshops perhaps combined with performances of selections from contemporary plays dealing with sub jects such as the youth scene and American race relations. This sort of program would stand a good chance of attracting the interest of young Zambians involved in local theater. It would undoubtedly con tribute to the development of theater here, while at the same time convey some information about the United States today. Portions of plays such as the following by black American authors I think would go over well: Hans- berry1s The Sign in Sidney Brustein1s Window, Lonne Elder's Ceremonies in Dark Old Men and Baldwin's The Amen Corner. For young people, Hair would be as much of a smash here as anywhere. I realize a full production of Hair would be an enormous undertaking, but I would think a few appropriate scenes could be per formed with a small cast and a few basic props. I would say generally there is not a very great demand among Zambians for modern theater {as opposed to traditional African theater), although there is intense interest on the part of a few. At the same time, opportunities for theatrical exchanges are practically nonexistent. 252 I would think that, if money ever becomes avail able for an expanded cultural presentations program in Africa, the State Department will surely examine the possibilities of attempting some theatrical pro grams, probably along the lines I suggested.60 North Africa Algeria The government of Switzerland assumed protection of United States interests in Algeria following severance of diplomatic relations between the United States and the Algerian government on 6 June 1967. This post is now re ferred to as the U. S. Interests Section of the Embassy of Switzerland in Algiers, and the staff is located in the former U. S. Chancery Building. It was from there that Philip C. Brown, CAO, replied to the questionnaire in 1972. In .the two years I have served here, only two American theater groups have appeared in Algeria. The Alvin Ailey Dance Theater gave three performances in July 1970 under the auspices of the Bureau of Educational and Cultural Affairs of the Department of State. They played before capacity audiences in the national theater and received excellent reviews. Their appearance here is still talked about. The Open Theater, headed by Joseph Chaikin, visited here in August 1971 at the invitation of the Algerian Ministry of Information and Culture which paid for the cast's air fare Paris— Algiers--Geneva and for their room and board during 10 days in Al geria . 251 They performed twice in Algiers and in such other sites as Tizi-Ouzou, Tipasa and Mostaganem. Unfor tunately, the effort was not a success. August is a hot month used only for vacations. The performances were in English. The subject matter was little un derstood. Advance publicity was negligible. Their efforts at street theater (the cast stood in front of the national theater and invited people in off the street) were farcical. . . . If we could choose any type of American theater (and to be fair I will exclude Alvin Ailey), I would choose a group which would perform a standard Amer ican piece by a known playwright in French or Arabic. Second choice would be a musical which depends very little on knowledge of English to be understood. Why this instead of more avant-garde? Simply because American theater is so little understood here that we may as well start with something basic. Opportunities for contacts between American and Algerian theater buffs are rare, bur frankly there is little demand from the Algerian side for them to increase. Theater in Algeria is stagnant and what little is being done has distinctly political over tones. It is on political issues that the Algerians are most at odds with the U. S. Also, Algerians are clamoring for more contact with Americans involved in computer sciences. We consider this part of cultural exchange between the two countries and this is what we are doing our best to reinforce. Theatrical exchanges take a back seat, 1 unfortunately.° Robert M. Maxim, American consul at the United States Consulate, Oran, said that the American Cultural Center at his post closed in 19 67 when Algeria broke diplo matic relations with the United States during the Arab- Israeli conflict even though a limited diplomatic mission /" n has been maintained. T5~4 He agreed with Brown that Algerians are too little familiar with existentialist ideas and theater of the absurd for him to promote any such production, even if given the opportunity. I would, in the interests of audience comprehen sion and tastes, choose rather traditional works from American playwrights dealing with American family and social themes: Our Town, Raisin in the Sun, and perhaps several of the works by Williams, O'Neill and Miller. Anything from Albee on would risk confusing gen eral audiences, although socialized student and intellectual audiences would probably be appreciative. These latter, to answer your third question, would probably be interested in broader exposure to and perhaps exchanges with American theatrical artists. However, I suspect language and historical consider ations have created much more interest in the French theater.63 Libya USIS Tripoli did not respond to the questionnaire, but two field messages from the post on file at USIA/ICS Washington show an interest in modern theater in Libya dating back to 1936. Subsequent USIS assistance and USIS production of American plays began in 1960. In 1966 USIS Tripoli traced the development of the Libyan interest in modern theater. One of the more encouraging developments in the cultural life of young Libyans has been the recent revival of interest in modern drama, a field of activity that has been virtually dormant since the beginning of World War II. There had been sporadic little-theater type movements during the Italian period, somewhat encour aged by the colonial government, but with one excep tion they were limited to Italian-speaking and ori ented Libyans and performed plays in Italian. Drama in Arabic was almost entirely the province of the professional entertainers whose repertoire was restricted to the traditional folk pieces. The first effort to found a modern Arabic drama group took place in 1936 when 17 young Libyans organ ized the Filodrammatica Nazionale Libica. This group performed plays in both Arabic and Italian and was achieving considerable popular success and grow ing to number over 100 members when the war put a stop to its activities. It was not revived until 1957, when a number of sons of the original founders decided to form a new nucleus. Under the dynamic leadership of a young Socony-Mobil employee, Salem Musa, who joined in 1960, it has now become the most talented theater group in Libya. It has a membership of 35, including one young lady, and is by far the most active of the six drama organizations in Tripoli. Its new title is The National Libyan Theatrical and Music Troupe and it has performed nine plays since its revival. With one exception, they have been contemporary works by amateur Libyan playwrights. USIS Tripoli has kept a close and encouraging association with the troupe, and a reception given by the Cultural Section in its honor after the clos ing night of a recent production genuinely touched the young actors. The post arranged for four live Friday afternoon performances of each act of the play over the Wheelus Arabic TV program much to the group's delight and that of the Libyan TV public including the latter's most enthusiastic fan, the Minister of Information and Culture. -------------------------------------------------------------------------------------------------------------------------------------------------- — -----------------------------------2 ' 5 ' g Although the troupe and its five sister organiza tions are vaguely under the supervision of the Minis try of Information and Culture, it receives no financial support except rent and utilities for office and rehearsal space. USIS has loaned appro priate books, arranged for Americans with stage experience to lecture and train the group and proposed a summer theater visit in the United States for one of the young actors to the Department of State under the exchange program. But more help is needed. The post wishes to present a suitable shelf collection of books in English, with simple texts and illustrations, on the basic aspects of little theater production including staging, direction, acting, light and sound techniques, and all-period costuming to the troupe. A presentation subscription to Players Magazine is also in order. It is believed that fruitful and continuing liaison with this drama group, composed of some of the most attractive and intelligent young people in Tripoli, will lead to an even more effective pene tration by American cultural influence into a valu able target group with a growing influence of its own among Libyan youth.^ When USIS Tripoli first ventured into the realms of theatrical production in 1960, Thornton Wilder's Our Town was chosen. Directed by a Department of State English teacher grantee, Mort Clark, and acted by men and women drawn from USIS, United States Embassy and military staff, local oil company employees, the French Cultural Center and the United Nations, it was given in two consecutive per formances in a cinema house for the benefit of a Libyan charity. The production was successful. Although only ten 257 per cent of the audience was Libyan, it included people of prominence such as public figures and the press, according to the post report. One reviewer commented, "It shows American life in a healthy and favorable light— so differ ent from Hollywood films." Such success made USIS Tripoli begin plans immediately for its next production, Elmer Rice's Dream Girl. Morocco From the United States Embassy in Rabat, Assistant CAO Gary Edwards wrote: The American Cultural Center has done little in the field of theatrical presentations for two rea sons: Moroccan audiences able to understand a pre sentation in English are small; and our physical facilities for theatrical production are very lim ited. We have given theater here, however, for the general public with a special effort to invite English-speaking Moroccans. Modern theater has been the only type presented, both in readings and productions. Opera has also been presented and well received. No street theater has been used so far, but may be if an appropriate troupe and play can be found. Our financial arrangements have been that the American Center takes care of publicity, ticket distribution and theater management. Talent costs have been nil up to now, as only amateur theater by local groups has been presented. We would choose professional theater, if we could, which shows modern staging, acting and theme, 25¥ as this would both appeal to young Moroccan audiences and educate them in the techniques for which the American theater is most well known. Theater in the round would be chosen both because of the necessities of our facilities and because we find it would be more appropriate in encouraging Moroccan theater (where resources are scarce and elaborate productions unlikely). Readings, workshops and specialists would also be appropriate in our program and we will schedule them as available. There are not opportunities for such exchanges on a regular basis. If such opportunities do exist, they would be through person-to-person or theatrical group-to-theatrical group, not through programs of the American Cultural Center. I am not aware of any special demand for this type of program at present, but I am sure that, if such exchange possibilities existed, the demand would arise immediately from the Moroccan side.*^ At one time, the Peace Corps in Morocco appeared to be more active in theater than the USIS. A USIS Tangier field message to the USIA in 1968 reported that two volun teers had organized an amateur drama group and was inter ested in producing The B a t . 68 Sudan A similar situation to that in Algeria exists in the Sudan regarding the status of the United States diplo matic corps. The Government of the Netherlands assumed protection of U. S. interests in the Sudan following the 2 5 9 - severence of diplomatic relations between the Sudan and the United States on 7 June 1967. The post is now referred to as the U. S. Interests Section of the Netherlands Embassy, Khartoum, and the staff is located in the U. S. Chancery building. Nevertheless, the USIS has remained active cultural ly there, despite the severing of relations formally. The atrical productions such as those it sponsored before 1967 (for instance, in 1962 it assisted Sudanese performances of f i Q Pullman Car Hiawatha and Flattering Word, ) were followed by others in later years. In 1972 CAO Leslie M. Lisle wrote that the American Interests Section, although small, is active and includes an American Cultural Center. We have a vigorous library, film, exchange and cultural presentation program at the Center, though we have not in the two years I have been here pre sented an American play. I have considered doing Our Town, which I chose because I thought it to be an excellent and repre sentative American play. I haven't yet been able to put together an acting group for it, but perhaps this can be done in the future. I have just supplied to the Sudan School of Music and Drama 10 sample copies, ordered at the request of the director of the institute, of Ameri can plays. He expects to choose one of these for the production at the institute during the coming year. The list includes: Clifford Odets' The Country Girl, Hart and Kaufman's You Can't Take It with You, 2601 Arthur Miller's Death of a Salesman, Maxwell Ander son 's Winterset, Robert E. Sherwood *s Abe Lincoln in Illinois, Tennessee Williams' The Glass Menagerie, Eugene O'Neill's Ah, Wilderness, Thornton Wilder's Our Town, William Inge's Come Back Little Sheba and Lorraine Hansberry's A Raisin in i;the Sun. I also recall that last year a Sudanese group did one of Arthur Miller's plays, The Price. As you might fairly expect, British influence in the cultural field is still fairly strong here, and there are usually several British plays produced by various groups in English during the year. There is a possibility for the future that the State Department will send out a dramatic group. . . . Such a presentation would, I think, be wel comed by educated Sudanese and would make a great contribution to our cultural program.^® PAO Gerald J. Kallas wrote that during past years USIS Khartoum presented about twenty American theater books to officials of the Ministry of Information and Culture and to performers at the National Theater, the only theater in the Sudan. He also included a list of the USIS library's theater collection: there are fourteen books on theater in the United States and twenty-nine individual plays and play 71 collections. Tunisia From Tunis, Cultural Attache John Crockett wrote: Goodwill toward the United States has been gener ated by the participation of professional theatrical groups at the annual Carthage and Hammamet summer international arts festivals— the two major Tunisian 261 international festivals. The U. S. groups have included dance companies sponsored by the State Department and jazz performers usually with small combos recruited in Paris. Other small groups that we usually learn about from our office in Paris are brought here under U. S. government, expense and sponsorship. This year they have included a light show, the Forum Players (an avant-garde musical group) and the Salakta Balloon Band (a kind of musical group) and the Salakta Bal loon Band, a kind of inchoate La Mama group of six, each with a lot of youthful bounce. Such groups establish a good rapport with young Tunisians who are French-oriented in theatrical tastes, although sub jected right now to a wave of nationalism which emphasizes Arabic music. TV is loaded with heavy Egyptian dramas in traditional acting styles. Our use of theater as a medium is determined by funds, since theater costs a great deal more than mass media and takes a variety of supports (good lighting equipment, pianos, trained technicians, good acoustics and weather-proof halls, posters, handbills and programs). Also, this is a one party Socialist country where all culture is rather controlled. The uses of the ater are very much engineered, and anything we present must take this into consideration. Since French and Arabic are the two languages here, American theatrical presentations are most effective when they do not rely heavily on dialogue for their impact. That is why modern dance, ballet, ethnic dance, jazz, folk rock and pantomime are more successful than presentations of Tennessee Williams, Arthur Miller, Arthur Kopit, Leroi Jones or Rochelle Owens could ever be. If we could be in a position to select French and Arabic translations for the two professional theatri cal groups in Tunisia, the Theaters of Tunis and Le Kef (there are less professional groups, also subsi dized by the city governments, at Sfax and Sousse), 262 that is, if the translations existed, I think we should fill the gap by bringing to the local theater goer's attention the recent American theatrical clas sics which are perhaps known here only in film ver sions. These should include Eugene O'Neill, Odets, Saroyan, Wilder, Miller, Williams, Albee, Simon and some of the most recent plays that only the Paris- traveling Tunisian intellectual has ever heard about. Any activities by the post in theater should be done in French. Arabic is invading the theater, but the language in many ways is a dead language, and young playwrights have a hard time adapting it to modern themes. Also, classical Arabic leaves local audiences as bored as do the old workhorses of Racine and Moliere. Our greatest success at present is with the Sor- bonne professors . . . giving illustrated lectures on playwrights like Albee, Leroi Jones or with lec tures by film critics on American film where there is a lecture in French followed by a movie illustrating the point . . . I wish there existed here the type of student cafe where students themselves would present Arabic and the original versions of short, few-character plays like The Zoo Story. We sent the leading and best actor of Tunisia to the U. S. on a Fulbright/Hays Department of State study grant. Upon his return, he developed into the single most important person in the history of the theater here. Unfortunately, he (Aly Ben Ayed) died in his late 30s a few months ago. We have currently the most interesting and perhaps the most talented director in Tunisia applying for a study grant to the U. S., but we have not yet found support for him. It would be highly salubrious for the theater here and exhilerating for him to have the experience, but, as he speaks practically no English, it is almost impossible for him to apply to any of the foundations. As far as the other side of cultural exchange in Z B T the theater goes, we have not had an American come here to work in the theater, but we have had young American scholars funded by Fulbright/Hays monies, come here to study the traditional arts. . . . The United States division of the International Theater Institute of UNESCO . . . has for many years tried, through the Paris Theater des Nations and the French division of ITI, to get more Tunisian involve ment in ITI. One of the current officials in the Tunisian Ministry of Cultural Affairs and Information has expressed an interest in having more internation al exchange in general with theatrical groups around the world. But at this point in Tunisian history, other economic problems take greater priority, and culture, as always, gets very few funds. Yet the country is not chauvinist and is highly interested in art from abroad. Tunisians are prob ably the most cosmopolitan of Arabs, having looked so long northward to Paris as the place they’d like to go on their summer vacation in order to see theater as well as to buy new clothes.72 West Africa Equatorial Guinea In 1973 James A. Parker, alternate director, Office of Central African Affairs, State Department, wrote that there has been no use of theater in the small, two-man 73 United States mission m Santa Isabel. The Gambia As there is no information program at the small United States Embassy in Bathhurst, the only response from The Gambia to the questionnaire came from Peace Corps 21T 4 ~ volunteer Glenn L. Gabanski. He was involved in the only production in The Gambia having any bearing on the subject. It was rather a unique musical production in Bathurst and was sponsored by the Gambia Music Society, an independent, non-profit organization. The theme of the production, performed once in Feb ruary and once in March of this year [1972], was transition and change in Africa. The music and lyrics were scored by Mrs. Rose mary Peters (an English woman) with the words and theme adapted from the poem, Katchikali, written by her husband, Dr. Lenrie Peters, contemporary African poet. The production utilizes choral singing, choral recitation, dance, mime and music which were per formed by Bathurst school children from both primary and secondary levels. Technically, there was light ing and a wing and drop set. The significance of this event lies mainly in its giving the students of Bathurst schools the op portunity of hearing western music and of putting on a production together. The scoring of western melodies by the arranger was therefore intentional; he also brought in the African theme of the poem so students would have something from their own experience to relate to the unfamiliar music. Except for my own part in helping with the music, light design and set construction, and that of an other Peace Corps volunteer who designed and painted title wings and backdrop, there was no connection be tween this musical and Peace Corps/The Gambia pro grams, of which none have been in theater nor are planned for t h e f u t u r e . 7 4 '2651 Ghana Interest in American theater in Ghana and a need for USIS theatrical support are indicated in the field messages filed at USIA/ICS, Washington, D. C. In 1966 USIS Accra wrote: Miss Frances Ancoma-Sey, recently named to or ganize a new children's theater at the Accra Art Center (operated by the Institute of Art and Culture of the Ghana Ministry of Education), has asked the post for support. The plays would be for children 6 to 15 years old and be performed at Art Center Stage and on local radio and TV. She needs suggestions of suitable plays . . . also information on the formation of children's theater. She would like to correspond with several children's theater groups in the United States.^5 A year later USIS Accra wrote: Amateur theater and the study of drama are very active in Accra and Kumasi and at the University of Ghana in Legon. The post needs assistance and guidance from ICS on finding suitable new plays to suggest to dramatic groups for productions or read ings. 76 The extent of USIS Accra's efforts to provide inter ested Ghana citizens with information about American theater is evident in the small but useful theatrical collection in the post library. Plays: E. Albee's Who's Afraid of Virginia Woolf?, R. Anderson's You Know I Can't Hear You When the Water's Running, J. Baldwin's The Amen Corner, A. Ballet's Playwrights for Tomorrow: A Collection of 266 Plays, M. Benedikt's Theater Experiment, The Best Short Plays (for 1968, 1969 and 1970), B. Cerf's Plays of Our Time, R. Cowen's Summertree, L. Elder's Ceremonies in Dark Old Men, J. Goldman1s The Lion in Winter, C. Gordone's No Place to Be Somebody, A. MacLeish''.S, Herakles, A.Miller's Collected Plays, R. Nemiroff's To Be Young, Gifted and Black, and Prize Winning Plays for Television and Radio, S. Richards' Best Plays of the Sixties, H. Sackler's The Great White Hope, H. Shumlin's Spofford, N. Simon's Plaza Suite, T. White's Caesar at the Rubi con, E. Wilson's The Duke of Palermo and Other Plays, A. Quinn's Representative American Plays and Best American Plays, B. Clark's Nine Modern American Plays, G. DuBois' Plays for Great Occasions, P. Feibleman's Tiger, Tiger, Burning Bright, A. Fisher's United Nations Plays and Programs, J. Gassner's Best Plays of the Early American Theater, J. Gassner's Twenty-five Best Plays of the Modern American The ater, L. Hansberry's A Raisin in the Sun, J. Hawkes' The Innocent Party: Four Short Plays, W. Inge's Four Plays, A. Miller's The Crucible and Death„of a Sales man, E.O^Neill's Long Day!sJourney Into Night, R. Sherwood's Abe Lincoln in Illinois and Six Modern Plays, T. Wilder's Three Plays, T. Williams' A. Streetcar Named Desire, L. Hughes' Five Plays, R. Lowell's The Old Glory, A. Miller's Incident at Vichy, J. Murray's Comedies and Farces for Teenagers, E. Albee's Tiny Alice, W. Alfred's Hogan's Goat, E. Dias' One-act Plays for Teenagers, W. Hanley's Slow Dance on the Killing Ground, L. Hansberry's The Sign in Sidney Brustein's Window. Books on theater include: B. Atkinson's Broadway, D. Blum's A Pictorial History of the American The ater , A. Downer's The American Theater, C. Fisher's Children and the Theater, R. Gard's Grassroots The ater , J. Gassner's Theater at the Crossroads, W. Hackett's Radio Plays for Young People, W. Kerr's Thirty Plays Hath November, R. Kostelanetz's The Theater of Mixed Means, J. Novick's Beyond Broadway, H. Phillippi's Stagecraft and Scene Design, Theater World, J. Toohey's A History of Pulitzer Prize Plays, J. Dietrich's Play Direction, J. Gassner's Producing the Play, H. Heffner's Modern Theater Practice, C. McGaw's Acting Is Believing, A. Gillette's Stage Scenery, W. Parker's Scene Design and Stage Lighting, : . 2'61~ S. Seldon's Stage Scenery and Lighting/ H. Clurman's The Naked Image. ^ / The USIS Accra library also subscribes to Players 7 f t magazine and has several films on theater./0 Two representatives of the Peace Corps Ghana sent informative letters about native Ghanaian theater. J. Dale Chastain, Peace Corps director in Ghana, wrote: In Ghana, a theater is emerging which blends traditional themes with a western-style production. I should say that traditional themes are being expressed through a western-style structure— pros cenium arch, sets, scenery, acts, concern for light ing and other technical aspects. Volunteers have contributed technically to this development. We presently have three volunteers working with the Institute of African Studies at the University of Ghana: they light, produce and direct. Of course, Peace Corps training programs, where possible, arrange for the observation and involvement of .volunteers in traditional theatrical forms. Vol unteers who engage in some form of community theater or coach dramatics do so for the same reason they would in the United States. They like the work. Their impact on the Ghanaians is very limited, I would judge, and their contribution sometimes freaky. I remember a volunteer-directed production of My Fair Lady and it produced a very queasy feeling when the female lead could not make the transition from squalling English to proper English. At the same time, I am not certain that the volunteer who teaches a survey of theater from Antigone to Jesus Christ Superstar, no matter how qualified, makes a contribu tion. We avoid that in favor of providing technical assistance to Ghanaians interested in developing a theater relevant to their culture, history and 268 current requirements. The development and relevance are for Ghanaians, and when they seek technical assistance for the performances, then volunteers can make a contribution. The alternatives appear as: teaching an alien theater, and I do not mean that Sophocles and Shaw should not be known and understood, but rather their performance may be irrelevant; or an attempt to guide something we know damn little of, the movement of a traditional participatory theater to something we understand, but which the African sees as imposed. Neither do I see it as "development" of African theater. There are more giants in theater in West Africa than the West has ever recognized in 3,000 years of western theater. For every town, no matter how small and poor, has its story tellers, and, while the form may occasionally resemble the Boy Scouts around a campfire listening to an old man deliberately scare hell out of them, the substance is very different. The village story teller relates history, religion and the future; he is theologian, historian, anthro pologist and prophet. He explains the world, but does not dictate it, for that is something for the gods. But he does make sense of his experience and what he learned from those older and now dead and what he knows as intrusions of technology on all this and what likely confronts those listening. He is always wise, entertaining and rhythmic, for Afri cans, even illiterate, do not tolerate, as do Ameri cans, boring redundancy amongst their dramatists. . . . When the scholar arduously collects West African stories, they emerge as a stupid primitive's superstitions instead of profound thought derived from life constantly threatened and insecure.^ Although Peace Corps volunteer Orville L. Bell agreed with Chastain that straight western drama would often be out of place in West Africa "where the entire society is dramatic," he himself taught drama and produced plays by____ 269 Americans and Africans at the University of Ghana at Legon. . ®0 Guinea Henry A. Ryan, PAO at the United States Embassy in Conakry, wrote that the post has neither library nor reading room. Requests are handled on an individual basis, and orders are also placed individually whenever a book presen- 81 tation or long-term loan is to be made. The reason for so little cultural or theatrical activity was graphically explained by Walter F. Evans, for merly with Peace Corps Guinea. The Peace Corps officially left Guinea in August 1971, although reductions began the January preceding after the wounding of a volunteer, detention and public executions of some 57 Guineans and life im prisonment at hard labor of several hundred Guineans and foreigners. Guineans don't like other Guineans, much less foreigners, so no opportunity for foreigners, much less volunteers, to participate in local activities existed. In spite of this, one older couple did endeavor, with limited success, to teach the use of musical instruments in the face of official opposition. This is a way of saying Guineans were interested even in the face of possible personal danger. About half the volunteers actively participated with other members of the small American community in a theatrical group. This only serves to illus trate the potential and interest had conditions been better. 27C Ivory Coast For the last decade, the USIS library at the United States Embassy in Abidjan has collected a number of Americar. plays translated into French (the country's language) as well as in English, until it now has somewhat the variety, o 3 though not the size, of the one in Accra. Also, the post has given play readings involving 84 Ivorian students as well as American Embassy employees. However, in 1972, CAO Robert R. LaGamma wrote: We don't use theater in U. S. government pro grams in the Ivory Coast, much to my regret. This is francophone Africa and the language barrier makes it exceedingly difficult to scrape together audiences for English language plays. To my knowledge, the State Department has spon sored only one theater connected visit to Africa in the last two years: the visit of Robert Askew, drama professor, to Zaire for six weeks and to other coun tries for several weeks organizing workshops in one or two countries. Other than that, we had requested a young group of Paris-based American players who offered one-act plays in English and French (LeRoi Jones and Edward Albee). But that failed to materialize. Play readings organized occasionally by the British and participated in by members of the Amer ican community were attempted last year without much success. In my own view, western style theater is remote from traditional African culture. Music, dance and storytelling are rather the relevant forms of art here. 271' A national theater company exists in Abidjan as an extension of the Institut National des Arts, and they have had their first full season this year doing Ivorian, Nigerian, French and North African plays. As far as what we would like to present here, I think the idea that fell through about sending^a dozen young Americans to Abidjan capable of putting on several contemporary American one-act plays and giv ing workshops— all in French— would be ideal. p C As for readings, I would opt for O'Neill. Emmanuel Nouama, first counselor, Embassy of the Ivory Coast, Washington, D. C., said his personal choice for American theatrical presentations in his country would be plays rather than readings, workshops or lectures, pro vided they were presented in French. Also, he added, he would prefer comedies because their universal subjects— the frailities of human nature— render them easily understood by foreign audiences.^ Replying about the Peace Corps' use of theater in the Ivory Coast, the country's former Peace Corps director, Harold S. Fleming, recalled the following events: 1968-1970— Two vocational education teachers at the Centre Technique d'Abengourow (Eastern Ivory Coast) organized a cooperative of their second year students. In order to raise funds and to promote the construction skills and availability of this group, the cooperative developed routines and skits on a formal and well-rehearsed basis. These skits were low rural comedy with an appeal to the coffee and cocoa farmers in the area. 272 Traditional jazz and French pop music were inte grated into these skits and it proved to be a very successful promotional tool for the school. 1969-71— A secondary school English teacher at the Departmental School at Katiola, Central Region, developed a "family" of hand puppets. These puppets, which we later produced for about half of our 55 English teachers who taught lower/beginning level English, were used by teachers and students success fully in oral lessons. 1969-1971— -Two teachers at the Adzope Department al Schools had exceptional musical skills, and for their senior level English classes adapted portions of Annie Get Your Gun and another American musical for presentation to the school. Our people in housing construction, agriculture, health and business development' do not have the same opportunity for theatrics that the teachers do; how ever, over the years, several have been formally selected by the Ivorian Government to sit on the selection committee for traditional tribal dancers related to the Fete Nationale.^ In addition, Nora Hodges, technical representative, education, Peace Corps, Ivory Coast, replied that 1971 was the first year an Ivorian university group started a theater based on African themes and with African actors. Its four or five productions aroused a lively controversy which augurs well for continuation and increasing Africanization. Peace Corps did not, and should not, have any role in this, except for one volunteer who helped in a minor-technical capacity. Individual Peace Corps volunteers have supported and/or participated in school dramatics, which are fairly rare here. One young man used much ingenuity in rigging up lighting for the annual performance of an adult drama club in Dalao and received good newspaper reviews as an actor. Teachers of English habitually use dialogues or skits to enliven classes.®” Liberia PAO Howell S. Teeple, United States Embassy, Monrovia, reported that Liberian theater is just developing. The USIS in Monrovia has a small auditorium with facilities for film showings, speakers, panels and group discussions. It does not have facilities for any full-scale theatrical productions, and USIS has not presented any American theatrical productions in recent times. However, USIS has given support to an interna tional choir which has produced several operettas and musicals. No street theater has been developed in Monrovia. Because of the embryonic state of development of Liberian theater and interest in theatrical pro ductions, first choice of presentations from Ameri can theater for this post would be workshops and lectures by theater specialists. Plays dealing with black experiences such as Ain’t Gonna Die a Natural Death might stimulate interest if presented to a university audience. At present there are few opportunities for ex change of students specifically interested in theat rical arts. The Liberian government gives priority to indigenous African art and music in their cultural programs and plans. J. Dale Chastain, who had been Peace Corps director in Liberia before his assignment to Ghana, wrote of the Peace Corps' limited participation at his former post. _ _ _ _ _ _ — -2 r 4 - We made use of traditional theater— dancing, story telling, festivals celebrating new adulthood— in training. Where villages were agreeable, we observed their traditional rites and, since tradi tional African theater is participatory, volunteers would be encouraged to participate in the celebra tions even though they were somewhat ignorant of the performer's role. Additionally, Peace Corps volunteers participated in a community theater, the Monrovia Players, which included some Liberians. The productions were ef forts to duplicate a known western-style drama, with the performance to be observed by an audience, not something in which all were to participate. Finally, a few volunteers with interest and experience coached dramatics at a few schools which had adequate facilities. This was strictly extra curricular and was again a theater more familiar to the volunteer than to the L i b e r i a n . ^ Niger In Niger, theater is not even an art, according to James J. Hogan, deputy director, Peace Corps, Niamey.He wrote that the only involvement of Peace Corps volunteers with theatrical productions concerns the presentation of simple sketches for school children who are learning Eng lish. These are performed for the children only and are de signed specifically to demonstrate basic English sentence 92 structure. Lack of interest in theater in Niger is also evident in the collection of theater books at the American cultural center in Niamey. The selection, although representing the ________ _ 275 same variety and interest in contemporary black American playwrights as does the collection of USIS Accra, the facil ity has only a few recordings of Broadway musicals and no tapes, films, or magazines on theater, according to John W. 9 3 Simmonds, Jr., center director. Nigeria During the 1960s there was much effort on the part of USIS to establish American drama in Nigerian schools, for it was becoming recognized as an academic subject. How ever, even though subsequent reports said the effort met with some success, replies to the questionnaire stated the ater is not now of high priority to USIS Nigeria. In 1962 USIS Ibadan encouraged local performing arts by ordering USIA Cultural Affairs Packet Lectures No. 4 0 (on stage acting and training in the theatrical arts) and No. 46 (stage design and architecture and community theater 94 organization). The same year, the Ibadan post gave assistance to the drama teacher at the University College of Ibadan because: . . . closer contact would be established between USIS and the students and faculty, one of the major objectives of the post's country plan; American cul tural prestige would be enhanced at the most promi nent university in Nigeria, considered to be the ----------------- 2T£ cultural center of western Nigeria, presently domi nated intellectually by the cultural traditions of England; and because it would create a better under standing of America and its self-criticism as repre sented by contemporary American d r a m a . ^5 Yet, Robert J. Palmeri, assistant CAO, Lagos, re ported an abatement of theatrical activity by 1972. This post has had no program involving the the ater and does not propose at the moment to develop any. This does not mean that a good program could not be developed, as there is considerable activity by Nigerians interested in theater. If we were to de velop a program, it would involve projects that are not grandiose in scale because of the tremendous logistical problems in Nigeria. Therefore, readings, workshops and lectures would be proposed for indi viduals or small groups rather than full theater Q£ groups with all their paraphenalia. However, he added, there is no demand for exchanges of persons interested in theater arts between the United States and Nigeria. Gerald E. Huchel, deputy director, USIS Ibadan, described a slightly more active theatrical picture at his post. Theater is little used in cultural programming in Ibadan. Many of our presentations, from book exhibits to films and lectures, involve theatrical elements in an attempt to make them as attractive and interesting as possible, but that is about as close as we come. Small theater groups and lecturers have occasion ally been offered to African posts through the Speakers Bureau of USIS Paris. They have not been 277 programmed in Ibadan for a number of reasons. First, special problems arise here in terms of expense, unreliable transportation and absence of accommoda tions for more than a handful of people. Second, and more important, it isn't clear that theater would appeal to the audience we wish to reach in Ibadan. I say this because of my observation that at perform ances presented by the Department of Theater Arts at the University of Ibadan, non-Nigerians make up a disproportionate number in the audience. This is not because seats are beyond the easy reach of Nigerian students and faculty members. It may simply be that western theater has a limited appeal. Regarding exchanges, opportunities rarely meet demands. In the case of theater students and facul ty at the university, we would have little interest in promoting an exchange that might mean giving up a more productive grant for a journalist, lawyer, etc. Further, three of the seven full-time staff members in the Department of Theater Arts have taken their degrees in the United States, so there is an aware ness of the substance and technique of American theater here.97 Nonetheless, the USIS library in Ibadan has some 100 plays and books on theater and subscribes to The Drama 9 8 Review. Senegal Throughout the 1960s USIS Dakar helped Senagalese theater groups obtain production rights, and a theatrical section of the USIS Cultural Center's Youth Club was formed. For this, USIS Dakar provided supervision, transportation, 99 costumes and funds for theater rental. Its library donated a collection of Eugene O'Neill plays to the national theater in 1972, and its collection contains several films on theater (translated into French) and over 100 plays (about one-half of which are translated into French) Sierra Leone Although there was no response to the questionnaire from USIS at the United States Embassy in Freetown, several, field messages from the post to USIA Washington in 1967 stated an interest in having American play readings and establishing permanent play reading groups that could pre sent readings on request to schools and universities.'*'^'*' Togo There was no reply to the questionnaire from the United States Embassy in Lome. A field message on file at USIA Washington, D. C., indicates an interest in helping a new play reading group launched by the American community in 102 1964. However, as there is only one USIS official in Togo, post-sponsored theatrical activities are likely mini mal . Upper Volta From the American Embassy in Ouagadougou, PAO Stan ley B. Apern wrote: 279 There has been no particular use of the American theater to promote U. S. interests in Upper Volta since my arrival 19 months ago [end of 1970], and I doubt there was much before me. We do, of course, have works by the best Ameri can playwrights in our library, and we have had photo exhibits in our library windows on the latest devel opments in the dramatic arts in the U. S. USIA publications have included illustrated articles on this field, also, but the American theater is so remote from the concerns of even the most edu cated and sophisticated Voltans that it would be pointless for me to invest scarce USIS resources in theatrical presentations of any kind. Needless to add, there is no demand for an ex change program in this domain. There is, however, one small area that might be usefully explored if I had the time to focus on it. English is a required subject in the secondary schools of Upper Volta, and the biggest of those schools have English clubs. These clubs perform homemade skits in English and would probably stage the simpler and more popular American plays if they had the little booklets used in schools and at summer camps m the states. Alpern's former assistant in Ouagadougou, Kathryn L. Koob, supplied further information. In my experience, American theater is one of the least used and most abused media we attempt to use in USIA. I must admit, however, that I am speaking from a very prejudiced point of view and from a very limited experience. I can't get over the feeling though that most people think of theater as "putting on a play" and the end result is fun for those involved and not much real theater. ---------- 2 ' 8 ' Q There are limited program possibilities for the ater in a place such as Ouagadougou unless you have plays in translation and a director who speaks better French that I did, though I hope I would not hesitate to do a good play in translation if X had sufficient time. I would rather spend my time this way with a good amateur production of a classic than spend an equal amount of time with a little booklet and come out with something in stilted English. But a one-act reading might be possible for an English class, and certainly with some few advanced students a one-act production would have merit. Another medium that I would like very much to try is the story theater. I was unfamiliar with this until my return to the United States, and since have become quite excited by the possibilities. I think that tales and legends from the old west (Pecos Bill, Paul Bunyan and Indian legends) would lend themselves beautifully to this type of produc tion. I would start with local stories to teach technique and then move to traditional American folk lore. I think this holds limitless possibilities and would enhance English teaching because stories could be read, dramatized and changed with the addition of new elements. (Can you imagine what would happen if Pecos Bill met Paul Bunyan?)1^4 Bob Siegel, former Peace Corps director in Upper Volta, wrote that, because there were only six English teaching volunteers in the Upper Volta during his assignment and also because the Voltans' predominant language is French, he had not seen volunteers make much use of theater there. _ 28';. Other Countries; Chad, Dohomey, and Mauritania Theater activities in the countries of Chad, Doho- mey, and Mauritania were deemed to be virtually nonexistent. United States representatives at the small posts there failed to respond to the questionnaire, and there was no mention of American theater in field messages on file in Washington, D. C. Remarks Despite the language barrier, lack of regular theater goers, suitable facilities, and even suitable United States plays, USIS posts in almost every African country could make more advantageous use of United States theater than they now do. Exceptions are Rwanda and the Somali Republic where there is no theatrical tradition and where only a minute proportion of the populace would be interested. Music or theater such as pantomime, which relies heavily on visual expression, best serves United States international cultural relations in those two countries. In other nations, more translations of American plays, use of United States plays in English language classes and in Peace Corps lessons, United States play 282 productions, theater workshops, technical assistance, small acting teams, and exchange of theatricians would enhance USIS programs. However, they are limited by lack of suffi cient funds and staff. Even in politically agitated Guinea and socialistic Tanzania, USIS use of United States theater could have a positive effect. The result of its use in South Africa, although at a minimum due to United States reluctance to go along with the South African apartheid policy, can also be valuable: by inviting mixed audiences to theater produc tions, USIS shows, in a nonbelligerent way, how the United States regards such a policy. Finally, where the United States government does not make sure its best is represented, commercial American productions can damage the national image by seeming to be all the United States has to offer. 7B3I Footnotes ^"Letter from Marshall W. S. Swan, PAO, United States Embassy, Bujumbura, Burundi, 8 May 197 2. ^USIS Yaounde field message, Spring 1964. ^Letter from Harold F. Radday, PAO, United States Embassy, Bangui, Central African Republic, 12 May 1972. ^USIS Libreville field message, Fall 1963. ^Letter from PAO Aris Rounes, USIS Libreville, Gabon, 26 April 1972. USIS Tananarive field message, 10 May 1967. 7Ibid. 8Ibid. ^Letter from Frederic J. Gaynor, Cultural Attach^, USIS Tananarive, Malagasy Republic, 4 May 1972. "^Letter from C. Jesseramsing, First Secretary, Embassy of Mauritius, Washington, D.C., 11 July 1972. ■^Letter from E. Michael Southwick, Vice Consul, United States Embassy, Kigali, Rwanda, 15 May 1972. 12 Letter from Judith R. Jamison, Assistant CAO, USIS Kinshasa, 23 May 197 2. 1 3 Letter from R. G. H. Seitz, Consul, United States Consulate, Bukavu, Republic of Zaire, 12 May 1972. ■^Letter from W. H. Crosson, Peace Corps Director, Kinshasa, Republic of Zaire, 12 May 1972. 1 5 Letter from Howard L. McGowan, Consul, United States Consulate General, Luanda, Angola, 1 May 1972. 1 ft Letter from James A. McCaffery, Acting Director, Peace Corps, Gaborone, Botswana, 4 May 197 2. 284 17 Letter from Louis James Altrutz, Peace Corps Director, Maseru, Lesotho, 8 May 1972. ■^Letter from Alfred J. Waddell, USIS PAO, Maseru, Lesotho, 24 October 1972. 19 Letter from M. T. Mashologu, Ambassador, Embassy of the Kingdom of Lesotho, Washington, D.C., 25 July 1972. 20 United States Embassy, Pretoria, field message to State Department, Washington, D.C., 2 September 1961. 21Ibid. 22Ibid. 23 United States Embassy, Pretoria, field message to Department of State and USIA, Washington, D.C., 17 October 1963. 24Ibid. 25 Letter from Peter Curtis, Artistic Director, Cape Performing Arts Board, Cape Town, South Africa, 31 July 1972. p r USIS Pretoria field message, Summer 1968. 71 USIS Pretoria field message to USIA Washington, 14 April 1967. 28Ibid. 2 9 Letter from Casper S. C. Venter, Information Counsellor, Embassy of South Africa, Washington, D.C., 11 July 1972. 30 Letter from D. G. Barton, Director, Performing Arts Council, Silverton, Transvaal, South Africa, 9 October 1972. 31 List sent by John T. Burns, Consul and PAO, United States Consulate, Johannesburg, South Afrida, 16 November 1972. 32Ibid. 285 33 Letter from John T. Burns, Consul and PAO, United States Consulate■ , Johannesburg, South Africa, 16 November 1972. ■^Letter from John H. Eriksen, Director, Peace Corps, Mbabane, Swaziland, 5 July 1972. 35 Letter from Jestyn Portugill, Peace Corps Direc tor, Addis Ababa, Ethiopia, 11 May 1972. 3 6 USIS Addis Ababa field message, 8 November 19 64. "^USIS Addis Ababa field message, 8 August 1963. 38 United States Embassy Addis Ababa to Department of State, Cultural Affairs, Office of Educational Exchange, 22 January 1963. 39 List sent by Leonard J. Sherwin, Regional Librar ian Africa, Nairobi, Kenya, 25 October 1972. 4®Letter from George Petrides, Acting Deputy Direc tor, The Peace Corps, Nairobi, Kenya, 8 May 1972. ^Letter from Bob Siegel, former Peace Corps Volun teer in Nairobi, Barcelona, Spain, 25 July 1972. 4 2 USIS Blantyre field message, January 19 67. ^Letter from James P. Thurber, Jr., Deputy PAO, United States Embassy, Lagos, Nigeria, 15 May 1972. 44 Letter from Donald E. Soergel, CAO, American Embassy, Mogadiscio, Somali Democratic Republic, 6 May 1972 4 5 Letter from Andrew C. Schlessinger, CAO, United States Embassy, Dar es Salaam, Tanzania, 5 May 1972. 4 f k Letter from Thor H. Kuniholm, Consul, United States Consulate, Zanzibar, Tanzania, 8 May 1972. ^Letter from B. L. Leshoai, Head, Theater Arts Department, University of Dar es Salaam, Dar es Salaam, Tanzania, 30 October 1972. 286 4R USIS Kampala field message. Spring, 19 63. 49Ibid., Fall 1967 50Ibid., Fall 1966. 3^Ibid., Fall 1969. ^Ibid., Spring 1971 33Letter from Arthur S. Berger, PAO, USIS Kampala, Uganda, 20 July 1972. 54 Letter from Henry L. Smith, Peace Corps Director, Kampala, Uganda, 18 May 1972. 55 USIS Lusaka field message, Spring 196 6 56Ibid., Winter 1966. 57Ibid., Fall 1966. 58 Letter from Patricia K. Taylor, USIS Librarian, United States Embassy, Lusaka, Zambia, 16 October 197 2. 59Ibid. fin Letter from Peter J. Antico, Deputy Director, USIS, United States Embassy, Lusaka, Zambia, 4 May 1972. 61 Letter from Philip C. Brown, CAO, U. S. Interests Section, Embassy of Switzerland, Algiers, Algeria, 2 May 1972. g r O Letter from Robert M. Maxim, American Consul, United States Consulate, Oran, Algeria, 9 May 1972. 63Ibid. ^4USIS Tripoli field message, 7 May 1966. ^3Ibid., 28 December 1960. ^Ibid. /- -j Letter from Gary Edwards, Assistant CAO, United States Embassy, Rabat, Morocco, 3 May 1972. ^3USIS Tangier field message, Fall 1968. ^9USIS Khartoum field message, Fall 1962. ; 2-87 7 0 Letter from Leslie M. Lisle, CAO, American Interests Section, Royal Netherlands Embassy, Khartoum, Sudan, 8 June 1972. 71 Letter from PAO Gerald J. Kallas, American Cul tural Center, United States Embassy, Khartoum, Sudan, 19 October 197 2. * *7 7 Letter from John Crockett, Cultural Attache, American Cultural Center, United States Embassy, Tunis, Tunisia, 29 April 1972. 73 Letter from James A. Parker, Alternate Director, Office of Central African Affairs, Department of State, Washington, D. C., 17 April 1972. 74 Letter from Glenn L. Gabanski, Peace Corps Volun teer, Bathurst, The Gambia, 16 May 1972. 7 3 USIS Accra field message, 7 December 1966. 76Ibid., 12 June 1967. 77 . Letter from Victor A. Boafo, Librarian, United States Embassy, Accra, Ghana, 10 May 197 3. 78Ibid. 7 9 Letter from J. Dale Chastain, Peace Corps Direc tor, Accra, Ghana, 25 May 1972. O A Letter from Orville L. Bell, Peace Corps Volun teer, Institute of African Studies, University of Ghana, Legon, Ghana, 20 May 1972. 81 Letter from Henry A. Ryan, PAO, United States Embassy, Conakry, Republic of Guinea, 6 November 197 2. 8 2 Letter from Walter F. Evans, former Director of Peace Corps, Guinea, Potomac, Maryland, 9 June 1972. 8 2 List sent by Frank C. Strovas, CAO, USIS Abidjan, Ivory Coast, June 1972. 8^USIS Abidjan field message, 30 September 1964. 288 8 5 Letter from CAO Robert R. LaGamma, USIS Abidjan, Ivory Coast, 27 April 197 2. 8 6 Letter from Emmanuel Nouama, First Counselor, Embassy of the Ivory Coast, Washington, D. C., 1 August 1972. 87 Letter from Harold S. Fleming, former Director of Peace Corps, Ivory Coast, Department of Health, Education and Welfare, Washington, D. C., 18 May 1972. 8 8 Letter from Nora Hodges, Technical Representative, Education, Peace Corps, Abidjan, Ivory Coast, 16 June 1972. 89 Letter from Howard S. Teeple, PAO, United States Embassy, Monrovia, Liberia, 18 July 197 2. 90 . Letter from J. Dale Chastain, former Director of the Peace Corps in Liberia, Accra, Ghana, 25 May 1972. 91 Letter from James J. Hogan, Deputy Director, Peace Corps, Niamey, Niger, 9 May 1972. 92 Ibid. 93 Letter from John W. Simmonds, Jr., Director, American Cultural Center, Niamey, Niger, 8 November 1972. 94 USIS Lagos field message, reporting on USIS Ibadan, Fall 1962. 95 USIS Ibadan field Message, 25 October 1961. 96 . Letter from Robert J. Palmeri, Assistant CAO, United States Embassy, Lagos, Nigeria, 7 August 1972. 97 Letter from Gerald E. Huchel, Deputy Director, USIS Ibadan, Nigeria, 10 May 1972. 98 List supplied by Gerald E. Huchel, Deputy Direc tor, USIS Ibadan, Nigeria, 17 October 1972. 99 USIS Dakar field message, Spring 1964. ''"^Letter from Assistant CAO Margaret Converse, United States Embassy, Dakar, Senegal, 15 December 1972. 289 101 USIS Freetown field message, Fall 1967. 102 USIS Lome field message, Fall 1964. 103 Letter from Stanley B. Alpern, PAO, American Embassy, Ouagadougou, Upper Volta, 3 May 1972. 104 Letter from Kathryn L. Koob, Office of the Assistant Director, Africa, USIA Washington, D. C., 7 August 1972. 105 Letter from Bob Siegel, Centro Estudios Espanol, Barcelona, Spain, 25 July 1972. CHAPTER VI NEAR EAST AND SOUTH ASIA: FERTILE FIELDS Except for Saudi Arabia, in every country in the Near East and South Asia there is an interest in United States theater. Afghanistan In 197 2, for the first time in USIS Kabul's history, Afghanistan's Ministry of Information and Culture allowed a local theater group to perform a play in the American Center auditorium without explicit approval.'*' The production, a double bill of Edward Albee's Zoo Story, and an Afghan comedy, was performed in the Dari language and attracted artists, university faculty, and students to the center. It was the third production of a United States play mentioned in USIS Kabul field messages as taking place in the American Center. Previous produc- o tions were Of Mice and Men (1969) and The Odd Couple (1972) .3 290 ________________________ Cyprus Although USIS Cyprus conducts an active cultural program in some of the arts, its efforts in theater have been weak, according to PAO Robert J. Wozniak at the United States Embassy in Nicosia. He wrote: Our post has not sponsored any productions of American theater as such. From time to time oppor tunities arise wherein an actor or actress is travel ing in the area and is available for local program ming. Such was the case with Kay Carney of La Mama experimental theater group whom we presented in a one-woman show, Off Off Broadway, last September. However, the National Theater of Cyprus is very active and has presented several Greek language adaptations of American playwrights. The most recent example was Tennessee Williams' A Streetcar Named Desire. While the Williams play was running, we were invited to participate in the concurrent Book Theater Week exhibit in the foyer of the theater building in which we displayed books on American theater. Also, the theater organization of the Cyprus Broadcasting Corporation has presented a number of American works in recent years. If we could choose any presentations from Ameri can theater for our post, we would select modern American classic playwrights (such as Tennessee Williams and Arthur Miller) who are most well known on the island. Cypriots tend to the traditional in their taste in the arts. Other presentations such as dramatic readings, workshops, etc., are useful as opportunities arise but are not practical for long term efforts. Al though many in our Cypriot audiences speak English well, most of the actors do not. 292 There are few opportunities for the exchange of students and practitioners of the theatrical arts between the United States and Cyprus. One reason is that there is no university on the island/ the usual springboard for such exchange activities.^ The size of the USIS Nicosia library's theater col lection is as limited as the post's theatrical program. It has some books on American theater and ten plays. Egypt (United Arab Republic) USIS Cairo's American theater programs, although rare, have been appreciated by Egyptians. In 1962 Frank McMullan, Yale professor and American Special Grantee, and Bart Stimmel, a graduate student at Yale School of Drama, spent an entire year in Egypt.^ In 19 64 playwright Jerome Lawrence gave workshops to play wrights and actors in Cairo's experimental and influential 7 Pocket Theater. After each project, USIS Cairo wrote USIA Washington that more such visitors were needed. Fredric March and Florence Eldridge presented their program of readings from O'Neill, Heilman, Wilder, and Frost in Cairo under the Cultural Presentations Program in 1965, enabling many Egyptians to see American theater live for the first time.® In 1967 the government of Spain assumed protection 2 “93! of United States interests in Egypt following severance of diplomatic relations between the two countries on June 6 of that year- The Cairo post is now referred to as the U. S. Interests Section of the Spanish Embassy and located in the former U. S. Chancery. From there, CAO Edward T. Penny replied to the questionnaire in 1972. Very few theatrical groups from the United States visited Egypt during the last fifteen years. Most important of the successfully presented ones was Porgy and Bess. . . . Other professional troupes have also come, cov ering their own transportation. Cost of perform ances was negotiated with the Egyptian authorities and contracts were signed by both sides before pre liminary steps were taken. The Egyptian audience is basically attracted to the dramatic theater: Tennessee Williams and Arthur Miller have good local reputations. Some of their works have been presented by the Egyptian theaters, for which the American Embassy (USIS) has helped pay for the translation of these and many other American plays. The Egyptian side welcomes the exchange of the ater students and professors as there is a special Higher Institute for Theatric Arts here. Theatrical arts are also studied in other university-level classes.^ Greece Throughout the 1960s there was an intense interest in American theater in Greece and also an interest on the part of USIS Athens to present it. However, one instance 294' made the post realize that no presentation at all would be better than a half-hearted effort. In 1962 a Symposium on the Performing Arts spon sored by UNESCO, the Greek government, the International Theater Institute, and others was held in Athens. USIS Athens did not have sufficient funds for United States par ticipation, nor did the post request them. The symposium, being held during the summer, was not expected to draw a large enough turnout to warrant the expense. However, after repeated cries from the Symposium manager for something from the United States, the post yielded. But, in doing so, it presented a display that did not compare well with those from other countries. A subsequent message from USIS Athens stated: For future program planning, it is our opinion that we should not encourage U. S. participation in ventures of this kind unless private or agency sup port will assure top quality U. S. representation. Our public expects something outstanding from the United States. If we haven't the time or resources to participate with something really good, we should not hurt our image by presenting anything less.^ However, there have been times when USIS Athens has had the ability, through the State Department's Cultural Presentations Program, to help present American theater in a better light. In 1972, CAO Theodore A. Wertime at the United States Embassy in Athens, listed the most successful 2 ' 9 ' 5 of these and mentioned what might be appreciated in Greece: Porgy and Bess in 1955 at the National Theater of Greece; American Repertory Company with Helen Hayes in 1961 at the National Theater of Greece; Fredric March and Florence Eldridge in an evening of American theater and poetry at the National Theater in 1965; and the Catholic University Players in 1966 who performed O'Neill's Ah, WiIderness! at the Hellenic-American Union. Travel and living expenses were covered by the program; when groups performed at Greek theaters, normal admission fees were charged to cover expenses, but when performances took place at the binational center, admission was free with the program paying travel expenses and a per diem or honorarium. In recent years, however, budget cuts have forced us to limit ourselves to talents available locally, American or Greek, or to rely on groups or individuals travelling by private or other non-gov ernment means. Thus a repertory theater consisting of American and English residents in Greece produced several American plays and play readings at the binational center and elsewhere; in 1971 actors of the National Theater did a playreading of O'Neill's Long Day's Journey into Night. On all occasions USIS and the binational center have been responsible for the heavy load of organiza tional and administrative detail that every such event entails. Provided we could meet the cost, we would be very interested in presenting off-Broadway and underground productions by professional or amateur groups and also dramatic readings. Albee's Zoo Story and Who's Afraid of Virginia Woolf? were the last American avant-garde plays produced on a Greek stage. We are sure, therefore, that any attempt to present serious avant-garde plays produced in the U. S. in the past five to six years would find warm response among a large and vital sector of Greek audiences. Moreover, . 291 such presentations would enhance faith in the Ameri can arts and in the USIS's sponsorship of them. There is quite a large demand by students of the theater to study stage management, directing and acting in the United States. This demand is very seldom met, if at all, since American universities do not provide grants for fine arts studies.H Adding to this, Thomas A. Calhoun, director of the Hellenic American Union in Athens, answered: . . . we would like to put on just as much Amer ican theater at this post as possible, but Athens is full of theater groups, some of which do perform American plays, and our own theater is not suffi ciently equipped for major dramatic presentations. There have been a few semi-professional English language theater groups in the last few years but none has survived, probably because of the relative ly small audience for English language drama and the heavy competition from other groups. However, I think it is proper to say there is an interest in American drama here and it does not mat ter very much to us whether this interest is ex pressed through English language performing groups in our cultural center or through professional Greek theater organizations. Last year, for example, O'Neill's Mourning Be comes Electra was performed by the excellent Nation al Theater of Greece, and the very well known contemporary director Carolos Coun is offering Van Itallie1s America Hurrah at the present time. Here at the Hellenic American Union we hope to start a course in American drama and may succeed in doing so this year. In any case, we would look favorably upon any group which sought to stage an American play on our premises. Because of the limi tations of our theater and also because of its relative neglect, we would favor the production of more contemporary American works. These plays not 1W7 only show a continuing vitality in American drama, but, fortunately, they often require only the most minimal scenery and props. For this same reason, we most likely would favor dramatic readings over full productions; also, such readings usually do not re quire rights' negotiations.^ In Thessaloniki, also, more activities involv ing American theater would be welcome. From the United States Consulate there, PAO Daniel L. Traub responded: There has been almost no use of American theater at this post and little opportunity for such ex changes . Our USIS library, however, does carry a fairly complete collection of major dramatic works by Amer ican authors. In addition, one of our Fulbright teachers at the University of Thessaloniki is in the process of organizing a small student theater group. We would be happy to sponsor and facilitate any type of theater-related activity we were offered, pro vided it relates at least indirectly to the U. S. and is up to professional standards. The American libraries in Athens, Thessaloniki, and Patras have large theatrical collections. They subscribe to the Educational Theater Journal and the Drama Review and include eight books on acting, twenty-five biographies of actors and playwrights, four collections of plays for chil dren, nineteen play collections, five theatrical encyclo pedias and dictionaries, forty-one theatrical histories and books of drama criticism, over two hundred individual plays, about twenty-two musical comedies with librettos, nearly one 291; hundred one-act plays, five books on playwriting, nineteen on production and direction, nineteen on stage design, lighting and costume, and approximately fifty plays for television, radio, and film.^ India Since the Cultural Presentations Program began, two theater groups have been sent to India: the Wayne State University Theater and the Maine Masque Theater. They played before both university and general audiences. CAO Lois Flanagan described other uses of American theater at her post: Individual theater specialists occasionally visit India either privately or under State Department auspices. The USIS makes good use of them in support of its objective to promote goodwill toward the United States. We program them at important universities and with leading local theatrical societies where they discuss plays and playwrights, read plays, partici pate in seminars, conduct workshops and, at times, direct plays. Occasionally, cultural officers of our informa tion program with good theatrical background have been active with local amateur theatrical groups. They have introduced American plays and assisted with production of the plays. Sometimes they have directed and acted, too. An outstanding example was a road show of Abe Lincoln in Illinois organized by a USIS cultural officer a few years ago and employing local university students. 2 W The show toured India extensively, appearing at im portant university cities under USIS auspices. No financial aid is given by USIS to any local group except that staging and routine operating costs are sometimes shared with local sponsors. However, USIS does try to provide maximum facilitative assist ance to local groups when American plays are pre sented under joint auspices. Such assistance in cludes obtaining performing rights, providing a director or other personnel, technical facilities and press and promotional support. We have also found dramatic readings, workshops and lectures by theater specialists to be an effec tive and useful way of reaching our audiences and promoting understanding and goodwill. Such activi ties expose our audiences not only to American theater but also to American life and ideas. A detailed treatment of a play or an author, for in stance, will generally stimulate audience interest in more plays. Opportunities for exchange of theater people do exist on both private and government levels. Under the State Department program, however, these oppor tunities have been considerably reduced in recent years owing to budget cuts.^-5 Katherine K. Young, assistant CAO in Bombay, wrote that the amount of theater used at her post is dependent on the current CAO's interest. The previous cultural affairs,officer was highly interested in theater: therefore, during his two- year tenure he produced and directed two plays, The Fantasticks and The Star-Spangled Girl for Bombay audiences. Official USIS involvement was limited to obtain ing production rights and paying royalties. Other programs sponsored by USIS on or about American theater hinge upon the availability of a 3 W speaker to discuss the subject. In the past, we have recruited drama critics, directors and students of theater who were passing through and interested in speaking. When we do recruit a speaker, we give him an honorarium for each lecture and travel expenses within India. Some of the speakers have been excel lent; some merely adequate. Without any USIS involvement, plays by American playwrights have been produced in Bombay by local amateur/semi-professional groups. Neil Simon's plays have been the most popular with some of them having been translated into Marathi and Gujarati. Since India is not a signatory to the Copyright Convention, the groups do not feel compelled to ask for production rights or to pay royalties. However, more recently American plays are being produced less frequently as the groups are producing more and more modern Indian playwrights' works in English as well as in regional languages. Street theater as you think of being done in New York by some of the avant-garde groups is not done here. However, some of the folk dramas along the order of morality plays which are performed in the. open air are portrayed often. If we had a choice of presentations from Ameri can theater, our preference would be workshops in lighting, directing and general stagecraft. There is wide-spread interest among university students in theater, but actually very few avenues for this in terest. Professional theater does not exist nor are there any developed schools of theater where students can channel their interest. Our second preference would be a small professional group performing in repertory a wide spectrum of American plays ranging from the conventional to the avant-garde. Through our State Department Exchange of Visi tors program, the leading people in English theater and language theater in Bombay have visited the United States at least once. TOT Usually upon their return from the United States their productions reflect a number of techniques they have picked up on their visit after having seen American productions in New York, San Francisco, Minneapolis, etc. Students do not have an opportunity to visit the United States to pursue specifically their interest in theater unless they can finance their way to a theater school and can qualify for a visa. Through the Fulbright program some American students have come to India to study Indian theater. Should any U. S. government funds be involved in an exchange proposal, Government of India approval probably would have to be obtained in order to ex tend invitations to visit the United States; since theater is not a high priority educational item, such approval may be difficult to obtain.-*-6 A review of USIS Calcutta field messages to the USIA Washington shows that the USIS New Delhi-sponsored produc tion of Abe Lincoln in Illinois took place in 1963 and was only partially successful with Calcutta University students; 17 they prefer plays in Bengali translation. As the Calcutta student population is huge, breaking through its indifferent attitude toward United States cul- 18 ture has been a priority activity of USIS Calcutta. The following year, the post tried again, this time with a pro duction of Our Town in Bengali. The play, a translation published under the USIA Book program, was staged by Ranga Seva, a well-known amateur group, in Calcutta's best theater before a mixed audience. . 3' 0' 2- The production was well received by the press and public, the post reported. This project is an excellent way of showing the diversity of American culture and the range of Amer ican drama. Other drama groups are now expressing eagerness to stage American plays in Bengali trans lation. We also intend to use dramatic performances as a way of increasing the sales of the translations we assist in publishing.20 USIS Madras has also facilitated the production of ? 1 American plays by students at Mysore University, x and those at the University of Trivandrum have been encouraged by USIS Trivandrum, a subpost of the United States Consulate General in Madras. Karl F. Brauchmann, PAO in Trivandrum from 1967 to 1970, explained how encouragement was offered. Trivandrum is the capital city of the Communist dominated state of Karola in the southern tip of India. Although it is probably more literate than any area in all of South Asia, its approximately 5,000 people are scattered. The first thing you have to do is get them together before you can work on producing an American play. In my last year there, I formed a group called The American Culture Group Youth Forum composed of college and university students. It became so suc cessful that we had to start limiting the membership. At the time I left, there were 250 members, in cluding girls who had not been ready to join in the beginning. They had discussion groups, quiz shows (for which we gave prizes), fashion shows and just decided to form a play reading group. The enthusiasm is there, you see; it's just a matter of expending a little effort (not necessarily funds) to get something started. They're hungry for 303 culture. When the Murry Lewis dance group and the Beers family performed, they filled the largest the ater there (1800 cap.) and we still had to turn 500 away on each occasion. And that brings up another thing. In a place such as Trivandrum, a small group such as the Beers family, a couple of folk singers, goes over so well that I think it'd be a mistake to send only large professional performing companies. They are more expensive, and they can only play to the large cit ies because they are so difficult to move to the smaller ones. They don't necessarily go over better with all the people than an excellent small group does. And isn't it better to get something to the people who are culturally starved than to those who are already getting so much international culture?^2 From the Indian point of view, professionalism, not size, seems to be the necessary ingredient, according to P. Gangulee, education and culture minister, Embassy of India, Washington, D. C. U. S. theater groups have presented in India plays by such eminent American playwrights as Tennes see Williams, Eugene O'Neill, etc. These presenta tions have been very well received both by the gen eral public and by student groups. My own feeling is that drama of this type should continue to be enacted in India by professionals. However, some of the amateur groups in this country do productions of a very high order, and they too could visit India. Regarding the demand for more such exchanges, it has not come to our notice.^3 According to David H. Rogers, Peace Corps director, 3 W India, there has been no use of theater in the volunteers' Indian activities.^ Iran In the Middle East/South Asia area, the most highly developed program in American theater is at the Iran-Ameri- ca Society in Tehran. It has a proper theater with adequate stage and lighting equipment which has been partially 25 financed by USIS grants. The core of the society was The Little Theater of Tehran. Formed about 1950, it became the International Theater of Tehran and served as the nucleus for the Iran- American Society. The society's outdoor theater opened formally in 1962 with a production of Fulbright professor George Quinby's Persian translation of O'Neill's Ah, Wilder ness I performed by his students from the University of ? f Tehran's drama club. Further impetus was given the International Theater in 1968 when Don Laffoon, a young Purdue graduate, became its artistic director. A former Peace Corps volunteer, 27 Laffoon was brought back to Tehran by CAO Dion Anderson. Laffoon whipped the theater group into shape and produced many avant-garde works. The stellar quality of his , 3‘ 0’ 5 " productions made them the center's main attractions. The center's auditorium is a well-equipped building constructed with United States financing on land donated by the Iranian 2 Q government. "Such theater work," said Anderson, "made paramount use of USIS Tehran's huge English teaching program (about 50,000 regular students) and enabled us to achieve a contin- 2 Q umg instead of a spotty cultural program." ^ "Duration is important," said Alan Lester, former field program officer in Tehran. "In comparison to the International Theater's productions of eight plays in one season, any Cultural Presentations Program, no matter how excellent, lacks depth and impact."3® Other projects at the society's theater included a fund-raising production of The Drunkard, produced by Peace Corps officer Barkley Moore. Proceeds from the show were donated toward construction of a school at Gonbad-e-Kavous. Another project of the society was the creation of Down stage, a theater annex below the Iran-America Society Cul tural Center at Abassabad, for experimental productions O “I which have included students of Tehran's Community School. According to Dion Anderson, USIA should concentrate entirely on binational center work. 3 W Whereas 20 years ago we were the only ones to provide much of the world with news, now profes sional private news sources have exploded. So we could be the source of information re trieval, but even that is done privately. But cultural exchange is not done, and unpro grammed cultural exchange is important. In Iran, we found we could not help the people with art and music; they were not ready for the modern and experimental in those forms. But very quickly we found they were ready for drama.32 The USIS Abraham Lincoln library in Tehran has just over one hundred books on theater and plays. The only mag azine devoted solely to theater to which it subscribes is Plays, directed at the elementary and secondary school levels. It has no tapes, but does have several films on • 3 " 3 current United States theater. USIS cultural activities are not so plentiful in Tabriz or Khorramshahr. From the United States Consulate in Tabriz, American Consul Walter G. Ramsay wrote: The fact of the matter is that the USIS closed out its library and cultural center in Tabriz in February 1970. Since that time, this consulate has tried, on a very limited basis, to sustain American cultural and information activities in this area of Iran as a secondary effort. Inasmuch as this is a small post, staffed by two American officers, our efforts in this area have been minimal. If we had the manpower and financial resources to sustain a larger effort, however, I do not think I would choose drama as a high priority vehicle with which to project . TOT ourselves. Dramatic arts are not highly developed in this part of Iran and cultural differences are such that presentations of our drama would not have a very high or useful impact. But this is largely conjectural . . . ^4 From the United States Consulate in Khorramshahr, Vice Consul Joseph C. Snyder III wrote: This is a small post with no resident USIS officer. We have made no active use of American theater in our information program since USIS closed its branch post here two years ago. However, there is a Little Theater drawing most of its membership from the expatriate community here with the petroleum and shipping industries. As much of the membership is non-American (British and Dutch, mostly), and because a large percentage of the audiences are English speaking Iranians, there probably is a place here for promoting Amer ican theater in our cultural program. If we were to sponsor some form of American theater here, it would probably take the form of promoting and supplying scripts for American works for use by the Little Theater. In this case, come dies and some dramatic readings would be suitable, since that is what the program runs to now. The only way professional groups could practi cally be programmed here would be in conjunction with the much larger USIS program centered in Teh ran; a trip down here by such a group during a stay in Tehran would be most welcome. Its own theater productions have toured outside Tehran already. Regarding exchanges of students and practition ers of the theatrical arts, again, the only way such exchanges could take place would be through a larger national program centered in Tehran.^ . 3 W Iraq During the 1960s the American Library at the United States Embassy in Baghdad presented many play readings. One in 1963 of Thornton Wilder's Our Town caused a Baghdad theater critic to write, "This should be the starting point » ) in the creation of an experimental theater in Iraq" and attracted so many viewers the janitor had to lock the library's outer gates. However, on 7 June 1967 such cultural activities came to a halt. All embassy personnel were withdrawn, and the embassy has remained closed. Israel From the United States Embassy in Tel Aviv, Cultural Attache William F. Thompson wrote that there has been a great deal of private commercial production of modern Ameri can plays in Israel. Those by Simon, Albee, Miller, and O'Neill are among the most popular, he said. The USIS has tried, instead, to serve as an outlet for avant-garde the ater. In addition to being a drama form not generally done in Tel Aviv, it tends toxbe less expensive to produce than 07 other types of theater. ' 309 Later this year I hope to have our Cultural Centers in Tel Aviv and Jerusalem present some "feminist" theater and other off-off-Broadway mater ial in Hebrew. There is no point in our centers duplicating theater which is available elsewhere in Israel; but, since there is very little avant-garde theater of any kind in Israel, I feel our audiences here should be aware of this most interesting aspect of the U. S. cultural scene. No, the demand for exchanges is not met. We do not have money for such exchanges and other sources are scarce. Prominent directors and play wrights come this way from the U. S. and some popular Israeli theatrical types get to the U. S., but the quantity of such exchanges is very low. Fortunately, we have some Americans and Ameri can-trained persons presently residing here who are active and have achieved some success. For example, a La Mama troupe is struggling manfully, and a push to use Stanislavski-Strasberg techniques in Israel's only important drama school appears to be catching on. 38 The library at the United States Embassy in Tel Aviv has approximately 100 plays in groups of 10 for play read ings, 100 volumes on the theater, 150 books of plays and anthologies, 3 films on theater, and subscriptions to The 39 Drama Review, Plays, and Modern Drama. Jordan Although USIS theatrical activities in Jordan have been minimal, one cannot preclude future possible uses of theater there. In 1969 a small but active American theater movement: : 310' was generated in Amman. Jordan television staged several short plays with members of the English speaking foreign community in the USIS American Center.4{* Ambassador Zuhyr Mufti of the Royal Jordanian Em bassy in Washington, D. C., wrote, "As to the possibilities of exchange of students in cultural and arts fields, I am 41 sure that Jordan welcomes such opportunities." Kuwait Theater is just now developing in Kuwait. Accord ing to PAO George E. Wishon, United States Embassy in Kuwait, there is little activity beyond local television occasionally presenting American shows.4^ Charg& d'Affaires Jamil Al-Hassani, Embassy of the State of Kuwait, Washington, D. C., pointed out that the language barrier makes American Theater presentations diffi cult in Kuwait.4" * Lebanon The USIA/ICS Washington files reveal an in-depth, long continuing and successful attempt by USIS Beirut to establish cultural ties between the Lebanese and the United States through English-language American theater. 311 The American Repertory Theater in Beirut was founded in the fall of 1959 by a handful of drama enthusi asts almost entirely drawn from embassy personnel. These included students, a military officer, and USIS officers. Almost immediately after the first production, other embassy staff members including many Lebanese employees joined the group. The ART executive committee was composed of the USIS regional television officer, an education professor at the American University in Beirut, a United States military program officer, the wife of an American businessman, and 44 a Lebanese member-at-large. The ART group was founded to present nothing but good American drama by American writers, though all nationalities are represented in the produc tions and in the monthly meeting activities. At the monthly meetings, readings are often held; these may include the work of foreign drama tists . In the current production, four of the cast's members (who total 14) are Lebanese as well as the director and members of the stage crew. It is note worthy that about 4 0 per cent of the audience at the last production were Lebanese, and this figure is likely to increase because the ART has gained, in just two seasons, a reputation as the best little theater group in Lebanon. This is against redoubt able competition from the British Council's Phoenix Players and other local groups, abundant in Beirut. ART continued presenting three plays per year. They included Bus Stop, Guest in the House, Come Back, Little 312 Sheba, Arsenic and Old Lace, Joan of Lorraine, and Visit to 4 f \ a Small Planet. Regarding some of these, ART was appre hensive about the reaction of an audience used to theater as entertainment only. One of the plays that caused concerr was Miller's A View from the Bridge, in 1963. But the group, convinced the best in American theater should be 47 presented, went ahead and the production was successful. Beginning in 1963, ART also developed a children's theater program in order to develop a new audience. After the first children's production, Adele Thane's version of The Wizard of Qz, the post reported: This long-range project has short-range impli cations measured by the large number of tributes from parents paid this production. Bringing this classic piece of American literature to an audience in Lebanon has proved to be one of the most success ful things ART has ever done. It has demonstrated ART's disinterested, non propagandist intentions to raise the cultural level in this country by sharing its own culture and cul- • ture know-how. This seems to USIS Beirut to jibe with its own cultural strategy and thus is worthy of post support . . . Also, this was the most lavish production ART has attempted. Since we didn't go broke, although we nearly did, it proves that most productions should pay for themselves.^ Those productions have always paid for themselves. One example was the 1961 ART production of Mary Ellen : 3T T Chase1s Harvey. The approximate total cost of four per- 4 9 formances was $950. Gross receipts totaled $2,130. Nepal Regarding the Peace Corps' use of theater in Nepal, 50 its director in Kathmandu wrote, "None at all!" And a letter from PAO Thomas C. Dove, the United States Embassy, Kathmandu, mentions only the USIS library's theatrical holdings: . . . fifty books on plays, drama and the theater. The books include such titles as The Best Short Plays 197 0, The Best Plays of 1966/67/68/69/70, The Plays of the Sixties, A Treasury of the Theater and The Reader's Encyclopedia of World Drama by John Gass- ner, American Plays and Playwrights of the Contem porary Theater by Allan Lewis, The Making of the American Theater by Tauleman and The American Thea ter: A Collection of Critical Essays by Alvin B. Ker man. We do not have films and tapes on the subject.^ However, USIA/ICS files indicate an interest in American theater in Nepal from at least 1962 on, and USIS Kathmandu has obtained English language performance rights for several amateur groups. One group mentioned several times is the Himalayan Amateurs Dramatic Society, an inter national theater group at the United States Agency for International Development compound in Kathmandu. Society members use an auditorium in the Lincoln School (capacity 170), charge admission and donate the proceeds to 311 charities.52 Pakistan (Now Pakistan and Bangladesh) When the Pakistani capital was Dacca rather than Islamabad, USIS Dacca gave strong encouragement to the organization of a group called the Students Drama Society. Originated by a Dacca University English student in 1962, it included active participants from five of Dacca's major 53 colleges. Earlier that same year USIS Dacca organized the Dacca American Drama Group to encourage quality drama in Dacca by presenting East Pakistan's first organized drama session and to stimulate local publicity and sponsorship of the Maine Masque Theater visit under State Department aus- 54 pices. Formed after many meetings between the public af fairs officer at the post and Pakistani dramatists, profes sors, and government officials, the American Drama Group could have created some resentment among Pakistanis. The post reported: Perhaps the most interesting comment on USIS participation in the organization of the drama sea son came from one of the members of the group's committee, Joytirmoy Guha Thakurta, reader in English at Dacca University. 3T5" In a conversation with the PAO recently, he said that he and his Pakistani colleagues on the commit tee were apprehensive about the role of a foreign mission in trying to assist setting up the drama season. "Our fears were groundless," he said. "We now know you are genuinely interested in helping us." This tribute, if deserved, is the result of some careful tip-toeing by USIS in and among the eggshell- thin sensitivities of the theatrical producers and other intellectuals who worked with the committee. .Originally, we are sure, the majority of the committee members regarded USIS primarily as a source of funds for the whole project. We, however, made a particular point of not getting involved in the financing of the season except to underwrite direct American participation in its activities. Our primary role was, and continues to be, to provide a certain amount of organizational exper tise in bringing together the groups involved and getting them to carry out their various theatrical projects. Financing for the season came from the Bangali Academy, the Pakistani government Bureau of National Reconstruction and the Congress for Cultural Freedom, of which the Bengali Academy's Syed Ali Ahsan is East Pakistani representative.^ A couple of field messages from Pakistan particular ly mention the rippling effect of each USIS theatrical pro gram. USIS Chittagong (no longer a USIS post) reported theatrical activities involving local experts on American 56 drama resulted from the Maine Masque Theater's 1962 visit. In 197 0 USIS Dacca reported that the more the post promotes American literature and drama, the more university students produce American plays and the greater is the USIS library's 316 57 cxrculation of all American literature. In Karachi, USIS assisted the Karachi Arts Theater Society's production of Booth Tarkington's Seventeen, Thorn ton Wilder's Our Town and The Matchmaker, and Tennessee no Williams' The Glass Menagerie. The Pakistani-American Cultural Center Players and the New Theater Group of Karachi C Q have also received USIS assistance. Similarly, USIS Lahore has supported local produc tions of American plays through publicity, loan of equip ment, financial support, advice, and press and photographic 60 coverage. In 1972, however, the American theater situation as reported from the new capital of Islamabad seemed to have halted, if not stepped backwards. Cultural Attach^ G. Richard Hopwood wrote: American dramatic material has been used rather sparingly by the USIS posts in Pakistan, but in the past three years there have been amateur productions of Eugene O'Neill, an abortive production of Cat on a Hot Tin Roof which was ready for presentation but had to be cancelled when the political situation deteriorated, and, more recently, in Karachi, a number of American plays have been put on by various amateur theatrical groups. Mostly the audiences who come to these plays are already oriented towards the United States and the West and have seen plays in English outside Pakis tan. Of course, we hope to introduce the American theater and its excellent material to new audiences, and there are indications that this is happening. So, in this sense, we think we are promoting good will directed towards us. Financially, most of these efforts are done under our direct sponsorship with all financing coming from our budget. Lately, there have been attempts to sell tickets, and this seems to be a possibility, although at the moment the prices are set so low that the proceeds account for only a small portion of the expense. No street theater has been introduced here, and, in my personal opinion, I doubt this is feasible in Pakistan, at least in the present political cli mate . We would welcome more theater at our centers in Pakistan (we have five). In fact, we have put in a bid for a university theater group to come here for an extended tour and set up a workshop/seminar sit uation which would not only serve to instruct in theater production but would also put on short plays and other dramatic presentations. We contemplate that the director of such an enterprise would be a professional, but the players would be amateurs. The reason for this arrangement is to try to make the greatest appeal to the young people of Pakistan, those who most likely want to learn about theater and who have already developed some interest in it. As for materials, we think a generous sprinkling of experimental plays would be good because there is already too much of the traditional art in this society. If one is to introduce something new, it might as well be modern and contemporary. There is very little opportunity to exchange students and others interested in theater between Pakistan and the United States. The emphasis on exchange is in fields related to developmental (economic, educational, technical) efforts, and the arts and humanities do not rate very high on this scale. 318 There are some private interchanges between our countries but the number involved is tiny. As for our American interests in promoting exchanges in theater crafts, we would probably be willing to give it more emphasis, but the realities of the situation simply do not permit it.^l Saudi Arabia USIS field messages report assistance given Ameri can plays produced by foreigners located in Jidda. But PAO Michael J. Nugent wrote that the USIS, itself, has never produced a play in Saudi Arabia. Since Saudi tradition and law do not permit men and women to gather together socially at such an event as a play, it is highly unlikely that we will stage any plays in the foreseeable future. Drama is practically an unknown art form in Saudi Arabia. To my knowledge, no Saudi has ever studied theater abroad, although several have stud ied in such related fields as t e l e v i s i o n . ^2 From the United States Consulate General in Dhahran, Richard Imus, economic officer, reported not even commercial £T O motion pictures are found in Saudi Arabia. Sri Lanka (Ceylon) Although the response to the questionnaire from the United States Embassy in Ceylon merely reported the non- 6 4 existance of a catalogue of its library's holdings, USIA/ICS files contain reports of that post's successful use J T T of theater. In 1967 the post's chief librarian, Margaret Gooner- atane, held a listening session in the embassy's Lincoln Auditorium featuring a recording of Tennessee Williams' The Glass Menagerie.^ As a result, a leading actor of the Sinhalese theater, Henry Jayasena, translated and produced a live version of the play. It was one of the first major efforts in Colombo to combine the talents of the usually divided Sinhalese and English language theater groups in Ceylon.66 On other occasions, USIS Colombo has expressed interest in having more American plays translated into Sin halese.^ Also, it has obtained performance rights for many amateur productions of plays by English-speaking Sinhalese. The post has not always been able to pay for those rights, however, due to stringent restrictions on uses of foreign 6 8 exchange. Syria In 1966 USIS Damascus had held an evening of theater in the American Library there. A new amateur group composed mostly of embassy Americans, but also including some Syrian, Indian, and British members, staged two one-act plays, 3-2 t Tennessee Williams' Lord Byron's Love Letter and Anton Chekhov1s The Proposal. The total audience for three even ings was two-thirds American and United Nations personnel and one-third Syrian. According to the post report, it was C Q very worthwhile. However, on 6 June 1967, all Embassy Damascus personnel were withdrawn. Turkey Theater has been an important part of USIS cultural programming in Ankara. Primarily, this is due to a Short Term American grantee, Todd Bolender, sent there repeatedly in 1961, 1963, 1967, 1969, and 1970. Even after 1970, he was invited to return under private and Turkish government auspices. Although Bolender is mainly a choreographer, he not only brought modern dance to Turkey but also made American theater, via his stagings of American musical comedies, a mainstay of Turkey's own theatrical presentations. By the early 1960s, USIS Ankara frequently obtained amateur performance rights for many play readings and pro ductions at the city's binational center, schools, and pri vate theaters. In 1961, for example, the Ankara Players sponsored by the Turkish-American Association, produced 321 Once More with Feeling, by Harry Kurnitz; Death of a Sales man, by Arthur Miller; and The Teahouse of the August Moon, , by John Patrick. (USIA did not always comply with the post's requests for performance rights; that same year, USIA turned down proposals for Albee's The American Dream and The Death of Bessie Smith because of the subject mat ter. ) Thus, an atmosphere receptive to American theater had already been established in Ankara when, in the follow ing year, Bolender directed Kiss Me Kate at the State Thea ter. From that production through the many which followed, his work proved so popular that in 1971, when the State Department curtailed its Cultural Presentations activities and concentrated Short Term American Grants on lecturers, Mobil Oil provided his transportation to return to Turkey. In 1970 an enthusiastic memorandum from the State Department's Near East and South Asia director, Arthur B. Allen, to John Richardson, Assistant Secretary of State for Educational and Cultural Affairs, said: Mr. Bolender has been instrumental in making the American musical a part of the State Theater's reper toire and a part of the Turkish artistic scene. . . . With his guidance the State Theater has successfully produced Kiss Me Kate, My Fair Lady and Fiddler on the Roof. 3 2 2 In these productions, Bolender has been more than a director and choreographer. According to members of the State Theater, he has been the inter preter of nuances, the tireless, unrelenting slave driver who works himself and the cast until he achieves what he wants. At the same time, he has been an inspiration for the cast, as well as the key to understanding the cultures they had to interpret. All of Mr. Bolender's productions achieved out standing success in Turkey; one of his latest produc tions, Fiddler on the Roof, was performed in Athens to a standing ovation from the Greek crowds. The Greek official in charge of culture and theater arts, who was in Turkey seeking means of promoting cultural understanding between Greece and Turkey, had seen the performance and it was he who invited the cast and orchestra to perform the play in Athens . . .^-*- The total cost to the Department of State of Bolen™ der's Fiddler on the Roof production was roughly $850, as a 7 ? travel grant. Dr. Leon Picon, former GAO in Ankara, is one of those who attributes the increased number of American plays in the Turkish capital during the 1960s to Bolender's suc cess. In 197 2, when Picon left his tour of duty in Ankara, Fiddler on the Roof was still running to standing-room- 73 only audiences. Picon also attributes the popularity of America's theater in Turkey, not only on the stage but also on Turkish radio and television, to the fact that several of the most prominent Turkish theatricians have been included in the TTJ United States' International Visitor Program.^ Of the 31 private theater companies in Turkey, Renters Company is the best and now 85 per cent of its productions are of American plays. They range in subject matter from Neil Simon's The Odd Couple to Steinbeck's Of Mice and Men. Others in Turkey have produced James Baldwin's Amen Corner and other American plays with no help from USIS. But you can feel pretty sure they are due to the original promotion done by our govern ment . For example, Michael Kasdan of New York's The ater '70, was already planning to visit Europe, so we picked him up to visit Turkey. He made many contacts there, and, ever since, has been sending Turkish theater personnel avant-garde works from New York. And, this governmental promotion continues now. Take the State Theater in Ankara organizing a world library of theater. USIS is making many contribu tions of American plays to it.^ The USIS Ankara American Library has eighty-eight books on theater and over two hundred plays and play collec tions. They include many controversial plays (Joseph Heller's We Bombed in New Haven, for one), and those by black playwrights. Assistant CAO R. E. McDowell wrote that, since the library's total collection is almost 14,000 books, he feels its holdings on theater are fairly strong. He added: We have built up this collection as a result of professional demand, especially from the very active Turkish State Theater. Because of a similar demand from numerous private theaters, the Istanbul American Library has a collection of much the same kind and size. We also maintain subscriptions to Drama Review, Modern Drama, Theater Crafts and Players Magazine. Our film and tape holdings are quite limited. The only tape in this area is entitled America1s Musical Theater. We also have only a single film, made by USIS Turkey, entitled Backstage Porgy and Bess. It deals with a Turkish State Theater produc tion of this musical. One point of clarification: because of the cost of buying films, we are relying more and more on rental and borrowing for our programs, rather than attempting to maintain a large permanent collection.^® USIS Istanbul has found special programs on theater, such as two evenings in 1972 devoted to the life and works of Eugene O'Neill, of particular interest to Istanbul's intellectual elite. Such programs are economical as well. The two O'Neill evenings, which included film showings at the USIS Cultural Center of The Face of Genius (about O'Neill) and Desire Under the Elms, rented from a local dis- 77 tnbutor, cost less than $300. \ In Izmir, the theater is not so well developed as it is in Ankara and Istanbul. Ankara has fourteen legitimate theaters; Izmir has one. But theater is considered a pres tigious affair in Izmir, and the USIS has made efforts to take advantage of the situation. In 1966 a modern auditorium was completed in Izmir's 325 binational center, and United States representatives, including a Peace Corps volunteer, worked tirelessly for the auditorium's opening production of Tad Mosel's A11 the Way Home, in which a Turkish boy played the lead. It seemed worth the effort to the USIS. A report said the three per formances were attended by generals, educators, government 7 R offxcxals, and students. ° Karl F. Brauckmann, branch PAO in Izmir from 1961 to 1964, said: It seemed to me the people of Izmir were eager to see plays no matter who presented them. And we had a lot of competition among the play reading groups in the area. A long-established British theater group had been in the area many years. Also, there was a theater group established at the American-built NATO air base nearby. But we started a Turkish-American Association Drama Group at the binational center, and their plays were so well attended they could have run for a long time, if the amateurs didn't have to get back to their livelihoods. Later, we included the Turks in the casts. It didn't work out so well artistically, as they had a hard time with the language. But the Turks were terribly honored by us letting their people partici pate in our plays and this made for the most excel lent relations.^9 In Adana, the theatrical picture has not been as bright. American Consul William H. Hallman wrote: 3T61 Adana is a small post located in what many con sider an out-of-the-way Turkish city, and USIS cultural efforts here are minimal. There is an active Turkish-American Association which sponsors English language classes and an occasional American movie or lecture. Regrettably, there have been no presentations of American theater pieces whatsoever. Adana is far from being a theater town, and even productions of Turkish plays popular in Ankara and Istanbul are few and far between.®® Theater in that area would probably be appreciated, however. A letter from E. E. Guvendiren, first secretary, Turkish Embassy, Washington, D. C., states: Almost all the American playwrights have been staged in Turkey, their dramas, comedies, musicals. . . . We would like to see the development even fur ther of cultural relations between our countries, including the theatrical arts.®^ Yemen The United States Embassy at Aden was closed on 26 October 1969 and is now referred to as the U. S. Interests Section of the Italian Embassy. David W. McClintock, who served as first principal officer from 1964 to 1966, and again in San'a1 from 1970 to 1972, wrote of the nonuse of American theater there, even before the closing of the em bassy. To the best of my knowledge, American theater groups have never performed in Yemen. USIS did not - . 32'7 resume its functions when the American diplomatic mission was reopened as an Interests Section in 1970. However, USIS public affairs officers were attached to the mission prior to the break in diplomatic relations in June 1967. Their activities were fo cused primarily on film showings and the operation of libraries and scholarship programs. While theater presentations thus would have been technically feasible during the period prior to 1967, I assume they were not offered for the reason that this medium of entertainment is virtually unknown and, therefore, not appreciated in Yemen. By con trast, film and library programs found ready accep tance . On the basis of my own experiences living and working in Yemen, I believe that simple vaudeville- type presentations would be best suited to local au diences. Since few Yemenis speak English, plays and other dramatic offerings would have to be in Arabic. It should be noted that Yemen retains one of the world's most oriental cultures, and that for the purpose of foreign dramatic programs, language and literacy problems are more formidable there than in most other countries. Even musical presentations would have to take into account the lack of local appreciation for the western tonal system. A small number of American government and private scholarships have been given to Yemeni students in recent years; none of these has been in the area of theater arts. In my talks with Yemeni educators, I have not been aware of any local interest in such exchanges; this is perhaps explained by Yemen's desperate financial problems and resultant economic and educational priorities. Remarks Although there is an interest in United States the ater in every country in the Near East and South Asia except _ 3'2'8 for Saudi Arabia, it is not being sufficiently cultivated. More translations of American plays are needed, particularly in Dari, Greek, and Sinhalese. More exchange of theater specialists is needed between the United States and Egypt, Greece, India, and Israel. More off--Broadway theater in Greece and Israel and more small theater groups, specialists and workshops in India are needed. Even Yemen would welcome United States theater presentations if they were of the vaudeville type. Yet lack of funds and facilities, in most cases, prevents these needs from being met. Binational center work in Ankara, Tehran, and Beirut, which has cultivated this fertile interest, has proven worthwhile. It also has shown binational center work to be one of the best ways the United States government can support international theatrical exchange. Binational endeavors can be precisely targeted; they can involve local theatricians in projects; they have longevity; and, if necessary, they can even increase a center's income rather than expend it. 3 2 9 1 Footnotes ^USIS Kabul field message, Fall 1972. ^Ibid., Fall 1969. ^Ibid., Spring 1972. 4 Letter from PAO Robert J. Wozniak, United States Embassy, Nicosia, Cyprus, 1 June 1972. 5 . List supplied by David D. Grimland, Assistant Director, USIS Nicosia, Cyprus, 17 October 197 2. 6 USIS Cairo field message, Spring 1962 7Ibid., Fall 1964. g Variety, 10 February 1965, p. 2. 9 Letter from Edward T. Penny, CAO, United States Interests Section, Embassy of Spain, Cairo, Egypt, 17 May 1972. ■*~^USIS Athens field message, 28 January 1963. 11 Letter from CAO Theodore A. Wertime, United States Embassy, Athens, Greece, 19 May 1972. 12 Letter from Thomas A. Calhoun, Director, Hellenic American Union, Athens, Greece, 23 June 1972. 13 Letter from PAO Daniel L. Traub, United States Consulate General, Thessaloniki, Greece, 4 May 197 2. 14 USIS Athens, American Theater: Bibliography on American Theater (pamphlet produced for USIS libraries in Athens, Thessaloniki, and Patras, n.p., 1972). 15 Letter from Lois Flanagan, CAO, USIS New Delhi, India, 12 May 1972. 16 Letter from Katherine K. Young, Assistant CAO, USIS, Bombay, India, 9 May 1972. ; : ---------------------------------- 330 17 USIS Calcutta field message, 28 October 1963. "^Ibid. "^Ibid. , 22 June 1964 20 , Ibid. 21 "India," American Studies News, Autumn 1967, p. 21 22 Interview with Karl F. Brauchmann, former PAO, Trivandrum, India, October 1971, Washington, D. C. 23 Letter from P. Gangulee, Minister, Education and Culture, Embassy of India, Washington, D. C. 13 July 1972. 24 Letter from David H. Rogers, Peace Corps Director, New Delhi, India, 10 May 1972. 25 Letter from Lois Flanagan, CAO USIS New Delhi, India, 12 May 1972. 26 USIS Tehran field message, Spring 1962. 27 Interview with Dion Anderson, former CAO m Tehran, Iran, 1968-1970, at Washington, D. C., September 1972. 28 Copy of a letter to a Mr. Whitelaw from the Iran- America Society, 2 July 197 0, on file at USIA/ICS, Washing ton , D. C. 29 Interview with Anderson. 30 Interview with Alan Lester, former Field Program Officer in Tehran, Iran, at USIA/ICS Washington, D. C., September 1972. 31 Letter to Whitelaw. 32 . Interview with Anderson. 33 Letter from Ernestine Heck,. Librarian, Abraham Lincoln Library, USIS Tehran, Iran, 16 October 1972. 34 Letter from Walter G. Ramsay, American Consul, United States Consulate, Tabriz, Iran, 9 May 1972. 331 35 Letter from American Vice Consul Joseph C. Snyder III, United States Consulate, Khorramshahr, Iran, 10 May 1972. n /* USIS Baghdad field message, 26 March 1963. 37 Letter from William F. Thompson, Cultural At tache, United States Embassy, Tel Aviv, Israel, 15 May 197 2, 3 8 ,.., Ibid. 39 Letter from Emily J. Drake, Assistant CAO, United States Embassy, Tel Aviv, Israel, 17 October 1972. 40 USIS Amman field message, 25 September 1969. 41 Letter from Ambassador Zuhayr Mufti, Royal Jor danian Embassy, Washington, D. C., 13 July 1972. 42 Letter from George E. Wishon, PAO, United States Embassy, Kuwait, State of Kuwait, 4 June 1972. 43 Letter from Charge d'Affaires Jamil Al-Hassam, Embassy of the State of Kuwait, Washington, D. C., 26 July 1972. 44 USIS Beirut field message, 17 November 1961 45 . 46 Ibid. Ibid. 47 48 Ibid., 4 January 1963. Ibid., 21 January 1963. 49 Ibid., 1 January 1962. 50 Letter from M. J. Furst, Director, Peace Corps, Kathmandu, Nepal, 24 April 1972. 51 Letter from Thomas C. Dove, PAO, United States mbassy, Kathmandu, Nepal, 8 December 1972. 52 USIS Kathmandu field message, Spring 1970. 53 USIS Dacca field message, 7 March 1962. 54 USIS Dacca field message, 5 April 1962. . — , — 33 2] 55 USIS Dacca field message, 5 April 1962. r / • j — w-j Ibid., 23 July 1962. Ibid., 18 December 1970. 58 USIS Karachi field message, 15 January 1962. 59 Ibid., Spring 1972. 60 USIS Lahore field message, 17 April 19 61. 61 Letter from G. Richard Hopwood, Cultural Attache, United States Embassy, Islamabad, Pakistan, 20 September 1972. 62 Letter from Michael J. Nugent, Assistant CAO, United States Embassy, Jidda, Saudi Arabia, 15 May 197 2. 63 Letter from Richard H. Imus, Economic Officer, United States Consulate General, Dhahran, Saudi Arabia, 11 October 1972. 64 Letter from Margaret Gooneratane, Chief Librarian, United States Embassy, Colombo, Ceylon, 20 October 1972. 65 USIS Colombo field message, Winter 1966. 66 "Ceylon,” American Studies News, Winter and Spring, 1968, p. 24. 67 USIS Colombo field message, Spring 1966. ^Ibid. , Summer 1968. 69 USIS Damascus field message, Spring 1966. 70 Memorandum from Paul A. Miller to Walter M. Bastian, Jr., both officers at USIA/ICS, 17 December 1962 (on file at USIA/ICS, Washington, D. C. 71 Memorandum from Arthur B. Allen, Director, Near East and South Asia, Educational and Cultural Affairs, State Department,, to John Richardson, Assistant Secretary of State for Educational and Cultural Affairs, August 1970 (on file at USIA/ICS, Washington, D. C.). 3 3 7 ] 72 Memorandum from Frederick Irving, Deputy Assistant Secretary of State for Educational and Cultural Affairs, 24 July 1970. 73 Interview with Leon Picon, CAO Ankara 1968-1971, at USIA/ICS, Washington, D. C., September 1972. 74 . 75 Ibid. Ibid. 76 Letter and photocopy list from R. E. McDowell, Assistant CAO, USIS Ankara, Turkey, 20 October 1972. 77 USIS Istanbul field message, 3 June 1972. 78 USIS Izmir field message, Fall 1966. 79 Interview with Karl F. Brauckmann, Branch PAO in Izmir, 1961 to 1964, in Washington, D. C., October 1971. 80 Letter from William H. Hallman, American Consul, United States Consulate, Adana, Turkey, 22 June 197 2. 81 Letter from E. E. Guvendiren, First Secretary, Turkish Embassy, Washington, D. C., 14 July 1972. 82 Letter from David W. McClintock, former Principal Officer in Aden, Yemen, from his new post in Amman, Jordan, 23 May 1972. CHAPTER VII EAST ASIA AND THE PACIFIC: IN PEACE AND IN WAR Financial and linguistic problems have caused many USIS posts in East Asia and the Pacific to make scant use of theater, but an ongoing war served to spur USIS officers in South Vietnam to continue and even broaden their support of theatrical activities. East Asia China (Taiwan) In 1953 the Taipei Drama Club was begun by a group of interested people representing a cross section of the English-speaking foreign community in Taipei: American mili tary and civilian government officials, representatives of foreign diplomatic communities (some with ambassadorial rank), and private business people."*" The club has promoted an appreciation of American drama among the Chinese with some success by giving 334 335 productions for invited audiences of Chinese. Proceeds, if there are any, are donated to charity. In 1969 the USIS in Taipei enlisted the club's services to institute monthly or bimonthly play readings in the USIS Lincoln Center. A fielc message reported that it would be open to all interested persons in the hope that drama students from local univer sities and other interested persons would take part.2 It would appear, however, that USIS use of theater in Taiwan is not great, since USIS Taipei did not respond to the questionnaire and since reports show holdings in USIS libraries in Kao Hsiung and Tainan to be small. At the USIS library in Kao Hsiung there are eight individual plays, eighteen books on American theater, and twenty-seven collections of plays, including several for 3 children and teen-agers. In Tainan the USIS library has twenty-six books on theater, nineteen collections of plays, and six individual plays.^ Perhaps the USIS library in Taipei has larger holdings: Kenneth C. Wimmel, cultural programs director, wrote that compiling the information requested would be too lengthy a process for his staff to undertake. I cheng Loh, minister-counselor (information), Chinese Embassy, Washington, D. C., and director of the 336 Chinese Information Service in New York, provided some addi tional information regarding the use of American theater in Taiwan. I do not recall there has been any pure theater from the United States which has visited the Repub lic of China on Taiwan. There have been a good number of musical groups, from the Boston Symphony Orchestra to Duke Ellington, and, of course, indi vidual soloists. But outside of Holiday on Ice, no American theatrical company, Broadway or off-Broad- way, musical or legit, has toured our part of the world. I surmise that the reasons for this are two-fold: financial and linguistic. American the ater has become so expensive that it just does not make financial sense for even a summer stock company to visit the Far East. While we have relaxed foreign exchange control in Taiwan, most developing countries still refuse to spend their precious foreign exchange on what they consider mere entertainment. The language barrier speaks for itself. Obvi ously, a Chinese audience would not understand Shakespeare unless it is presented in their own language. . . . Given the language barrier, I would say that a musical comedy, such as Fiddler on the Roof, has a far better chance of success than a legitimate play . . . in Taipei. The exchanges which you have in mind in your last question have been rare and far between, and there is certainly room for much improvement. I believe this is the area which calls for mutual learning to our mutual benefit.^ Hong Kong Past field messages show that USIS Hong Kong has 337 helped obtain rights and pay royalties for several Chinese language versions of American plays produced by local thea ter groups, teachers and students. Particular mention was made of the end result of a foreign theatrician studying in the United States; after taking a refresher course at Yale Drama School in 1965, State Department grantee Chung King-Fai directed four Ameri can plays in Hong Kong by the end of 1967 in an overall 7 effort to promote American drama there. In response to the questionnaire, Leon M. S. Slawecki, CAO at the United States Consulate General in Hong Kong, wrote: The only use of American theater, in recent years, at least, has been the presentations of Amer ican plays by local amateur theatrical groups. These have not only been in English but in Chinese also. One of our programs has been to aid the trans lation of American plays into Chinese. Translated to date have been: Our Town by Thornton Wilder, The Skin of Our Teeth by Thornton Wilder, Mourning Becomes Electra by Eugene O'Neill, The Glass Menag erie by Tennessee Williams, Abe Lincoln in Illinois by Robert Sherwood, Green Grow the Lilacs by Lynn Riggs, The Patriots by Sidney Kingsley, Death of a Salesman by Arthur Miller and Yellow Jack by Sidney Howard and Paul de Kruif. Planned for future translation are: Rip Van Winkle by Dion Boucicault, Margaret Fleming by James A. Herne, The Scarecrow by Percy MacKaye, My Heart's in the Highlands by William Saroyan, Teahouse of the August Moon by John Patrick, Summer and Smoke by 338 Tennessee Williams and Long Day's Journey into Night by Eugene O'Neill. Since we do not have any theatrical experts at this post (most foreign service officers are splendid generalists), I really cannot answer what types productions or other theater presentations we would choose if we could. Relevant to this, the above-mentioned plays have been chosen by the vari ous cultural affairs officers at this post and at our other Chinese-speaking post in Taipei. We have also consulted a student of the American theater to attempt to broaden this list. He suggested most of the titles on the projected list. We also can fall back on the "expertise" in the USIA back in Wash ington on questions like this. Our official exchange program is very small and only rarely touches people involved in the theatri cal arts. Last year, however, we did assist the manager of the City Hall (the local "Lincoln Cen ter") in visiting similar institutions in the U. S. It would be difficult to say whether this activity meets the demand, since in any exchange program one finds a continually expanding demand, limited only by the supply of grants, etc. Relatedly, the John D. Rockefeller III Fund has sponsored two or three local arts for study in the United States but has not yet touched the theatrical arts.® Japan Immediately after World War II, the interest in modern western drama, that had begun in Japan with a little theater movement in the 1930s, was revived. American authors whose works were presented included Tennessee Wil- Liams, John Van Druten, John Steinbeck, and Arthur Miller. Later, Edward Albee was added to that company. This interest was due to the culture-conscious 3T9' policy of the United States occupational forces following the war as well as to cultural efforts of the United States in Japan during peacetime and to the enthusiasm of the Jap anese people for new theatrical ideas. However, opinions differ about the effectiveness, and even the propriety, of United States government participation in current theatrical activities in Japan. Both proponents and opponents of con tinued governmental efforts to maintain cultural ties were encountered in the course of this study. On the proponents' side, Edward S. Ifshin, deputy director of the American Center in Tokyo, wrote: It is my opinion that any aspect of American theater that is presented in Japan, as long as it is good theater and has something significant to say about American society, is valuable in promoting goodwill. In Japanese universities there are numerous English speaking societies. One of their projects has been the presentation of plays in English. These plays are primarily performed for purposes of language learning and cultural understanding. Two years ago, the American Center provided rehearsal space and paid the royalty fee for some of the plays presented. Among them were: The Skin of Our Teeth and I Remember Mama. Since that time, these groups have become more self-sufficient and no longer require our assistance. More specifically, during the U. S. occupation of Japan, three American plays were presented in Japanese translation by Japanese actors with the technical help and financial support of the U. S. Military Government (Civil Information and Education 340 Section). The plays were considered successful in stimulating Japanese interest in American theater. The plays were: The Voice of the Turtle by John Van Druten, Of Mice and Men by John Steinbeck and The Glass Menagerie by Tennessee Williams. Last year a Japanese theater troupe held a per formance of street theater in the Shinjuku district of Tokyo. The play took place at a different loca tion for two nights. This is the only instance of street theater I know of. Probably the most effective theater presentations for Japan would be those of a workshop nature. For example, in 1965 Harold Clurman came to Japan to do workshops. While here he directed the Kumo Troupe in Long Day’s Journey into Night. Two months ago Richard Scheckner of the Performance Group (Dionysus 69) had a demonstration of his methods. These two have had significant impact on the Japanese profes sionals in the theater. In general, I would choose workshops and emphasize nonverbal theater. The rea son simply is that to point to new directions is more effective, in my opinion, than encouraging the per formance of American plays in Japan per se. The Fulbright Commission and East-West Center have, for the past several years, provided grants for people in theater and dance to go to the United States for advanced study. This support will prob ably continue. Quite a few American plays have been presented by Japanese professional theater companies in trans lation. Some of the most popular among the Japanese are: The Glass Menagerie and A Streetcar Named Desire by Tennessee Williams and Arthur Miller's Death of a Salesman. The most frequently presented plays other than the above are: Thornton Wilder's Our Town and Edward Albee's The Zoo Story. The plays recently done in translation include: Albee's Who's Afraid of Virginia Woolf? and A Delicate Balance, Miller's The Crucible, Williams' Cat on a Hot Tin Roof, Eugene O'Neill's Long Day's Journey into Night, Murray Schisgal's Luv and Frank Gilroy's The Subject Was Roses.^ 341 The 1965 visit of Harold Clurman, to which Ifshin referred, was the first of its kind to tour under the Cul tural Presentations Program. Under the leadership of Clur man, a New York director, the team was sent to share know ledge and experiences with Japanese theater professionals and to demonstrate American acting and production techniques by staging Eugene O'Neill's Long Day's Journey into Night. In addition to Clurman, Ira Lewis, Paul Morrison, William Prince, Mrs. Prince (Augusta Dabney), Roy Scheider, and Ruth White worked with the Japanese actors of the Insti tute of Dramatic Arts in Tokyo to prepare a Japanese-lan guage version of the play to be performed subsequently in Tokyo. The demonstrations were regularly attended by one hundred professional and nonprofessional actors, members of the Institute, college students and others interested in the theater.^ That visit was part of a long range plan of the United States Embassy in Tokyo to develop contacts and influence with the Shingeki, or western, theater movement. After persistent requests from Tsuneari Fukuda, social critic, translator of Shakespeare, and director of the Institute of Dramatic Arts, Clurman returned to Japan for forty-five days in 1968 to direct the Institute's Kumo drama 342 group in a performance of O'Neill's The Iceman Cometh. Expenses were divided between Kumo and the State Depart ment. - * - ■ * - The embassy reported that Fukuda and other Institute officials felt Clurmanf s two visits to Japan bestowed great 12 prestige on the Institute and on the Shmgeki movement. John F. McDonald, former branch PAO in Sapporo (1959-61), assistant CAO in Tokyo (1963-67), special assist ant in Tokyo (1967-68), and now in the Department of State's Office of Educational and Cultural Affairs, feels very strongly that such positive American theater programs are necessary to counterbalance some negative ones. During an interview in 1972, he said: The Shingeki started in the early 1930s and it was usually very ideological, proletarian theater. After the war, directors revived the troupes and kept the old ideological flavor. The big troupes had an infatuation with the Soviet Union all during the 1950s and 1960s, and they were very anti-Ameri can. They did not do United States plays except the ones that made us look sick. One such troupe was called the Bungakuza (Liter ary Theater). It was led by a most formidable lady who was infatuated with Red China. Then around 1965 she was going to invite Red Chinese actors to Japan to put on their dull plays, and this brought such an uproar that Fukuda, then a member of her troupe, revolted and formed the Kumo troupe. 34: He was very open to doing more with American drama, and that's when we worked up the Clurman thing. Some people think we have exhausted the possi bilities of this sort, but much more should be done. There are still a lot of Japanese who think Europe is the best or who see too much which is anti-Ameri can. The other side of the program, bringing people here, is also valuable. For instance, among the thirty or so top directors and actors who were brought to the United States between 1964 and 1970 on Leaders Grants (now called International Visitor Program) was one director so taken with a perform ance of Man of La Mancha that he produced it himself in Japan. And productions of Luv and The Odd Couple in Japan are clearly results of our program. There are still so many there who think we have nothing in the United States but musicals or simple enter tainment. It amazes me that some people in the United States Embassy in Tokyo still think that original project with Clurman a waste of time and money.^ One man who disagreed with McDonald was Charles B. Fahs. A professor at Miami University of Ohio and member of the sixth United States-Japan Conference on Cultural and Educational Exchange, 21-24 June 197 2, he is against any United States government sponsored theater presentations in Japan. He wrote: Probably the best cultural exchanges are unsub sidized ones. There have been many with Japan; for instance there was the very early visit of the Denishawn Dance Group there. Of subsidized exchanges, the most fruitful ones I recall have been of individuals, not groups: the 3441 Rockefeller fellowships for Tsuneari Fukuda and Takeo Matsuura. The best embassy sponsored exchanges were a young American director who worked with (reference to Clurman’s first production with Kumo group). But this was only possible because of the earlier Rockefeller grant to Fukuda who founded Kumo after his return visit to Japan. The most useful tour by a performing group was probably the first visit by the New York City Ballet, but this was not because of the performance in Japan but because of the interest which Lincoln Kirstein developed in Japanese drama which led to subsequent U. S. visits by Kabuki and Gagaku and because Roy Tobias returned to Japan to work with a Japanese ballet company. Moving performing groups is very seldom the best way to spend money available for cultural exchange. . . . Real demand is accompanied by cash and does not need subsidy; look at the visits of Duke Ellington or American baseball players to Japan. But everyone is happy to have his travel or his entertainment subsidized, so the demand for subsi dized cultural exchange is virtually unlimited. If the U. S. has money to spend on theater exchange with Japan, I would think the best use today would be sending individual American writers, directors and stage designers to Japan to learn, not to teach.^ The members of the United States-Japan Conference in which Fahs participated came to a similar conclusion. Until recently, one of the State Department's United States-Japan exchange programs was Cultural Presentations. . . . The purpose, of course, is to heighten awareness abroad of American artistic achievement. In the case of Japan, however, the program's purpose is being achieved independently. Almost every area of American performing arts is regularly represented on the Japan scene through private commercial enterprise on a scale practically unequalled in any other foreign country. Moreover, many performances are billed— at the impresario's request— as having endorsement of the American Em bassy. The performers themselves often voluntarily 345 take part in post-initiated offstage activities (formerly a part of every Cultural Presentations project programmed officially in Japan). Thus, the purposes of the former official Cultural Presenta tions program are fulfilled at no monetary cost and funds formerly earmarked for the Japan program can be allocated elsewhere. Two other directors of American cultural centers in Japan, in addition to Ifshin, offered their thoughts on the value of United States efforts there. Albert Ball, of the American Center in Osaka, wrote: The Kansai Intercollegiate English Federation (KIEF), a group of university English speaking clubs, has, over the last several years, put on a series of English plays for a public audience with relative success. My Sister Eileen, Our Town, etc., are typical fare. The Glass Menagerie was shown the most recently. I believe Our Town did the most to promote understanding of and sympathy for the American ethic. Normally, the USIA has paid the copyright fee for KIEF at our request; tickets have been sold to cover production costs. Since our role here is to present the very best in American culture and society, I probably would choose from among the classic contemporary American theater: Picnic, The Little Foxes, Death of a Sales man, etc. . . . I also think a workshop would be most useful. For the actual demand, I think the exchange pro gram is unsatisfactory. One reason is that grants in general are getting more and more difficult to come by: the applicant usually must have a solid research project to present to the selection commit tee if he or she can expect to be seriously considered for nomination. 346 Robin A. Berrington, director of the Fukuoka Ameri can Center, replied: We have never used any kind of theater at Fuku oka as far as I know. We do have tapes on known dramatists commenting on their own works, but we have no theater productions at the center. If we were to do any type of theater work, I would prefer contemporary drama on the order of Arthur Miller. This could be done by local students groups from universities at their school or together with the center in the form of workshops. One reason for choosing contemporary work is the problem of language: the more modern and collo quial the language (without dialect, of course), the more valuable it is for the language learning. Also, it is easier to do. Finally, contemporary drama reinforces the cultural learning process . . . There is no exchange program in the theatrical arts in Fukuoka. Nor do I know of any demand for this. Many local student groups produce English (American or British) theater, but they do it on their own. There is no institutionalized program of studying or working together with foreigners (i.e., Americans, Australians) other than those foreign teachers who are already full-time instructors at the same school from which the student theater group comes.I? Korea Although the United States Embassy in Seoul failed to respond to the questionnaire, USIS libraries at Pusan and Kwangju provided information about their small theatri cal collections. Field messages on file at USIA Washington also indicate some use of theater in Korea during the 1960s. 347 In 1963, for example, the Seoul Area Command Theater Group gave three performances of The Boy Friend, one each at the universities of Kyunghi, Hanyang, and Konkuk. A total of 3,000 students attended. The post reported a gratifying audience reaction, although presenting a play in English created a language problem. Perhaps for most it was the first opportunity to see a live performance by an American cast. . . . SACTG is an amateur group composed of civil and military personnel of SAC. Arrangements for the shows at the universities were made by USIS to foster its programming for youth and promote attitudes of mutu al acceptance between Koreans and Americans, espe cially in relation to members of the U. S. Armed Forces stationed here.-*-^ Also in 1963 a drama group of Seoul National Uni versity's College of Arts and Sciences produced the Korean version of The Great Sebastians by Howard Lindsay and Rus sell Crouse. The post reported: The audience was filled for six performances. The interest in performing this play was a result of our Korean translation published in January (1963) by the Songmun Kak Publishing Co.-*-^ In 1969, USIS Seoul received the translation and performance rights for Miller's View from the Bridge to be performed by the Chonnam University Department of English Drama Group in Kwangju. This play was performed at Kwangju Student-Independence Movement Memorial Hall, free of charge, 20 to a capacity audience of 600, plus 400 standees.____________ 3 4 8 In 1972 USIS Seoul jointly sponsored, with Seoul Shinmoon daily newspaper and the Korean Drama Association, an American one-act play performance contest for Korean youth. USIS requested the translation rights for eight plays: Tennessee Williams' Lord Byron's Love Letter, Alice Gerstenberg's Overtones, Susan Glaspell's Trifles, Tad Mosel's Impromptu, Howard Sackler's The Nine O'clock Mail, Eugene O'Neill's The Dreamy Kid, Edward Albee's The Death of Bessie Smith, and Sherwood Anderson's The Triumph of the Egg. (The post mentioned that the "unacceptable dialect used by O'Neill would disappear in translation.") With the rights obtained, the post planned to spon sor translations of the plays and to use four of them in a contest among university drama groups in Seoul, Pusan, Taegu, and Kwangju. The final contest was to be held in Seoul. The purpose was to interest Korean youth, particu- larly university students, in reading and performing Ameri can plays.2" * " Theatrical collections at USIS Korea libraries are limited. The library at the American Cultural Center in Pusan has fifteen individual American plays, twenty-eight play collections, eighteen books on theater, and fifty-five 22 recordings of plays and musical comedies. : • 3” 4" 9 The USIS library's collection in Kwangju consists of: Graff B. Wilson's A History of American Acting, Charles Gordone1s No Place to Be Somebody, Robert Nemiroff's To Be Young, Gifted and Black, Lorraine Hansberry in Her Own Words, Gerald Weales' Caesar at the Rubicon, Thornton Wilder's Our Town, The Skin of Our Teeth and The Matchmaker, The Best Plays (1950-51 and 1956-57), John Hawkes' The Innocent Party, and Robert Lowell's The Old Glory. However small, the collections evidently are appre ciated. When preparing this list, librarian Hyang Shin Kim 23 wrote, "most of all were borrowed to our patrons." Southeast Asia Burma From Rangoon, CAO Mary Frances Cowan responded: We conduct only a very small program in Burma, and the presentation of the American theater in the legitimate sense of the word is nonexistent. We do present annually a cultural show funded by the Department of State. Last year, Duke Elling ton and his orchestra performed . . . Some forms of western theater art would probably find an audience here among those people fluent in English. American commercial films are very popu lar, with those featuring James Bond at the top of the list. Films produced by the USIS on a variety of subjects are also popular but must first be cleared by a censor board. Little of this relates to the American legiti mate theater. The Burmese have their own indigenous plays (pwes) and show little or no interest in American drama. There is virtually no exchange of students and people in the theater arts nor is there much demand for such a program. . . . at this time, Burma is occupied with internal development. The interest in entertain ment in its more sophisticated forms may come later. American Consul Carl Taylor, Jr., wrote from the United States Consulate in Mandalay: There have been no presentations of or about American theater in Mandalay during the one and a half years I have been at this post; and, as far as X know, there were no such presentations for many years before my arrival here. All local street theater is of a strictly tradi tional Burmese variety and has not been influenced by any visiting American theater groups or person alities . Since knowledge of English is limited here and interest in western theater even more limited, I would not recommend that American theatrical per formances be staged here. Small scale workshops or lectures by theater specialists might evoke some interest in a very limited circle here. In general, however, other types of cultural presentations are better suited to Mandalay. Musical events (jazz or band concerts) and exhibitions on space and other aspects of American life and technology are more akin to the interests and tastes of people here. There are no opportunities for exchange of stu dents and people involved in the theater between the United States and this part of Burma. Aside from the fact that almost everyone would like to take a trip to the United States, I would say that there is no real demand for cultural exchange oppor tunities in the field of theater.2-’ 3513 24 - - - - - - - - - - - - - - - - - - - - - - - - - - 3'5'2 Cambodia From the United States Embassy in Phnom Penh, Wil liam B. Stubbs, information officer, wrote: Our embassy here does not have a USIS post. Although USIS officers are assigned to the embassy, their principal functions are dealing with the press corps and administering a small scholarship program. Since the resumption of diplomatic relations with Cambodia in 1969, we sponsored no theatrical programs, either American or Cambodian, and we have no plans to do so in the foreseeable future. Although we have sponsored scholarships for a few Cambodians to study in the United States, all such grants have been in fields contributing to the economic and scientific development of Cambodia. We have been and will be unable to award grants in theatrical arts.^ After Stubbs's response, the opinion of Seng Neary, counselor, Embassy of the Republic of Khmer (Cambodia), seems wishful thinking. He wrote: The professional American actors, touring classic plays such as those by O'Neill, Williams and Miller, would portray these plays most in accord with Khmer taste and customs. Theater specialists, conducting workshops and seminars, would be very desirable. Finally, the exchange of our theatricians would help to answer the need for cultural development between the United States and Khmer.^ Laos USIS, itself, has not produced plays in Laos, but it 3'5i has assisted other organizations in doing so, according to Wilfred P. Allard, cultural attach^, United States Embassy, Vientiane. The reason is that English is not yet well enough known by the Laotian elite to warrant the trouble and expense of staging American plays. The ater is a western import here known and appreciated by only those few who have studied in France, the United States, Australia, the United Kingdom and the other countries of Europe. For these reasons, plays form only a minimal part in USIS programming among the Laotian people. We have had no American uni versity or professional theatrical group come to Laos under the Department of State's Cultural Pre sentations Program. This is not to say we have no Western theater in Laos. The Little Theater of Vientiane has been active for the last five or six years. It is pri vately organized and supported by the American, British and Australian communities in Vientiane and is open to all, including Laotian membership. While USIS isn't actively engaged in promoting LTV plays, it does indirectly, through USIS personnel, techni cal expertise, collections of plays at library, advertising, obtaining the auditorium of the Lao- American Association, etc., do much to encourage the success of the productions. In the past few years, LTV has produced Lo and Behold, The Crucible, Mary, Mary, Barefoot in the Park, The Rainmaker, Gaslight and The Importance of Being Ernest. One-act plays were The Happy Journey, The Typists and Visit to a Small Planet. The Happy Journey and The Typists were taken on tour with reasonable success before Laotian audiences in the provincial cities of Pakse and Savannakhet. LTV readings have included Delicate Balance and Murder in the Cathedral. Given the little English here and even less knowledge of theater, it would be best to start with simple radio plays and/or one-act plays by Wilder. ' 3*52 With greater familiarization, Lao students (and adults) might then tackle three-act plays like Our Town, Born Yesterday and The Glass Menagerie, But all this is long in the future for Laos. Because of the factors mentioned above, the answer as to whether or not the opportunities for exchange of people involved in theater arts has met the demand is no. You will be interested to know that the French government recently brought over a professional group from Valois (new Paris) which played before full audiences, including the Prime Minister, for one week. They presented plays by Moliere, Beau marchais and A Collage of Our Time— something of a mishmash to appeal to youth. The success was due to good understanding of French, a certain snob appeal and proceeds going to local benefit.2^ Richard M. Hughes, former director of the Lao-Amer- ican Association in Vientiane, who ended his duties there in 1971, reported that he did not find American theater of interest to the Lao people. His reasons, too, were the language barrier (and lack of a means for translation) and the fact that western drama is not well known in Laos. He added: We did gain response to an invitation to study its theory and practice in the BNC, but no sooner had classes begun than our young American instructor was drafted; hence we had, up to my departure, no useful experience along this line.29 Hughes's successor at the Lao-American Association, John M. Reid, wrote that there was little he could add to Hughes's letter for the same reasons and that since his . . J 5 -4 arrival he had found no opportunity to make use of any aspect of American theater in his program. To make effec tive use of American theater in his program, he stated: . . . we would have to conduct extensive prepara tions, including an educational program, transla tion of materials and recruitment of participants. Before undertaking such an effort, we would have to consider carefully whether or not it would be more worthwhile than other, less expensive means of com municating with our audience. Thailand In 1967 the United States-Thailand binational center in Bangkok encouraged and assisted a Thai group to form a drama workshop composed of university and professional work ing people. Their first production, Our Town, was in English, but later productions included Thai versions of western drama.^ Other activities reported by USIS Bangkok included a three-week American film/drama festival at the binational center in 1971.^ In 1972, Francis P. Coward, education officer at the United States Embassy, Bangkok, remarked on his post's use of theater: I will preface my comments by saying that all academic instruction in Thailand is in Thai, con temporary American theatrical themes do not fit easily into the Thai cultural environment, and both major Bangkok universities do have active drama departments which try modern American plays on 355 occasion. The university drama departments have translated some plays by Williams, Miller and O'Neill for pro duction. These have been generally well received. We have not ourselves produced plays, but have left that up to the director of activities at the bina tional center who works closely with young Thais. Primarily the productions have served as vehi cles to promote the use of the English language and to enable Thai students who have studied in the United States to recapture a bit of the enthusiasm and flavor of their American experience. Although there is a goodwill potential, more important is the promotion of cross-cultural understanding and lan guage fluency. We also have dramatic readings in our library from time to time to promote the works of American writers. The financial arrangements are the same as for a stateside production. Permission for the production is obtained, the performing group charges admission and pays royalties. Street theater has not yet been developed. There are two very active amateur theater groups here, however, which are largely made up of Europeans and Americans. They keep the local community well enter tained with standard British and American produc tions . The two groups have recently merged. If I were to select plays for production, I should suggest the names that the department at one university proposed: O'Neill, Miller, Williams and Albee. Because of the cultural complexities, it would seem advisable to rely on the established reputation of the playwright to assist in the accept ance and success of the production. Yes, opportunities for exchanges are satisfactory to the demand. Visiting American specialists are welcomed and American university graduates are cur rently on the staff of the drama departments at two 356 33 Bangkok universities. From Chaing Mai, assistant PAO Edward W. Holland, Jr. wrote that somewhat limited resources prevent his post from engaging in theatrical presentations. There are two American officers here and five Thai information assistants. For all practical pur poses we do not have an independent budget, but receive both supplies and program support from Bang kok. Our theatrical involvement focuses almost ex clusively on singers, the majority of whom include their performance here along with performances in Bangkok. As far as dramatics and musical plays are con cerned, our very limited resources, both monetary and manpower, restrict us from any activity in this regard. Aside from readings, which could be readily performed with local talent, our only realistic opportunity in this area would be some kind of visit ing artist sent from Bangkok or the States, probably through some arrangement with the Bureau of Educa tional and Cultural Affairs, Department of State. This simply has not happened, most probably through lack of funds. As for what sort of theatrical presentation we would choose for our post, this would depend on what kind of support we could get from Bangkok or from the States. Certainly workshops, readings and lec tures on theater from professional actors and theater specialists would all be useful. Readings and plays could be performed with local talent, but this neces sitates much time for preparation which would probably be prohibitive. The language barrier also severely restricts the list of possible titles that could be performed. Since we would most likely perform American works in English (good Thai translations being largely unavail able) , complexity of plot or of thought would have to be kept to a minimum. Light comedies, such as Harvey and Arsenic and Old Lace, could be done 3 3 1 effectively, or drama perhaps even to the level of Becket. Much would depend on the effectiveness of the direction; the more thought could be conveyed by the action, the more easily understood it could be. With regard to exchanges of students and others involved in the theatrical arts, only Thamasart and Chulalongkorn universities in Bangkok have performing arts departments, both of which are new and little known. There is no demand on the part of Thai the atrical students to go overseas, nor does our office know of any American students who have displayed interest in coming to study theater in Thailand. Any exchanges other than at the student level would be handled almost entirely by our Bangkok office.^ The theatrical holdings in the USIS Chiang Mai library include seventeen collections of plays, seven indi vidual plays, two films on American theater, twenty-eight critical analyses, histories and techniques of theater, and a few biographies of playwrights. Branch PAO and consul David G. Smith wrote that a wide variety of films on theater may be borrowed from USIS Bangkok and that the Chiang Mai 35 • library would soon maintain records and tapes. From Songkhla, branch PAO Donald M. Sladkin wrote: Unfortunately, at this particular post there is scant potential for effective use of this kind of a program. We are a small one-man post with an audi ence that would not be likely to have much of an interest in the American theater. We concentrate on subjects of less esoteric nature and which are closer to what the Thai official or academician is interested in.^6 From Khon Kaen, a branch office of the United States Consultate in Udorn, PAO James D. Burns wrote that the -----------------------------------------------------------------------------JST post's library holdings in theater are small (approximately ten books and plays), and that there are few persons in northeast Thailand who have shown interest in contemporary theater.37 Anne Hendricks, former Peace Corps volunteer in Bangkok, wrote that, as she was leaving her tour of duty in 1972, some fellow volunteers were working on a television project comparable to Sesame Street (a television program shown in the United States) for preschool children, to be released in March, 197 3.33 Vietnam One of the most intensive psychological tasks ever undertaken by USIA occurred during the United States' in volvement in the Vietnam war. This effort concerned the creation of an effective information machine within the South Vietnamese government. In 1965 a Joint U. S. Public Affairs Office (JUSPAO) was established in Saigon. It consisted of USIS officials, Pentagon psychological warfare and communications media specialists and representatives of the Agency for Interna- 39 tional Development (AID). Most of the new staff went to Saigon to teach and to assist the Vietnamese in producing leaflets, motion pictures, television, and radio shows. A 359 substantial number, approximately one-third, went to cities, hamlets, and towns to win support of the Vietnamese for U. S. sponsored projects. Provincial newspapers were pub lished, exhibits circulated, and cultural teams organized tc 40 present propaganda skits and songs in pacified towns. After a period of trial and error, according to Thomas C. Sorenson, drama troupes proved to be the most effective medium. At first, JUSPAO found that even though seventy troupes had toured the country, few had actually reached the peasants. As a corrective measure, six-man Van Tac Vu (Cultural Drama Service) troupes were trained. Wearing black pajama peasant outfits, they traveled about the countryside performing twenty or more shows per month. . . . The troupes sang patriotic songs ("Viet nam, Vietnam" and "Our House"), amused and indoc trinated the peasantry with primitive dramas about villainous Vietcong and heroic South Vietnamese soldiers and officials, and, offstage, distributed medicines, seeds, food and pamphlets and helped at chores ranging from repairing damaged buildings to bathing infants. "We try to make the rural people proud of their country and their government," explained one per former. "We tell why the Americans are with us. We show what the Viet Cong are trying to do and why they attack our villages and take our crops." Hanoi and the VC took note of the troupes, calling them "black pajama spies of American imperialism." More than once, performances were interrupted by grenades or gunfire. Two actors were killed in a midnight attack on their quarters in April, 19 67. But the show went on.^ 360 Flemming E. Nyrop, provincial psychological opera tions advisor, USIS Saigon from 19 67 to 1968, explained the Van Tac Vu shows as being in the Vietnamese theatrical tradition of pantomime and story. In the case of psycho logical warfare, the story might be of a boy leaving his South Vietnamese village, joining the Viet Cong, finding out "the truth," then returning home a hero. Such skits would be enlivened with songs, traditional Vietnamese music, 42 and, at times, with sword swallowers. Ricardo C. Galang, Civil Operations and Rural Development Support (CORDS), Bien Hoa Region, wrote that in a few cases an important character in these skits had been an American offering services, commodities, and money to combat subversion. "But," he added, "a Vietnamese dressed like an American and speaking Vietnamese with an American accent generated fun more than appreciation of what he said. 1,43 In a later letter, Galang described a particular performance he had just seen: Players were from the Psychological Operations of the Government of Vietnam; audience, a village assembly of about 300, about one-half of them chil dren; stage, a make-shift platform in the open air; plot, a VC who had infiltrated the village where he had been entertained mistakenly as a friend, later suspected for his action, then placed under surveillance, caught later in action and killed by , 3 " 6 1 1 the ever alert RDC (revolutionary development cadre). His death was a cause for celebration, the finale being the singing of the Vietnamese national anthem, with the flag the central figure in what the movies would call the final fade-out. Costumes were typical everyday clothes; props— hardly anything except a few pieces of furniture; no make-up; no lighting effects. Dialogue was of the common people, some of it impromptu. These presentations do not claim finesse; they are amateurish, true to the local scene. The one I saw was quite enthusiastically applauded by the audience. It could be called effective.^ During the 1960s, in addition to the Van Tac Vu shows, the more typical binational center and USIS theatric cal activities were taking place in Saigon. The Vietnamese- American Association put on American plays for charity^ and, in 1964, the binational center undertook sponsorship of the Saigon Theater Guild. Originally established as an American activity under direction of a United States mili tary officer, the guild had decided to include Vietnamese 4 players. William F. DeMyer, cultural attache, United States Embassy in Saigon, wrote how such activities fared in 1972; . . . the nature of the war in Vietnam creates circumstances which probably do not obtain in any other country. For security reasons, programs such as street theater are virtually impossible to organ ize. Even normal theatrical productions are hindered by sudden changes'in curfew, travel restrictions of civilian and military personnel, mobilization of 3 -6 -2 - Vietnamese actors into military units, etc. It is under these circumstances that our theatrical activ ities take place. The most active American-sponsored theater pro gram is the Saigon Community Theater, now in its third season. This group is almost entirely an American one, made up of U. S. Department of Defense civilians and some military. It obtains its funds for scenery, costumes, etc. from the U. S. Army Saigon Special Services office, but uses the Viet- namese-American Association auditorium for rehears als and performances. The audience attendance for the plays averages about seventy percent American and thirty percent Vietnamese. Plays presented to date include: You Can't Take It with You, Bell, Book and Candle, Lion in Winter and evenings of one-act plays. All of these were, of course, in English. This year, for the first time here, USIS is undertaking a new direction in theater. A Drama Club, sponsored by the Vietnamese-American Associa tion, has been organized by an American Fulbright teacher at the University of Saigon, Duane Hauch. The intention is to produce American plays in Viet namese. The first presentation was to have been the first American play ever translated into Vietnamese, The Dark of the Moon, by Howard Richardson. Unfor tunately, due to the present emergency, the perform ances had to be cancelled two weeks prior to opening night. When the situation permits, rehearsals will be resumed. In addition to The Dark of the Moon, we plan to produce two other American plays recently translated into Vietnamese, A Streetcar Named Desire and Death ' of a Salesman. These will be performed by Vietnam ese actors at the time when the American Fulbright- ers1 classes in American drama are studying these plays. Both plays reflect important aspects of American culture. Blanche Dubois is a character easily understood by and sympathetic to the Saigon audi ence. Willy Lohman is not as easily understood, but 3~63’ the value of success in the business world is a new social problem beginning to occur in the Saigon society, so the play may contribute something to cross-cultural understanding. These two plays will be performed by members of the Drama Club at the Vietnamese-American Association with assistance from the American Cultural Center. To answer your third question, there are pres ently two Americans in Saigon doing research on Vietnamese music and drama. However, the opportu nity for exchange programs in theater is limited by the language barrier and by a Vietnamese concept, rather often encountered, that the Vietnamese thea ter student does not study theater for pleasure but as an occupation. Any student who leaves the Con servatory of Drama and Music, in a sense, loses a year or more out of his study and so postpones his opportunity to make his living as an actor. This may account for a lack of interest to date, on the part of Saigon students, in going abroad to study theater. This situation may change as the theater program I have described gains momentum. The embas sy-sponsored graduate-study scholarship program in American Civilization could accommodate a candidate or two, if qualified applicants present themselves.^ Daniel J. Herget, director of the Vietnamese-Ameri can Association, wrote that the plays produced by the Saigon Community Players since 1971, other than those mentioned by DeMyer, had been The Owl and the Pussycat, The Leaning Tower, Never Too Late, The Wedding, The Resounding Tinkle, and This Property Is Condemned. He added: Most of the members of the Saigon Community Players are amateurs, although a few have had pro fessional experience. The productions are presented on four successive evenings and always fill the 200- seat VAA auditorium to capacity. There is no charge. A modest reception is staged for first-nighters. 364 One of the prime movers and producers of the organization is Duane Hauch, . . . He has done a great job to stimulate interest in American plays . . . We would also, of course, welcome an amateur or professional touring group to Saigon as well as lecturers and workshops, but the military situation precludes this.^ ® Librarians at the USIS libraries in Saigon and 4C Cantho list about fifty books on theater at each facility. ' The Abraham Lincoln Library at the Vietnamese-American Association in Saigon subscribes to Theater Crafts. Lawrence M. Thomas, director of the American Cul tural Center, Cantho, added, "It should be noted that these 50 works find few readers here." South Pacific Australia There has been no necessity to produce American theater at the USIS post in Canberra, according to Myron A. Baskin, cultural attache, United States Embassy. The Australians themselves do a fair amount of theater work, both professional and amateur. Pro fessional theater is centered in Sydney and Mel bourne, and companies from these cities go on tour throughout the country. Canberra is a city of only 150,000, so does not support a professional theater of its own. There is a repertory theater which has a profes sional director funded by the Australian Council for the Arts and a company of amateurs . . . They do an occasional American play but manage their 3 F 5 1 own affairs with no help from us required. We do have books on theater in our libraries and recently had a successful book and prints exhibit on the fine and performing arts in America. There were many titles on theater . . . To give you a notion of the kind of theater fare from the U. S. available in Australia, the following are on this year's theater bills in Sydney and/or Melbourne: 1776, No, No, Nanette, Last of the Red Hot Lovers, The Tavern, A Touch of the Poet, Sticks and Stones, Jesus Christ Super Star, The Star-Span gled Girl and Cabaret. The Canberra Repertory The ater is doing The Crucible next month. Since so much is done without help from us, we feel we should use our limited resources in other areas of cultural activities. An American theatri cal group from a university might be welcomed, but I think workshops and lectures by specialists would be most useful. The Australian Playwrights' Association is organ izing a workshop on the order of the one at the Eugene O'Neill Memorial Theater in Connecticut, and the Australian-American Educational Foundation (funded by both governments) will help with this project. Why a workshop rather than a production of some kind? The answer is simply that a production will entertain and, perhaps, educate only during the time it is on; but a workshop will pay off in the future because of the people trained. Is the demand for exchanges met? No, there could always be more— not in Canberra but in Sydney and Melbourne. However, a lot of American performers come here to work or tour, and Australians in smaller numbers do get to the United States on their own.^ From Sydney, Frances D. Cook, consul and CAO, wrote of USIS theatrical activities and of its library holdings. 366 I have been told that musical plays such as Oklahoma, Brigadoon and Porgy and Bess have been most valuable in promoting goodwill towards the United States. There has been no street theater development in Australia with the exception of a lunch-time theater which performs in factories and on construction sites. In recent years we have not provided any financial assistance for performing artists but have provided facilitative assistance both in personal matters and in publicizing, by means of our monthly Current Af fair^ publication, concert dates of various American groups and performers. Since there is no language problem, quite a few American plays are presented in Sydney each year— most especially at the Ensemble Theater where the director is an American, Hayes Gordon. Speaking for the USIS, I would suggest that we need more lecturers and workshops, particularly by directors of summer study groups and workshops in the United States. For example, William Ball of the Actors' Conservatory Theater (San Francisco) visited Australia this year and made a tremendous impression on the general public and especially on those in volved in the theater here. There are plans for a playwrights' conference (similar to the O'Neill Workshop) to be held in Can berra next year. The organizers are very interested in inviting George White (Little Theater of the Deaf) to attend. The demand for exchange of students and people involved in the theater is growing in Sydney. Un fortunately, budgetary restrictions prevent us from providing much more than facilitative assistance . . . Our library has approximately 30 books on theater, divided equally among the following areas: theater in the United States, American drama and antholo gies of American plays. We do not receive any the ater magazines, but do find the International Theater _ 3~6" Institute Newsletter quite helpful. In the USIS media section in Sydney, we do not have a record collection. However, our tape collec tion is extensive. It consists of two main areas: Forum: the American Theater (1-16), and American Musical Theater, programs presenting the stories and music of musical theater in the United States . . . Our films on drama are Face of Genius, Miracle in Minnesota and American Experience. The latter is a presentation of the words of America's literary great: David Wayne and three other actors perform selections by authors including MacLeish, Saroyan, Thurber and Wilder.^ Patricia Kennedy, theater consultant for the Aus tralian Council for the Arts in Sydney, agreed with Cook that workshops presented by American theater specialists would be welcome in Australia. Because of the great costs involved, it is most unlikely that whole companies would be toured to this country, but it would be valuable to have visits from theater specialists, teachers, choreographers and conductors who were prepared to spend a reason able period working with groups in each state. Earlier this year, William Ball's workshops for directors were most stimulating. The Australian theater is only now emerging, and we are weak in theater skills. Such teachers could make a valuable contribution. Students and people involved in the theatrical arts and have some opportunity of gaining study grants. The Australian Council for the Arts consid ers applications from directors, designers and people working in youth theater for study overseas. It would be beneficial, however, if a pattern of exchange could be established between the United States and Australia to allow students to work in each other's C O country.^J . 3_ 6‘ a In contrast, John R. Sharpham, former Australian Fulbright grantee (1969-70 University of Colorado at Boul der) , who returned twice to the United States under institu tional and private scholarships, said most Australian the- atricians would consider an exchange program with England more valuable, as returning to England to gain professional 54 polish is more in the Australian tradition. He also pointed out a difficulty experienced by many Australian theater students who might wish to study academic theater in the United States. You see, we do not have much theater at an academic level or as an academic subject. Theater at the universities tends to be usually part of English Literature, and it is approached from a purely literary point of view. There is little, if any, emphasis on performance. At the Teachers' Colleges there is some theater, but most of these students gain diplomas, not de grees. They might find it very difficult to gain entrance to an American university for graduate work. There is, as well, the problem of equating Australian work with American standards, and this can be a problem. Then there is the sheer distance— it is a hell of a decision to decide to travel half way around the world to study for an area that is scarcely recognized in one's own country. Unless some prom ise of financial support is given, most people would find such a trip too much of a financial burden or risk.55 369 Fi j i The United States Embassy in Suva has not sponsored any theatrical performances, according to Robert W. Becker, second secretary at the embassy in 1972. There is only one active theater group in the country, the Fiji Arts Club (membership supported); it presents about five or six plays a year. Usually two or three of these are by Americans, and the embassy has from time to time offered assistance in- small ways, usually by supplying props and occasionally consulting with the director to give the play and actors an authentic American touch. There is no street theater in Fiji. In fact, theater in the round is only now being contemplated. If I could choose, I would select plays built on black American themes, particularly if the presenta tion called for some acting by local citizens. Few plays given in Fiji offer parts for non-European actors, with the result that ethnic Fijians tend to feel a sense of alienation from the theater. Workshops and lectures by theater specialists could prove useful, in part because they would re quire a minimum of logistical support, and the Fiji Arts Club would provide a natural audience. (I should note that the USIS program in Fiji is handled by one person, myself, on a part-time basis.) But the presentations the Fijians would most readily identify with is the dance. It is through dance their culture has been traditionally trans mitted; likewise the Indian population which makes up 50 per cent of Fiji's population has a strong tradition in the dance and would also respond to that type presentation. Next to dance in order of preference I would choose mime. Although English is the official lan guage of Fiji, a large number of inhabitants are not 3 T 0 1 comfortable with the language. Mime transcends all language barriers; at the same time, it could be rather easily programmed. The opportunities for exchanges of students and practitioners of the theatrical arts between Fiji and the United States are nil. Fiji's only hope for participating in such an exchange would come about if U. S. theatrical per sonnel were being programmed to Australia or New Zealand and could be persuaded to stop off in Fiji en route. Official exchange programs to the U. S. administered by the embassy are limited to about four or five persons a year from all seven territor ies and nations which come under the embassy's area of responsibility. In any case, even if an exchange grant for theatrical exchange were offered, there are no individuals in Fiji sufficiently involved with the theatrical profession whom the embassy could consider for the grant. This again is due to the fact that theater plays only a minute part in the cultural life of the country (and then only as a European import). The traditionally related art form, the dance, is not even practiced professional ly or even semi-professionally but as a living art form existing in every province and village and practiced on a high amateur level by virtually every one . While it would be an excellent idea to sponsor a first class group of dancers to the U. S. as a part of an exchange program, it would involve at least 20 to 30 people, and this would be beyond the embassy's resources. There is room for this being done by a private impresario, however.^ The use of theater by the Peace Corps in Fiji is al so almost nonexistant, wrote Richard Haag, program training officer, Peace Corps, Suva. There are no volunteers specifically involved in theater, nor is it likely there will be in the future. Most of our volunteers are either high 3 7 T school math and science teachers or serve as special placements in forestry, rural development, youth workers, etc. While a few might infrequently use a drama technique such as role playing, the intent would not be to convey information about the United States but to get across a point for a specific les- Indonesia Assistant CAO Joseph S. Fazekas wrote that the bi national center in Djakarta, the Membaga Indonesia-Amerika, has sponsored a wide variety of American theatrical presen tations . These have included films, play readings and lectures which have focused on the works of men such as O'Neill, Inge, Albee, Miller and others. These have, without a doubt, contributed towards an in creased awareness, comprehension and appreciation of the American theater. We would like to see members of leading experi mental theater groups in the United States, such as La Mama, come over and conduct a workshop with young Indonesian actors. Under the guidance of the La Mama representatives, these young actors would pro duce a play in the spirit of La Mama. This La Mama tour would encompass, with varying degrees of inten sity, Djakarta, Jogjakarta, Medan and Surabaja (United States consulates general are at the latter two). The reasons for this choice is basically because Indonesians are not up to date with develop ments in modern theater. Unfortunately, there are, for all practical purposes, no opportunities for the exchange of stu dents and practitioners of the theater arts at the present time.^® Hendarsin Hendamihardja, assistant educational and 372 cultural attache, Embassy of Indonesia, Washington, D. C., wrote that, other than Holiday on Ice and a few professional night club entertainers, there have been no presentations of United States theater in Djakarta. He added: A variety of musicals, comedy and light drama by professional as well as amateur groups might be of interest to Indonesians, excluding plays such as Hair and Jesus Christ-Superstar. Opportunities for the exchange of students in volved in the theatrical arts would certainly be beneficial to both countries.^9 Roy M. Payne, director of the binational center in Surabaja, elaborated on Fazekas' comments and added some interesting suggestions. The Lenbaga Indonesia-Amerika (LIA) sponsors a study group interested in the theater. The group is under the direction of Hazim Amir who has an M. A. in literature from the University of Michigan. This group studies both the American and Indo nesian theater and from time to time produces plays. Their performance of Tennessee Williams' The Glass Menagerie on the 4th of July last year was quite a success. In October they produced Ionesco's The Lesson. Although not American theater, our Players are pre paring Shakespeare's Hamlet for presentation in Indonesian in the near future. (The translation was done by one of our English teaching staff supervis ors .) These productions and other activities of the LIA Players are funded from locally generated monies (modest admission fees, binational center membership fees, donations, etc.) and grants from the USIS. They have been staged in the rather small center . , ^ auditorium, or, weather permitting, outside the audi torium in the more spacious courtyard. Although economically underdeveloped, Indonesia enjoys a mature, sophisticated theater in the forms of Ramayana dance and puppet shows, both telling es sentially the same tale. The Dutch introduced west ern theater to Indonesia during the colonial period. Therefore, there is no question of our introducing an unknown art form here, or even helping the local theater, street or other, to develop. Our task is to set forth what is happening in the American theater so that it will be recognized as the exciting, dynamic expression of American cre ative leadership it is. This is, in fact, a rather difficult task here because of the problems connected with presenting examples of American theater. Few, if any, experts or artists are willing to travel the distance and put up with the climate and other less pleasant aspects of the tropics for the kind of incentive we can offer. However, if this were not the case, if we could toss budgetary and other cares out of the window, the most profitable experience we could have would probably be along the following lines. Bring out one of the 10 shows selected from more than 300 Competing U. S. colleges and universities that play in the American College Theater Festival at Washing ton, D. C.'s Kennedy Center annually. This would mean the whole lot— professors and students. They would be introduced to their counterparts here. There would be a give and take workshop for two days followed by presentation to the public by each group on successive nights of a production of their choos ing. (The choice would have to take account of cross-cultural communication difficulties so that the play would not be so idiomatic as to be meaning less to the others.) We would obtain the most up to date writings— books, articles, whatever— by the best American authors on the theater for (a) presentation to appro priate Indonesians, (b) inclusion in our library and (c) for consideration during the workshop. 374 By bringing together professors and students, there would be a greater multiplier effect in the impact they would have. The professors would pass along to future students what they would learn; the students who participated would take the profit of their experience with them into their careers either as artists or instructors— or even construction work ers. Thus, mutual respect and understanding would be furthered. We would make video tapes of all the activities. The tapes would be edited into an educational tool for use by us, the local university, the American University and anyone else interested. Regarding exchange of theatrical practitioners, frankly there is none between the U. S. and Indo nesia in general, much less with Surabaya. There is only a modest exchange of students, and they are in other disciplines more urgently required by a devel oping country.^ Malaysia Throughout the 1960s, USIS Kuala Lumpur assisted the Kuala Lumpur Theater Club, a Malaysian and European group which produces approximately four shows yearly,61 in obtaining rights to American plays. USIS also tried to increase its contacts with students at the University of Malaya in Kuala Lumpur through assisting its Literary and Dramatic Association.^^ Edward H. Mattos, CAO in Kuala Lumpur from 1970- 1971, said his activities involving theater were assisting a student production of Man of La Mancha at the University of Malaya and holding dramatic readings of American prose and 375 poetry at the USIS center in connection with an American studies series. In no measure do exchanges meet the demand there, he said.^^^ Leong Hew Meng, information attache. Embassy of Malaysia, Washington, D. C., wrote that there was no demand for exchanges of persons involved in theatrical arts. He said theater has a very small following in Malaysia, and 64 there is little available information on the subject. He added: As far as I know, only two local groups are in volved in this, the Experimental Theater of the Uni versity of Malaya and a loosely organized group of civilians in Kuala Lumpur, the Kuala Lumpur Theater Club, occasionally put on plays for the public. I am not aware of any United States theatrical group having performed in Malaysia. If I had to choose a presentation to tour there, I would select amateur plays and the conducting of workshops and lectures because, being new, we would benefit most from such courses. CAO Charles C. Ransom, Kuala Lumpur, sent a list of the theatrical holdings in his post's library: seventeen books on the history and technique of western theater, fifty-four plays and collections of plays and a few tapes and films. It also receives Drama Review, Educational 6 6 Theater Journal, Theater Crafts, and Yale Theater. Peace Corps volunteer Russ Vogel wrote of his theat rical activities during the last two years of his service 376 in Kuala Lumpur, 1970 to 1972. Although his Peace Corps work was with the National Family Planning Board, he made time to contribute his technical ability in theater light ing and management to many productions. There are few people interested in the technical part of theater and no lighting people at all. . . . In the last year and a half, I have done everything from light shows to readings to legitimate theater and it has ranged from strictly amateur stuff to productions of professional standards. I have even done a little work with the local television sta tion (T. V. Malaysia). I have also done a few shows for advertising companies and dance groups. Among those I have been involved with are: Charlie1s Aunt for the Malaysian Art Council, The Crucible with the Kuala Lumpur Drama Club, the second Malaysian Drama Festival of the Malaysian Drama Council, Hello Dolly with the Philharmonic Society of Malaysia, Camelot with the Ipoh Drama Club (in Kuala Lumpur), a "happening" with the USIS, The Campus Is Not a Baby Ground by a local play wright, Spoon River Anthology at the USIS, Oedipus and Antigone with the Kuala Lumpur Theater Club at the University of Malaya, An Evening of Ballet and Drama at the Federal Bellet School and a Royal Lyseum Theater presentation with the British Council in Kuala Lumpur. The USIS has assisted me many times other than those few times this work was in things actually produced at the USIS center. . . . Most of the people I have worked with are espe cially interested in raising the standard of theater production . . . A few of us are working with the very interested kids at the university, and I am currently advising the theater classes on the light ing aspects of their upcoming productions. . . . I have been contacted by a number of other groups, including the Boy Scouts and the Ex-Servicemen's Association for future productions. 377 . . . I wrote a proposal to the chancellor of the University of Malaya putting forth good reasons why the university should invest $2,000 U. S. in new lighting equipment for their very fine shell of a theater, and it was approved and the equipment bought. . . . Before our production of The Crucible, our real entrance into Malaysian theater, mainly because people were not willing to pay to produce and audi ences weren't to pay to see how standard shows, the production standards here were pitiful. There has now been a visible change in the attitudes of other groups involved in theater here. The latest production of the Kuala Lumpur Theater Club, Oedipus and Antigone, included a new first in this area— the use of earphones for simultaneous translation. They were placed at each of 400 seats for a 10 day run during which a group of actors did the play aurally in Malay. This was necessary be cause though the drama crowd here is typically English speaking, the national language, Malay, is being pushed in this multi-racial country where language is a very sensitive and political issue. A few other Peace Corps volunteers have done a little work in theater here, mostly acting, but it was not very serious of often.^ New Zealand When D. J. 0. Caffin, first secretary, New Zealand Embassy, Washington, D. C., offered his personal opinion about the most appropriate American theater for New Zealand audiences, he provided a rather complete picture of how United States theater fares in his country. To my knowledge no American theater group has toured New Zealand, at least not for many years. New Zealand's distance from the United States, the 378 absence of sizeable audiences except in the four major cities, the problems and costs of transporta tion within a country which, although it has an extremely efficient internal transport system, com prises two islands with a total length of more than 1,000 miles and with the main entries far apart, would make it extremely difficult for any American company to show a profit on such a tour. When Amer ican plays are performed, it is therefore wholely by local groups, most of them amateur, although there are resident professional companies in Auck land and Wellington. Overall, American theater is not very well known in New Zealand, in great part because England has been the principal source of the country's cultural traditions, and it is to England that New Zealand actors have gone for their training. Until quite recently, American drama has not been studied in the universities, as was the case with American literature generally. This is begin ning to change, but I should be most surprised if even now any New Zealand university devoted a course solely to American theater. At the same time, plays by what one might call the established American playwrights— Tennessee Williams, Eugene O'Neill and Arthur Miller— are per formed quite regularly. Of the younger generation, Edward Albee is becoming increasingly popular; all of his plays have at one time or another been of fered to New Zealand audiences. And, in general, an effort is made to ensure that plays having success ful runs and receiving favorable notices here are put on by some group or another there. The Effect of Gamma Rays on Man-in-the-Moon Marigolds, for example, was presented in Wellington at the same time that it first appeared in Washington. One reason limiting the presentation of new American plays in New Zealand is the high charges demanded for performing rights. These put such plays out of the reach of almost all amateur groups and make it difficult even for the professional com panies which are generally quite small and operate on a very limited budget. Another, more fundamental reason, I believe, is the depressed state in which American theater at present finds itself. This brings me to your second question. I think it is generally accepted by critics, actors and producers alike that the American the ater is currently going through a difficult period, particularly so far as new plays are concerned. Playwrights may of course take a contrary view, but the fact is that, whatever may be the reasons, few new plays are being presented. If forced, however, to make some arbitrary selection of the types of plays which might be performed by American compan ies in New Zealand then I would tend to look first to those dealing with the black experience. The subject is a vital one in this country; it is of considerable interest in New Zealand, itself a bi- racial society; and some extremely fine work has been done in this area in the past few years. To cite two specific examples, No Place to Be Somebody and Ceremonies in Dark Old Men are both, I believe, plays of exceptionally high quality which ought to be more widely known. Another area, too, which I think would prove of considerable interest, techni cally as well as dramatically, is represented by such works as Indians and The Great White Hope, both of which it seems to me mark a new and significant dimension in theatrical presentation. On the more popular level one could perhaps consider the plays of Neil Simon. If one goes a little beyond the confines of your question and includes dance under the heading of drama (with good classical prece dents) then I believe that the work of Alvin Ailey and Paul Taylor, at present almost wholly unknown in New Zealand, would arouse a lot of interest. In view of the economic considerations I out lined earlier, however, it is probably unrealistic to think in terms of major presentations by touring companies and it is perhaps necessary to set one's sights a little lower. Workshops and lecture tours would be much less expensive to arrange and could prove most effective in developing a wider ~ T 8 T understanding of American theater among people directly involved in the theater in New Zealand. At the moment such activities are almost non existent. Similarly, there are relatively few opportunities for actors, producers and playwrights in New Zealand to see for themselves what is being done in the theater in this country. The United States/New Zealand Education Foundation, which replaced the old Fulbright scheme, does give some chance for people interested in theater to make con tact with their American counterparts, although largely in an academic context, and there are also the rather more flexible visitors' programmes organized by the Department of State. Whether or not these meet the need for such exchanges it is impossible to say. I am sure, however, that New Zealanders associated with the theatrical arts would welcome any opportunity for greater contact. CAO J. Michael Houlahan wrote that USIS cultural events at the United States Embassy in Wellington are few. On the few occasions over the last few years when we have brought a cultural group to New Zea land, it has been organized on a contract basis with interested organizations, such as the New Zealand Broadcasting Corporation. I think the most useful exercise in the field of theater was a workshop held here headed by Dr. Paul Baker and which had tremendous impact on theater. He came under the Department of State's Leaders and Specialists Program. Theater in New Zealand is represented by four professional theaters at Aukland, Wellington, Christchurch and Dunedin (there is no national the ater) and by multitudinous amateur groups, many of high standing. American plays and playwrights are well known and regularly performed. The post has on occasion obtained the rights to certain plays for production here where we thought the play worthy. 3 8 1 1 If we were bringing out presentations in the theater area we would opt first for workshops, fol lowed by lectures by theater specialists. The reasoning is that New Zealand theater does need stimuli as does any art form. New Zealand's geo graphic position makes it expensive for theater producers, actors, etc. to travel overseas and the money available for such travel is minimal. Organ izing workshops run by people of Dr. Baker's caliber means we can reach just about all theater groups in New Zealand through their producers and leading actors by bringing them together for such workshops and having them go back to their groups to pass on the information gleaned. Lectures have similar value, although to our mind nothing surpasses prac tical experience. Although the number of available exchanges does not meet the demand, one must bear in mind the dif ficulties in arranging exchanges of students in this field. The only method American Embassy Wellington has of exposing New Zealand theater people directly to the U. S. theater world is via U. S. Department of State International Visitor grants, and they are limited and not reciprocal. In this area, however, we have currently in the United States a young actor and theater designer who shows both current talent and a great promise for the future. The delight of the New Zealand profes sional and amateur theater world in giving this grant is already evident. Whether the money and priority for theater arts over other pressing claims will ever reach the stage to enable more exchanges between the two countries is a moot point, but more in this line would be eagerly welcomed by New Zealand theater. On the New Zealand side, there are travel awards granted by the Queen Elizabeth II Arts Council of New Zealand open to artists from all fields. The competition is stiff, but many do travel through the U.S. There is no street theater in New Zealand and 382 to the best of my knowledge no plans for this at the present time.69 The USIS library in Wellington subscribes to The Drama Review (the small branch library in Auckland receives Educational Theater Journal). Whatever films it receives are distributed immediately upon arrival to groups who need them— the New Zealand Broadcasting Corporation and the National Film Library, as the library's staff is too small to act as anything but a distribution center. Its small record collection includes none of plays, but the acquisi tion of some is looked for in the near future. It has seventy-five books on the history, criticism, and practi tioners of theater in the United States, about sixty plays, 70 and thirteen play collections. Philippines A view of the effect of the American educational system on Filipinos after it was established following the United States takeover of the Philippines from Spain in 189.8 was recorded by Renato Constantino. The education of the Filipino under American sovereignty was an instrument of colonial policy. The Filipino had to be educated as a good colonial. Young minds had to be shaped to conform to American ideas. Indigenous Filipino ideals were slowly eroded in order to remove the last vestiges of resistance. J83 Education served to attract the people to the new masters and at the same time to dilute their nation alism which had just succeeded in overthrowing a foreign power (Spain). The introduction of the American education system was a subtle means of defeating a triumphant nationalism. ^ Such forced education, writes Isagani R. Cruz, in cluded teaching English through American drama, which was much less developed at the time than Filipino theater. The stilted classroom presentations tended to kill the Fili- 7 2 pinos' love for theater. However, after three-quarters of a century of exposure to the developing theatrical ideas of the United States, Filipinos now have seen examples of almost every contemporary trend. Yet, they have built many of their own theatrical forms. Some have returned to writing in Tagalog and many American plays have been translated into that lan- 7 * 3 guage as well.J Leftist Filipino theatrical groups have expressed hatred of colonialism and capitalism through street theater performances. And American productions such as Hair and 74 Jesus Christ Superstar have shocked the establishment. Therefore it was revealing to hear that there is a greater demand in Manila for theatrical exchanges and productions from the United States than USIS can meet. Edward Mattos, CAO in Manila from 1963 to 1966, wrote that the demand for J8T exchanges was in no way met and, also, that he made exten sive use of theater at his Filipino post. I produced and directed three full scale musical comedies: Sound of Music, My Fair Lady and Carnival. I assisted in other productions of musicals: Flower Drum Song and West Side Story. In addition, in the USIS Center, I presented a variety of dramatic readings, the most important be- ing The World of Carl Sandburg, An Evening with Robert Frost, a Hemingway program and The James Thurber World (the last three were post originated). All the presentations were combinations of pro fessionals and amateurs. My office also presented Helen Hayes, Robert Downing and Romney Brent in reading and lecture programs. The Philippines were especially susceptible to American theater, the Filipinos having great interest and capabilities in dramatic presentations. Choices were primarily dictated by interest and available 75 resources.'J In 1972 American theater in the Philippines contin ued to be quite popular, ranging from high school to pro fessional presentations, according to assistant CAO Allan B. Croghan, United States Embassy, Manila. Our preference for American theater, insofar as official support is involved, is for those plays which demonstrate the dynamic and changing American society. Our purpose is to achieve a better under standing of the United States as a modern nation rather than an understanding of our history. How ever, we cannot always attain this objective, be cause the productions we sponsor are cooperative ventures worked out to the mutual satisfaction of both parties. The Thomas Jefferson Cultural Center (TJCC), in . -------------------------■ — 385' addition to a library, has a 250-seat auditorium with a small stage. The seats are movable - Although we have been considering using portable risers for the ater in the round, we have not yet found a group interested in this sort of production. In the past, we have presented Oklahoma, South Pacific, Fiddler on the Roof, Death of a Salesman, J. B., Waiting for Lefty, and two Menotti operas. All were produced, directed and performed by Filipi nos. Our office only pays a small honorarium to cover the cost of transportation and props. The center has no props and we have no intention of acquiring any. Regarding street theater productions, a few stu dent groups have made some performances in connection with imperialism, feudalism and facism. However, these activist groups do not perform at the center and are generally only active during street demon strations . Regarding presentations at the TJCC, our prefer ence would be for modern plays which can be staged by amateurs (college students) with a minimum of props. As far as workshops and lectures are con cerned, we believe these are better arranged by a Filipino organization such as the Philippine Educa tional Theater Association (PETA) rather than the center. PETA has had a number of professionals, American as well as European, who have conducted workshops. For example, this October, Carole Johnson of New York will conduct dance workshops at Rizal Park, the large downtown Manila recreation part. At the TJCC, we have had the opportunity to ar range discussions among Filipino dramatists and such unofficial American visitors as Helen Chinoy, Ellen Stewart, Lloyd Richards, Luis Valdez. We have found such individuals to be very helpful in explaining the current state of American theater. I do not think there are sufficient opportuni ties for student exchanges to meet the demand, but ....................................................................... 3 W the demand is so much larger than any exchange pro gram could possibly satisfy that there is little to be done. Visits by American specialists such as those mentioned above, as well as individuals in TV and motion pictures, would be more useful, in my opinion, than sending Filipino students to the U. S. This would enable Filipino theater to adapt American techniques and ideas at the appropriate level and time. Although the library at the Thomas Jefferson Cultur al Center in Manila did not send a list of its holdings, the one in Quezon City did. It has seventy-one collections of plays and individual plays; eighty-one books on theater history, technique, and criticism; twelve recordings of plays, play readings, and lectures about theater; and tapes of ten plays; plus the America on Stage series. This is a series of thirteen half-hour shows, produced by the Univer sity of Wisconsin, reviving portions of American plays from the late 1700s and the 18 00s.^ According to Sigrid Maitrejean, director of the center, the USIS in Quezon City tries to encourage young performers and directors to perform in the center, particu larly with experimental material which does not require sets and costumes. She stated: "This was bred out of necessity, as we have a very small stage and a flat-floored auditorium. We have had some success with our theatrical presentations 3E87 ”78 The USIS Center Library in Cebu has forty-seven books on theater history, technique, and criticism; twenty- five collections of plays and individual plays; and fourteen • rj Q recordings of plays and lectures on American theater. Singapore CAO Joel Anthony Fischman, United States Embassy, Singapore, wrote that there was not much theatrical activity at his post. However, he described a number of past and current projects. Eight years ago an American actor and dramatic author, Romney Brent, came to Singapore under a Department of State Educational and Cultural Exchange grant to direct the presentation of Our Town by a Singapore amateur group. Two musicals, Oklahoma and The Sound of Music, have been performed by Singapore amateur groups in recent years, the former in 1969, the latter in 1971. This embassy provided facilitative assistance in ob taining performance rights and music scores. Amateur theater groups are now beginning to dis play greater interest in performing quality American plays. Two significant examples are the Stage Club's very credible performance last month of Saroyan's The Cave Dwellers, and The Experimental Theater Club has publicly announced its intention to perform Paddy Chayefsky's The Tenth Man in November. This office is encouraging efforts such as these and assisting in obtaining performing rights when needed. Singapore's two major universities do not now offer courses in theatrical arts and at the moment there are no active local professional groups. However, T8~8l we are assisting the English Department of the Univer sity of Singapore in hiring an American drama instruc tor. As part of the same project, we plan to offer a scholarship to a Singaporean graduate student to study drama in the United States. Current plans also include making Chinese trans lations of a number of plays (Wilder's Our Town, The Skin of Our Teeth, The Matchmaker, and Miller's Death of a Salesman) available to Nanyang University for performances by that university's amateur drama group. In answer to your second question, I prefer to encourage performing groups to make a choice. This was the case in both The Cave Dwellers and The Tenth Man. I personally have doubts whether the latter was a good choice for Singapore; although an excellent play, it might be very difficult to produce. Never theless, it was their choice and I encourage it.®® Remarks Despite the ongoing Vietnamese war, the USIS sup ported binational center theater work in Saigon and small teams of Vietnamese actors who took anti-Vietcong skits to the provinces. Such activities raise the question of why, in so many countries during peaceful times, does the United States government consider theater an easily dispensable Item? Does it underestimate theater's ability to create interest in the United States or to carry a message favor able to the United States? In the majority of East Asian and Pacific countries, financial and linguistic problems have kept USIS use of ; 3' B ' g - theater at a minimum. Why? Linguistic problems can be overcome; even financial ones can. By supporting the trans lation of more United States plays and enabling foreign locals to act in them, USIS helps solve linguistic problems at the very time it encourages local involvement in United States theater. The binational center in Beirut, as pre viously mentioned, has already proved such activities can create rather than expend a center's resources. In addi tion, the type of United States theater support most needed in East Asia and the Pacific are workshops and theater specialists, two of the least expensive types of theatrical efforts the United States government can support and ones which easily incorporate a foreign language as only a few Americans, rather than an entire company of actors, need know it. As reports on the Japanese theater scene indicate, anti-United States movements, which do not come to a con clusion always at war's end, can be combatted through United States theater. 3’ 9 ' 0 Footnotes ■*"USIS Taipei field message, Spring 1960. 2Ibid., Fall 1969. List received from staff at USIS library at Kao Hsiung, Taiwan, October 1972. ^List received from staff at USIS library at Tainan, Taiwan, October 197 2. ^Letter from Kenneth C. Wimmel, Cultural Programs Director, United States Embassy, Taipei, Taiwan, 20 October 1972. Letter from I cheng Loh, Minister-counselor (Infor mation) , Chinese Embassy, Washington, D. C., and Director, Chinese Information Service, New York, 24 July 1972. ^USIS Hong Kong field message, Fall 1967. 8 Letter from Leon M. S. Slawecki, CAO, United States Consulate General, Hong Kong, 19 May 1972. 9 . . Letter from Edward S. Ifshin, Deputy Director, American Center, American Embassy, Tokyo, Japan, 17 June 1972. ■^"Clurman Drama Demonstration Team," Strengthening Cultural Bonds Between Nations Through the Performing Arts (Report on the Cultural Presentations Program of the Depart ment of State, July 1, 1964-June 30, 1965 (Washington, D. C.: U. S. Government Printing Office, 1966), p. 22. ■^American Embassy Tokyo airgram to Office of Educa tional and Cultural Affairs, Department of State, 21 Novem ber 1968 (on file at USIA/ICS, Washington, D. C.). 12Ibid. 1 3 Interview with John F. McDonald, Japanese Special ist, Office of Educational and Cultural Affairs, Department 3 9 1 ] of State, Washington, D. C., 4 December 1972. 14 Letter from Charles B. Fahs, Miami University of Ohio, 7 October 1972. 15 "American Cultural and Educational Interchange with Japan: A Report to the Sixth United States-Japan Con ference on Cultural and Educational Interchange," prepared by Donn M. Chown (unpublished, 21-24 June 1972), pp. 21-22. 1 Letter from Albert Ball, Director of American Center, Osaka, Japan, 24 April 197 2. 17 Letter from Robin A. Berrington, Director, Fukuoka American Center, Fukuoka, Japan, 4 May 1972. 1 f t USIS Seoul field message, Fall 1963. ■^Ibid., Spring 1963. 2®Ibid. 21Ibid., 21 June 1972. 22 Letter from Blanchard K. Parsons, Director, Ameri can Cultural Center, Pusan, Korea, 16 October 1972. 23 Letter from Hyand Shin Kim, USIS Kwangju Library, Kwangju, Chollanamdo, Korea, 17 October 1972. 24 Letter from Mary Frances Cowan, CAO, United States Embassy, Rangoon, Burma, 23 May 1972. 25 Letter from Carl Taylor, Jr., American Consul, United States Consulate, Mandalay, Burma, 8 May 1972. Letter from William B. Stubbs, Information Offi cer, United States Embassy, Phnom Penh, Khmer Republic (Cambodia), 4 May 1972. 27 Letter (translated from the French) from Seng Neary, Counselor, Embassy of the Republic Khmer, Washing ton, D. C., 2 November 1972. 2 8 Letter from Wilfred P. Allard, Cultural Attach^, United States Embassy, Vientiane, Laos, 5 May 1972. 3 29 Letter from Richard M. Hughes, former Director, Lao-American Association in Vientiane, Laos, 19 May 1972. 30 Letter from John M. Reid, Director, Lao-American Association, Vientiane, Laos, 2 June 1972. ^^USIS Bangkok field message, 26 September 19 67. ^Letter from Assistant CAO David K. Krecke, USIS Bangkok, to John A. Fredenburg, Thai Desk Officer, USIA Washington, 9 April 1971 (on file at USIA/ICS Washington, D. C .) . 33 Letter from Francis P. Coward, Education Officer, USIS, United States Embassy, Bangkok, Thailand, 9 May 1972. ■^Letter from Edward W. Holland, Jr., Assistant PAO, United States Embassy, Chiang Mai, Thailand, 3 May 1972. 3 5 Letter from David G. Smith, Branch PAO and Consul, United States Consulate, Chiang Mai, Thailand, 13 October 1972. O /T Letter from Donald M. Sladkin, Branch PAO, United States Consulate, Songkhla, Thailand, 2 May 197 2. 37 Letter from James D. Burns, Branch PAO, USIS Khon Kaen, Thailand, 15 October 1972. 3 8 Letter from Anne Hendricks, former Peace Corps Volunteer, Bangkok, Thailand, 8 October 1972. 3 9 Thomas C. Sorensen, The Word War; The Story of American Propaganda (New York: Harper and Row, Publishers, 1968), p. 281. 4®Ibid. , p. 285. 4^Ibid., pp. 285-86. ^Interview with Flemming E. Nyrop, former Provin cial Psychological Operations Advisor, USIS Saigon, Vietnam, October 1971, Washington, D. C. 4^Letter from Ricardo C. Galang, Civil Operations and Development Support, Bien Hoa Region, Vietnam, 28 April 1972. 393 4 4 Letter from Ricardo C. Galang, Civil Operations and Development Support, Bien Hoa Region, Vietnam, 15 May 1972. 4 5 USIS Saigon field message, Fall 1961. ^Ibid., Summer 1964. 47 r Letter from William F. DeMyer, Cultural Attache, United States Embassy, Saigon, Vietnam, 23 May 1972. 4 8 Letter from Daniel J. Herget, Director, Vietnam- ese-American Association, Saigon, Vietnam, 3 May 197 2. 4 9 . Lists supplied m October 1972. 50 Letter from Lawrence M. Thomas, Director, American Cultural Center, Cantho, Mekong Delta, Vietnam, 18 October 1972. ^Letter from Myron A. Baskin, Cultural Attach^, United States Embassy, Canberra, Australian Capital Terri tory, Australia, 19 June 1972. 52 Letter from Frances D. Cook, Consul and CAO, United States Consulate General, Sydney, New South Wales, Australia, 20 October 1972. 53 Letter from Patricia Kennedy, Theater Consultant, Australian Council for the Arts, Sydney, New South Wales, Australia, 6 November 197 2. 54 Letter from John R. Sharpham, Australian graduate student, University of Colorado, Boulder, Colorado, 27 April 1972. 55Ibid. 5 6 Letter from Robert W. Becker, Second Secretary, United States Embassy, Suva, Fiji, 18 May 1972. 57 Letter from Richard Haag, Program Training Offi cer, Peace Corps, Suva, Fiji, 11 July 1972. 5 8 Letter from Assistant CAO Joseph S. Fazekas, Lem- baga Indonesia-Amerika, Djakarta, Indonesia, 15 May 1972. 394 59 Letter from Hendarsm Hendamihardja, Assistant Educational and Cultural Attach^, Embassy of Indonesia, Washington, D. C., 13 July 1972. ^Letter from Assistant CAO Roy M. Payne, Director, Lembaga Indonesia-Amerika, Surabaja, Indonesia, 4 May 1972. ^USIS Kuala Lumpur field message, Fall 19 68. ^Ibid. , Spring 1965. go Letter from Edward H. Mattos, Director of Public Affairs, John F. Kennedy Center for the Performing Arts, 9 June 1972. ^Letter from Leong Hew Meng, Information Attache, Embassy of Malaysia, Washington, D. C., 21 September 1972. 65Ibid. g g Letter from Charles C. Ranson, CAO, United States Embassy, Kuala Lumpur, Malaysia, 14 November 1972. 67 Letter from Russ Vogel, Peace Corps Volunteer, Kuala Lumpur, Malaysia, 7 August 197 2. 6 8 Letter from D. J. O. Caffin, First Secretary, New Zealand Embassy, Washington, D. C., 25 July 1972. 69 Letter from CAO J. Michael Houlahan, United States Embassy, Wellington, New Zealand, 15 May 1972. 70 Letter from Irene O. Norman, Librarian, United States Embassy, Wellington, New Zealand, 17 October 1972. 71 Renato Constantino, The Filipinos m the Philip pines and Other Essays (quoting Charles Burke Elliot; Quezon City: Malaya Books, 1966), p. 43. 72 Isagam R. Cruz, A Short History of Theater m the Philippines (Manila: n.p., 1971), pp. 160-161. 73Ibid., p. 186. ^Rosalinda L. Orosa, "Turbulant Theater," The Fookien Times Yearbook 171 (Manila: reprint, 1971), p. 283. T9' 51 75 Letter from Edward H. Mattos. 76 Letter from Allan B. Croghan, Assistant CAO, United States Embassy, Manila, Philippines, 1 June 1972. 77 . . . Letter from Sigrid Maitrejean, Director, Thomas Jefferson Cultural Center, Quezon City, Philippines, 13 October 197 2. 78 Ibid. 79 Letter from Charles J. Lahey, Branch PAO, United States Consulate, Cebu, Philippines, 6 December 1972. 80 Letter from Joel Anthony Fischman, CAO, United States Embassy, Singapore, 15 May 1972. CHAPTER VIII EASTERN EUROPE AND SOVIET UNION: THE CURTAIN RISES A new phase in international cultural relations began when the United States government used theater to pro mote relations with Eastern European countries. Until then, the United States primarily used theater to compete with them in establishing cultural relations with the rest of the world. Eastern Europe Bulgaria The first contact United States drama students ever had with their counterparts in Bulgaria was in 1967 when the University of Kansas theater group visited Bulgaria in a State Department-supported tour of eastern European coun tries. Restrictions imposed by Bulgarian authorities limit such contacts, however, according to Arnold J. Silverman, press and cultural officer, United States Embassy, Sofia.'*' 396 397 Our situation here does not resemble in the least the usual environment in which American infor mation and cultural programs are carried out. American theater has not been used by this post, since Bulgarian authorities are not willing to per mit presentations other than those they strictly control. Given the opportunity, I would begin with a small professional company, flexible and portable, prepared to present two or three productions and also conduct workshops in the various elements of theater production and presentation. I would choose one American work that is already in the repertory of a Bulgarian theater group— Streetcar Named Desire, various works of O'Neill, Miller's The Price, Indians by Kopit, and another one or two which would be new here. I would not select an experimental work, as I do not think local audiences are ready for such.^ Nonetheless, American theater is given space on Sofia's own stages. An Embassy Sofia field message to the USIA in 19 67 reported the following productions in one sea son alone: Arthur Miller's After the Fall; Murray Schisgal's Luv; a dramatized version of three J. D. Salinger short stories, Green My' Eyes, Pretty My Mouth, A Good Day for Banana Fish, and Acne; Albee's Who's Afraid of Virginia Woolf? (in its third season); My Fair Lady; and Kiss Me Kate.3 Czechoslovakia The Kansas University student theater group that 39’ 8 visited Sofia also performed during 1964-69 in Prague, Czechoslovakia, and in cities of four other Eastern European countries: Yugoslavia, Poland, Romania, and Hungary. Under sponsorship of the State Department’s Eastern European Division of the Bureau of Educational and Cultural Affairs, this group toured during April and May of each year, per forming scenes from various plays to audiences of both stu dents and the general public. It was called a demonstration team and was comprised of six students and one faculty mem ber. Its purpose was to permit American students to observe the training methods used in European theater academies and to demonstrate the techniques and methods of an American liberal arts curriculum.^ Originally the proposal, worked out by then-director of the Kansas University Theater, Lewin Goff, during his Fulbright year in Vienna, had been for an exchange program. Although it did not result in an entirely equal exchange, three student companies from two Yugoslavian academies did visit the University of Kansas during the same years that the Kansas demonstration team visited Warsaw, Prague, Brat- islavia, Brno, Belgrade, Zagreb, Ljubljana, Sofia, Budapest, 5 and Bucharest. 399 Hungary No response to the questionnaire was received from the United States Embassy in Budapest. Poland Few United States government-sponsored theatricians have been sent to Poland. Those who have included the Kan sas University student group previously mentioned and Ful- bright lecturers who have occasionally directed student productions in Poznan, Lodz, Cracow, and Warsaw. In addi tion, there have been three to five Catholic University drama students sent annually since 1970 to the Poznan Eng- list language seminar for second-year university English majors. Funded under the State Department's American Spe cialists program, they have performed on- and off-Broadway material during an annual three-week course attended by hundreds of future secondary school and university English teachers.^ Aside from these, American theater groups visiting Poland have done so privately. If more were to be sent officially, James J. Mandros, consul for press and cultural affairs, United States Consulate, Poznan, suggested they be ''modern, young and experimental" to coincide with the Poles' 7 sophisticated theatrical taste. TO'Q Romania According to CAO Arthur W. Lewis at the United States Embassy in Bucharest, the only government-sponsored American theater group ever to visit Romania was that of the Kansas University drama group in 1968. It was my understanding that they were well received for an amateur group. Their impact on Romanian theater and their promoting goodwill toward the United States is not a measurable quality; how ever, on occasion one still hears from Romanians pleasant remarks concerning their visit. Although theater arts are well developed in Romania, all productions take place in existing the aters, and there is nothing here comparable to the street theater of the United States or the so-called revolutionary theater. Such phenomena would be out of the question in a rigorously controlled society such as Romania1s. We at the embassy, if the choice were ours, would like to see American cafe and experimental theater visit Romania. We also would like theater workshops and, indeed, the large Broadway-type musi cals which the Romanians have never seen except for a few motion pictures. That musical genre is so typically American that we feel its impact on Romania would be tremendous. While few American theater people have visited Romania, exchanges in the opposite direction have been larger. Some Romanian stage and set directors have visited the United States. Many of these ex changes have occurred in the framework of the exchange program.® 401 Union of Soviet Socialist Republics The first appearance of an American theatrical troupe in the U.S.S.R. was the four-week tour of Porgy and Bess presented by the Everyman Opera company in 1955. It received excellent reviews in the Soviet press and, among other things, brought American black artists to the Soviet q stage for the first time. This tour would not have been possible a few years earlier. Not until the death of Stalin in 1953 did the U.S.S.R. begin using cultural activities significantly in its relations with foreign countries. Although furthering cultural exchange had been a principal proposal at the summit conference of 1955, nothing was finalized until the negotiations of late 1957-early 1958. Those negotiations resulted in a two-year bilateral U. S.-U.S.S.R. agreement in January 1958. It provided for a wide range of exchanges, including those of performing groups and individual artists.10 In 1972 and 1973, after a series of such two-year contracts, the agreement was broad ened to include cooperation as well as exchanges. This reflected both countries' desire to move from the more tra ditional exchange of persons and delegations to cooperative endeavors concerning common problems. In addition, the new 4CT2~ agreeinent provided almost twenty percent expansion in the number of overall exchanges. In the performing arts, the number of group exchanges during a two-year period was in creased to six, a new high under these agreements.^ While small compared to United States exchange programs with western Europe, the U. S.-U.S.S.R. agreement accounts for the largest and most varied exchange program between the United States and an Eastern European country. Under this agreement, seven Americans, including four prominent writers (among them playwright Paddy Chayefsky) visited the Soviet Union in 1959. They spent one month meeting with contem porary Soviet writers and journalists in Moscow, Leningrad, 12 Kiev, and Tashkent. During the earlier part of the next year, a company of forty-seven performers toured a production of My Fair Lady for twenty-eight days in Moscow, Leningrad, and Kiev. All performances were sold out; those not able to attend could view it on television; and it was received and re- 13 vxewed highly favorably. In 1972, when Russia's Minister of Culture, Mme. Ekaterina Furtseva, toured the United States with her aide, it was in exchange for the earlier visit of the American playwriting team of Jerome Lawrence and Robert E. Lee to 4 0 3 the Soviet Union in November 1971. The Russians were already familiar with Lawrence and Lee before their trip. Their Inherit the Wind dramatization of the Scopes Monkey Trial was available in Moscow, and U. S. Embassy Moscow officials had seen their more recent 14 The Night Thoreau Spent in Jail. In 1972, following his Russian sojourn, Lee, then a teacher at the University of California, Los Angeles, re marked : There are far too few such exchanges. The Rus sians are crying to see Americans perform their own plays. They are familiar with our great plays, but they haven't seen us perform them. And, as for there being a language barrier, the Russians know English better than they do Romanian. Lawrence and Lee's experience shows that the bene fits of exchange need not end with the grantees' return flight. They continue to correspond and to work on projects with their Russian counterparts. At UCLA in the spring of 19 72, for example, Lee directed the Russian play, Ten Days That Shook the World. At the same time, Zinovii Karagotski directed Michael Stronion's translation of Thoreau at Mos- X 6 cow's Young Spectators' Theater. The Russians finally saw Americans perform American plays in the fall of 197 3. Under the Cultural Presentations Program, Inherit the Wind and Our Town, produced by Zelda 4-0- 4- Fichandler for the Washington, D. C., Arena Stage, toured Russia for two weeks. The company of sixty-eight members, ten tons of scenery and one monkey, played at the Moscow Art Theater Filial and the Pushkin Theater in Leningrad. Both facili- 17 ties were equipped with simultaneous translation systems. Perhaps because of Mrs. Fichandler and associate 18 artistic director Alan Schneider’s knowledge of Russian, perhaps because of the cast's enthusiasm, the Americans were warmly received on a personal as well as a professional 19 level both in the streets and at receptions. Both plays were well received, although Inherit the Wind proved to be more intelligible and more appealing to 20 the Russian dramatic sense than did Our Town♦ Yugoslavia American plays have been given much time on Yugo slavian stages. Edmund A. Bator, first secretary, cultural affairs, United States Embassy, Belgrade, discussed their popularity and whether, or how, the United States should contribute officially to that picture. In considering what uses of American theater in Yugoslavia have been the most important in promoting goodwill toward the United States, evaluations must be made from individual Yugoslav reaction and from . 4 '0 ^ personal observation. I find that reactions tend to be enthusiastic, among younger people, for experimental theater and dance; middle aged Yugoslavs are more conservative and, like many Americans, deplore new trends which they personally consider vulgar, obscene or shocking. Nevertheless, there,is a tendency among Yugoslav theaters, when importing groups from abroad, to invite the new, innovative theater companies from the United States; i.e., La Mama from New York, The Open Theater, Theatre of the Ridiculous and dance groups like Alwin Nikolais, Murray Louis, Dance Theater of Harlem have all been brought to Yugo slavia commercially within the last two years. The American Embassy does little to financially aid their appearance, but we often act as a line of communication, on a selective basis, to facilitate contact. On occasion, as for the Nikolais, Louis and Har lem companies, we (the American Embassy or the De partment of State) have offered a small grant to the Yugoslav sponsor. In my own view, and this is strictly a personal observation, the experimental theater groups which played in Yugoslavia have had, on balance, a posi tive effect on the creation of goodwill between the United States and Yugoslavia; or, rather, I should say they have had a positive effect in the creation of respect for the social system which con dones the existence of creative freedom and toler ance for the innovative in the arts, even though some of this art is controversial. Yugoslavs have a strong interest in new approaches and, in fact, experimental theaters have sprung up in Belgrade, Zagreb, Ljubljana and Sarajevo. But neither street theater nor protest theater has developed locally, although it does have its fol lowers. In 1971 the Annual Belgrade International The ater Festival (BITEF) invited a number of European and American street theater, protest theater or avant-garde participants. The 197 2 BITEF will probably feature American groups such as The Free Street Theater of Chicago and the Urban Arts Cor poration of New York along with the Merce Cunningham Dancers and, perhaps, La Mama. Although local street theater has not yet blos somed forth, close allies in the experimental field have flourished. Belgrade, in particular, with its Atelje 212, a 10-year-old experimental theater es tablishment, has staged some offshoot productions of remarkable talent and versatility, namely a recent allegorical production of a hippie Hamlet (schooled in the La Mama approach to body acting) which won the Belgrade City prize. The director and lead actors were brought to New York by Ellen Stewart, and later the Yugoslavs were invited to play in Amsterdam and other European cities— with great success. Coincidentally, a Zagreb theater's production of another version of Hamlet, with local political overtones, played in a garage setting at BITEF last year and won top honors at the festival. Otherwise, Atelje 212 was first in Yugoslavia to stage such plays as Who's Afraid of Virginia Woolf? back in 1961; the American rock-musical Hair has been part of the Atelje 212 repertoire for three years and currently they are putting on Jesus Christ, Super- star. Paul Foster's Tom Paine also is under consid eration, as are other off-Broadway plays. Other theaters in Belgrade have staged their own American-originated productions, such as Zindel's The Effect of Gamma Rays on Man-in-the-Moon Mari golds , Albee's All in the Garden, Sandbox and The Zoo Story, Anderson's You Know I Can11 Hear You When the Water's Running, Mark Twain's Punch, Brother, Punch, an adaptation of Hemingway's For Whom the Bell Tolls, O'Neill's Mourning Becomes Electra, Miller's View from the Bridge, Clark and Bobrick's Is That You, Norman? and one-act plays such as Next and Not Enough Rope. In addition, American musicals are becoming in creasingly popular. Within the last three years, musicals staged locally in Belgrade or Zagreb in clude Fiddler on the Roof, Hello, Dolly, Promises, Promises, Man of La Mancha and Porgy and Bess. The embassy encourages but does not finance their production; nevertheless, it does offer facilitative support in locating and expediting the shipment of scripts, assists with copyrights and sometimes helps locate and finance American consul tants . To sum up, I think the American theater, with its predilection toward freedom of experiment, albe it outrageous at times, captures the imagination of any society whose playwrights and plays are circum scribed by restrictive ideology. Abroad, the USA is considered a leader in the field of theater arts, precisely because it gives vent to diverse views— social, political, cultural— not all in good taste, not all good theater. Consequently, it is one of the chores of a U.S. cultural representative abroad to use discretion and common sense in selecting works for foreign dis play under the sponsorship of the United States government. Selection criteria involve not only the artistic merit of a given drama but those qualities which promote the best interests of the USA as a free and open society. Under the circumstances, I think you will agree that the selection of American theater for represen tation abroad can be a delicate matter and, perhaps, it is best for all concerned that representatives of the United States government abroad exercise pru dence and refrain from becoming either arbiters of good taste or censors in the realm of theater arts. A play may be socially pertinent but critical of domestic or foreign policy; actors may use foul lan guage; but in the framework of the theater this may 408 simply evoke a cathartic insight into issues that matter. This may be good theater, but the question remains: should a government sponsor plays which bad-mouth the nation? Is this conducive to good will? In my opinion, selection criteria are open to numerous subjective decisions which involve more than artistic value. One cannot ignore political judgments; nevertheless, the United States, I be lieve, should strive to identify with the best America has to offer on all cultural levels, irre spective of individual political beliefs, taking into consideration basic moral values, good taste • 21 and plain common sense. The large size of the USIS Belgrade library's the ater holdings reflect the local interest in theater de scribed by Bator. It has some 350 titles on theater, act ing, plays, and related subjects, subscribes to eight per iodicals specifically on theater, and has some thirty 22 recorded plays. The library's director, Thomas H. Raymond, wrote: We also have collections of books and records concerning theater in Novi Sad, Zagreb and Ljubljana libraries. We are very active in keeping up on the latest American productions and purchase scripts of the better plays when they become available. How ever, we face the problem that everyone has, the long delay between New York production and the appearance of the script in printed copyright form.^ In response to the question as to whether the demand for the exchange of persons involved in the theater arts, between the United States and Yugoslavia, has been met, Branco Novakovic, counselor, press and cultural affairs, 409 Embassy of the Socialist Federal Republic of Yugoslavia, Washington, D.C., wrote: "I can easily say no, there has 24 not been enough.” Remarks The United States government's use of theater in promoting cultural relations with Eastern European countries supports in the most direct way possible the very premise or which such programs are based. In light of the many years of Cold War with the United States, Eastern Europe is the ideal testing ground for whether or not exchanging ideas and * culture between countries can increase their mutual under standing and goodwill. "4T0] Footnotes ^"International Exchange--1967, A Report of the Bureau of Education and Cultural Affairs, Department of State (Washington, D. C.: U. S. Government Printing Office, 1968), p. 35. 2 Letter from Arnold J. Silverman, Press and Cultural Officer, United States Embassy, Sofia, Bulgaria, 1 June 1972. 3 United States Embassy Sofia field message, 15 November 1967. 4 . . Letter to Tom P. Rea, Assistant Director, Univer sity Theater, University of Kansas, Lawrence, Kansas, 5 July 1972. ^Letter from Lewin Goff, Chairman, Department of Drama, University of Texas, Austin, Texas, 11 July 1972. 6 Interview with Scott Black, Catholic University drama student, participant in 1971 and 1972 Poznan Univer sity English seminar, September 1972, Washington, D. C. 7 Letter from James J. Mandros, Consul for Press and Cultural Affairs, United States Consulate, Poznan, Poland, 26 May 1972. 8 Letter from Arthur W. Lewis, CAO, United States Embassy, Bucharest, Romania, 2 2 May 197 2. 9 . Frederick C. Barghoorn, The Soviet Cultural Offen sive: The Role of Cultural Diplomacy in Soviet Foreign Policy (Princeton, N. J.: Princeton University Press, 1960), p. 144. ■^Charles A. Thomson and Walter H. C. Laves, Cultural Relations and U. S. Foreign Policy (Bloomington: Indiana University Press, 1963), p. 127. 41] "^U.S., Department of State, Bureau of Public Af fairs, Gist: A Quick Reference Aid on U. S. Foreign Rela tions , No. 82 (Washington, D. C.: Department of State, August, 1972) . 12 U. S., Department of State, The International Educational Exchange Program: 24th Semiannual Report, July- December 1959 (Washington, D. C. : U. S. Government Printing Office, 1960), p. 16. 13 U. S., President, President's Special Internation al Program, Eighth Semiannual Report, January 1-June 30, 1960 (Washington, D. C.: Government Printing Office,. 1960), p. 22. 14 Glenn M. Loney, "Behind the Soviet Scenes: Law rence and Lee Tour USSR," Theater Design and Technology, May 1973, pp. 13-17. 15 Interview with Robert E. Lee, Los Angeles, Calif., December 1972. 16 Ibid. 17 Louise Lague, "Arena Has Its Day in D.C.: Tomor row, the Soviet Union," Washington Star-News, 28 September 1973. 18 Richard L. Coe, Arena on the Move," The Washington Post, 29 July 1973. 19 Louise Lague, "Arena Company Back from Soviet Suc cess," Washington Star-News, 18 October 1973. 20 "Arena Stage Plays Americana in Moscow," The New ¥~ork Times, 8 October 1973, p. 41. 21 Letter from Edmund A. Bator, First Secretary, Cultural Affairs, United States Embassy, Belgrade, Yugoslav ia, 16 August 1972. 0 - 22 Letter from Thomas H. Raymond, Director, USIS jibrary, Belgrade Yugoslavia, 17 October 1972. 23 Ibid. ~4T2 24 Letter from Branco Novakovic, Counselor, Press and Cultural Affairs, Embassy of the Socialist Federal Republic of Yugoslavia, Washington, D. C., 10 August 1972. CHAPTER IX SUMMARY AND CONCLUSIONS Summary During the past quarter century, the United States government has sponsored many American theatrical activities in foreign countries. These activities began in the cultural and informa tional programs of the Department of State and the Foreign Information Service during World War II. They continued with the establishment of the State Department's educational and cultural exchange programs in 1949 and the establishment of the USIA in 1953. Pertinent programs conducted by the USIA have in cluded those in the agency's Voice of America (VOA), Infor mation Center Service (ICS), Press and Publications (IPS), and Motion Picture and Television Service (IMV) . VOA has broadcast radio theater, although decreasingly, since the United States entered World War II. As of 1971, ICS operated 133 information centers and libraries and 35 reading rooms. As 413 . 4. r4 of 1973, ICS was also operating 108 binational centers. Nearly every one of these libraries has a collection on United States theater. Almost every information and bina tional center has some activity involving United States theater. The ICS Bibliographic Division evaluates plays writ ten by United States authors, compiles and distributes recommended play lists to foreign service officers and answers posts' requests for suggestions of suitable American plays for foreign production. ICS also distributes Cultural Scene, a newsletter inaugurated in 1971 to keep foreign service officers abreast of United States cultural matters, including theater. USIS officers can obtain production copies of plays, amateur performance rights, and play production materials through ICS. To the extent possible, ICS also helps pay royalty fees for foreign amateur productions of American plays. The ICS English Teaching Division has used American theater in its English classes abroad for some 350,000 per sons annually. The ICS Book Translation Program increases the availability of plays by United States authors in for eign countries. The ICS Book Presentation Program enables foreign service officers to present plays to foreign 415 leaders, students, and institutions; ICS Program Packages have used theater special programs about the United States at USIS posts. Also a few theater specialists have been encouraged to speak at USIS posts after being contacted by the ICS Voluntary Speakers Bureau. USIS's Press and Publications (IPS) sends columns about United States theater to the USIS posts over its "Wireless File" and articles on United States theater are published in its magazines— primarily Dialogue and America Illustrated— for foreign distribution. Finally, USIA's IMY has produced or secured many films on American theater for distribution abroad. Through the State Department, American theater spe cialists and scholars abroad have been able to lecture about or direct productions of United States theater. Its Cultur al Presentations Program has sponsored professional and student theatrical productions on foreign tours. Beginning with the establishment of the Peace Corps in 1961, even Peace Corps volunteers have extended their use of theater abroad as a practical teaching tool; theater has been a subject in their educational work and, for some, it has been an important extracurricular activity. Ever since these programs began, however, some 416 critics have wondered what part theater should play in United States government international cultural relations. A few have doubted its effectiveness in comparison to the expense of transporting the theatrical productions. Others mention the language barrier inherent in English theater when performed before non-English-speaking audiences. Some have questioned whether professional or student productions have the greater impact on foreign audiences and whether United States government sponsored theater artists should show only the bright side of their country. Until this study was made, it would have been very difficult to analyze the value of the United States govern ment's use of theater abroad. The little information that existed was dispersed throughout various government files. By researching State Department and USIA files, interviewing persons involved in United States government cultural programs abroad, and sending questionnaires to cultural officers at every USIS post, Peace Corps director, and ambassador to the United States, this author compiled the following information. At the great majority of USIS posts, USIS theatrical activities at its binational cultural centers have surpassed in number and value the American theatrical tours sponsored 417 privately or by the State Department. The reason is that productions at the centers can be geared to local tastes and facilities and, if desired, be produced in the local language. The latter is often a necessity if stage produc tions are to have impact beyond the foreign English speak ing community and cultural elite. USIS officers have also pointed out that binational activities aim at genuine coop eration with other countries as they utilize talents of and take direction from foreign participants. Stronger commit ments and greater respect are created when the emphasis is not on what the United States is doing for or to another nation, but with it. In contrast, tours abroad of American theater pro ductions, usually programmed for more than one country in order to justify their transportation expenses, are limited in their suitability for each. The cooperation with foreign locals is also limited. Yet the theatrical productions sponsored by the Department of State's Cultural Presentations Program have proved valuable. In some cities (Paris, Rome, Valetta, Madrid) where theater is well developed, USIS officers have stated that a high calibre of American production should be entered in local festivals or presented on local stages 4 IF < every several years at least. This would help to prevent accusations of American disinterest or misrepresentations by unsuitable American productions. In some countries (particularly those in eastern Europe, Latin America, and Asia), the Cultural Presentations Program offers foreign locals their only chance to see top- notch American theater. There are some exceptions to the need for United States government supported American theater. In England, Canada, and Switzerland there is enough privately-sponsored American theater to render additional productions unneces sary. In Saudi Arabia, Yemen, Burma, Cambodia, and Laos theater does not fit into the local cultural scene. But other than in these countries, USIS officers have indicated a need for resources to permit adequate use of theater in their educational and cultural programs. At some USIS posts and binational cultural centers, USIS use of theater needs only be an increase in the number of American plays used in English language classes or on the shelves of USIS libraries. At others, the primary need for American theater is an increased number of translated Ameri can plays for production or study at the centers, the local theaters, or the schools. In some, where the desire is for 4 T g _ more American play productions, the need is for an increased staff or budget. Where American play production is already an established activity, the need is for an American spe cialist to upgrade the performance or technical level. At others, the only USIS assistance needed is to obtain copy rights, pay royalty fees, and supply scripts and correlative educational materials to local theater groups and, for some, the need may be only to stimulate the translation of Ameiri- can plays into foreign languages. At no post where the use of theater has been pursued by an enthusiastic USIS officer or Peace Corps volunteer has the result seemed not worth the effort. For example, in both Iran and Turkey, a combination of one outstanding Amer ican theater specialist and proper facilities completely changed and raised the prestige of American theater. Even where USIS has spent no money, theater has been used to advantage. In Beirut, USIS assistance in binational productions increased American play production and the price of admission always covered costs. In East Pakistan, now Bangladesh, USIS advisorial support, rather than financial, provided the greatest gain for United States-Pakistani rela tions . The type of United States theater USIS officers ----------------------------------------------------------------4'20 recommend for support varies from post to post. In a few cases, where an American company could be compared to lead ing foreign professional companies, Cultural Presentations Programs should be professional. However, a reputable uni versity or college troupe is often considered just as valu able and, perhaps, preferable. Student troupes cost less to sponsor; their repertoire is frequently of the experi mental type foreigners wish to see; they reach more student audiences; and their members are more enthusiastic about making offstage contacts than their professional counter parts. The latter is important since many USIS officers consider students to be their target audience. USIS officers stress that no entrepreneur should be allowed to charge professional rates for the students1 per formances or to schedule them in theaters where only profes- * sional companies are usually seen. They also warn that judgment must be used in selecting plays for official United States support. In some courtries coarse language and sexu ally explicit subject matter is considered offensive. How ever, too judicious control over plays, even those critical of United States government and society,- can betray one of the most valuable aspects of government-sponsored cultural programs— demonstrating to foreign nations that United ¥zr States artists live and work in a free society. Choosing the right participants for government- sponsored theatrical productions is important. When a the- atrician makes a good impression offstage as well as on, the effect of his or her visit is more than doubled. The selection of suitable presentations is equally important. If it is necessary to use the local language in cultural programming, USIS officers may choose, instead of a theatrical performance, to have a bilingual American spe cialist conduct a workshop in a foreign language, even if money is available for both. Also, a post's location among people unfamiliar with the English language may influence the choice of plays performed. For example, some USIS offi cers have reported that American musicals performed in English can be successful in countries where people would be unable to follow straight drama. Letters from the USIS officers indicate that black artists and plays about the racial situation in the United States are particularly desired in cultural programming for black or biracial societies. Also mentioned was the fact that a production which is easy to mount and disassemble is more likely to be able to tour posts without the adequate transportation facilities 4 -2 2 - required for elaborate productions. One USIS officer suggested an increased use of local radio, television, and school programs in conjunction with touring American troupes in order to broaden their scope. According to reports, stamina of touring artists should be considered. Although the increased use of Ameri can Government-sponsored artists in offstage activities since 19 63 has proved very beneficial and even though the more they can perform in a given amount of time is cost effective, they are not superhuman. Relentless scheduling can make even the best American artists seem mediocre. Replies to the questionnaire indicate a greater de mand for United States theatrical productions and workshops than for an exchange of theatricians between countries. In many countries where the desire for exchanges is great, pri vate sponsors are available. In others, theater is not well enough developed to warrant exchanges. However, some coun tries encourage their theatricians to visit the United States. Despite the priorities of specialists in other fields, a few replies suggested that the influence of out standing theatricians in promoting American culture should not be overlooked. 421 Conclusions The United States government should continue its sponsorship of United States theater abroad. Theater, despite its language barrier, is the one performed art which approximates a literal description of life. It is able to give foreign audiences a more complete picture of life in the United States than dance or music. Yet, precisely be cause theater deals with language and ideas subject to con tention, it has gained less Congressional approval and financial support that other performed arts. Care must be taken to select performers and vehicles suitably representative of the United States, but United States government-sponsored theater abroad should not merely showcase the United States' brightest aspects. By mirroring its struggles as well, theater reflects the American tradi tion of freedom of expression. Past failures to stay within the bounds of good taste should serve as guidelines for con tinuing, not reasons for suspending, such programs. Even in many western European countries where, some have thought, United States government cultural and educa tional programs should be deemphasized, the use of theater has been effective. Based on the cost versus estimated value of USIS theatrical programming in Bonn and Paris, . 4’ 2~4~ theater should be continued at those posts and perhaps in creased at others in western Europe. Because theater programs at binational cultural cen ters may be more precisely targeted for a specific locale than touring productions, they should receive special atten tion. There is a need in foreign countries for professional and amateur productions, theater specialists, and library collections from the United States, but the need in each country is different. Also, binational activities are less expensive than theatrical tours, and they have a special impact due to their dependence upon cooperation between the United States and other countries. However, theatrical productions sponsored by the State Department's Cultural Presentations Program should also be continued and even, in some countries, increased. The United States government, by allowing its theatrical presentations abroad to diminish or its people's theater to be represented only by privately sponsored touring groups which sometimes prove detrimental to the United States' image abroad, is losing prestige. At the same time, Commu nist countries' international programs involving theater are gaining accolades throughout the world. As it stands now, some USIS posts have been so 4 -z 5 - restricted financially that all theatrical endeavors are precluded. Even where funds exist, official policy recog nizing theater as an outstanding vehicle for United States international relations is lacking. The USIA and State Department should receive a known and adequate funding for theater in order to permit more comprehensive planning of theater programs abroad. The government also should make an effort to inform student and professional theatricians of opportunities available to serve USIS posts, and it should strive increas- ingly to utilize privately-sponsored American theater groups touring abroad. A large and varied framework by which American the atrical art and artists can serve to broaden foreign na tions' perspective of the United States is established in the USIA and State Department. The system has matured through twenty-five years of successes and failures. The government and the people of the United States should take advantage of the facilities so painstakingly developed. 426 APPENDIX 1 BLUE BOOKS 427 APPENDIX 1 BLUE BOOKS Following is a list of the books on theater, theat rical personalities, and plays published in Blue Books from 1953 to 1971. Blue Book No. 3 Including Blue Books No. 1 and 2 Books Recommended from 1953-1957 [On Theater and Theatrical [Personalities Aldrich, Richard Stoddard. Gertrude Lawrence as Mrs. A.: An Intimate Biography of the Great Star. New York: Greystone Press, 1954. 414 pp. Allen, Fred. Much Ado about Me. 1st ed. Boston: Little Brown, 1956. 380 pp. American Educational Theater Association. The Educational Theater in Adult Education. Washington: Division of Adult Education Service of National Education Association, 1951. 44 pp. Bakeless, Katherine (Little). In the Big Time: Career Stories of American Entertainers. 1st ed. Phila delphia: Lippincott, 1953. 211 pp. Barnes, Grace. On Stage, Everyone! (Also by Mary Jean Sutcliffe). New York: Macmillan, 1954. 400 pp. 428 T2"9 Bentley, Eric Russell. What Is Theater? A Query in Chron icle Form. Boston: Beacon Press, 1956. 27 3 pp. Binns, Archie. Mrs. Fiske and the American Theater. New York: Crown Publishers, 1955. 43 6 pp. Blum, Daniel C. Great Stars of the American Stage. New York: Greenberg, 1952. 1 vol. A Pictorial History of the American Theater, 1900-1956. Rev. 4th ed. New York: Greenberg, 1956. 319 pp. Bowers, Faubian. Theater in the East: A Survey of Asian Dance and Drama. New York: T. Nelson, 1956. 374 pp. Boyle, Walden P. Central and Flexible Staging: A New The ater in the Making. Berkeley: University of Cali fornia Press, 1956. 117 pp. Burger, Isabel B. Creative Play Acting: Learning Through Drama. New York: A. S. Barnes, 1950. 199 pp. Clark, Barrett Harper. Eugene O'Neill: The Man and His Plays. Rev. ed. New York: Dover Publications, 1947. 182 pp. Crafton, Allan. The Complete Acted Play from Script to Final Curtain (Also by Jessica Royer). New York: F. S. Crofts and Co., 1943. 385 pp. \ Crowther, Bosley. The Lion's Share: The Store of an Enter tainment Empire. 1st ed. New York: Dutton, 1957. 320 pp. Dietrich, John E. Play Direction. New York: Prentice-Hallf 1953. 484 pp. Downer, Alan S. Fifty Years of American Drama: 1900-1950. Chicago: Regency, 1951. 158 pp. Durant, John. Pictorial History of the American Circus (Also by Alice Durant). New York: A. S. Barnes, 1957. 328 pp. ¥37)1 Durham, Frank. Du Bose Heywood: The Man Who Wrote Porgy. Columbia: University of South Carolina Press, 1954. 152 pp. Engel, Edwin Alexander. The Haunted Herdes of Eugene O'Neill. Cambridge: Harvard University Press, 1953. 310 pp. Farnsworth, Marjorie. The Ziegfield Follies, with Introduc tion by Billie Burke Ziegfield. New York: Putnam, 1956. 194 pp. Felheim, Marvin. The Theater of Augustin, Daly: An Account of the Late Nineteenth Century American Stage. Cambridge: Harvard University Press, 195 6. 3 29 pp. Fisher, Caroline E. Children and the Theater (Also by Hazel Glaister Robertson)i Rev. 2nd ed. Stanford: Stan ford University Press, 1950. 235 pp. Gagey, Edmond McAdoo. Revolution in American Drama. New York: Columbia University Press, 1947. 315 pp. Gard, Robert Edward. Grassroots Theater: A Search for Regional Arts in America. Madison: University of Wisconsin Press, 1955. 263 pp. Gassner, John. Producing the Play. With the New Scene Technician's Handbook, by Philip Barber. Rev. ed. New York: Dryden Press, 1953. 915 pp. _________. The Theater in Our Times: A Survey of the Men, Mater.ials and Movements in the Modern Theater. New York: Crown Publishers, 1954. 609 pp. Goodman, Edward. Make Believe: The Art of Acting. With Foreword by Katherine Cornell. New York: Scribner, 1956. 242 pp. Graham, Philip. Showboats: The History of an American In stitute . Austin: University of Texas Press, 1951. 224 pp. Harmer, Mabel. The True Book of the Circus. Chicago: Childrens Press, 1955. 432] Harmon, Charlotte. Broadway in a Barn (also by Rosemary Taylor). New York: Crowell, 1957. 242 pp. Kinne, Wisner Payne. George Pierce Baker and the American Theater. Cambridge: Harvard University Press, 1954 34 8 pp. Heffner, Hubert C., Samuel Selden, and Hunton D. Sellman. Modern Theater Practice. With an appendix on Cos tume and Make-up by Fairfax Proudfit Walkup. 3rd ed. New York: F. S. Crofts and Co., 1946. 501 pp. Hoyt, Harlowe Randall. Town Hall Tonight. Englewood Cliffs, N. J.: Prentice-Hall, 1955. 292 pp. Kahn, Ely Jaques. The Merry Partners: The Age and Stage of Harrigan and Hart. New York: Random House, 1955. 302 pp. Kelly, Emmet. Clown. New York: Prentice-Hall, 1954, 271 pp. Kerr, Walter. How Not to Write a Play. New York: Simon and Schuster, 1955. 244 pp. ____ . Pieces at Eight. New York: Simon and Schuster, 1957. 244 pp. Krutch, Joseph Wood. The American Drama Since 1918: An Informal History. Rev. ed. New York: G. Braziller, 1957. 344 pp. MacGowan, Kenneth, and Melnitz, William. The Living Stage: A History of the World Theater. New York: Prentice- Hall, 1955. 543 pp. McClintic, Guthrie. Me and Kit. ~ ‘ 1st ed. Boston: Little, Brown, 1955. 341 pp. Miller, Helen Louise. Plays for Living and Learning: Twenty-five Dramatic Programs for Classroom and Assembly. Boston: Plays, Inc., 1955. 312 pp. Morris, Lloyd R. Curtain Time: The Story of the American Theater. New York: Random House, 1953. 380 pp. ~ 4 3 ~ 2 1 Muller, Herbert Joseph. The Spirit of Tragedy. 1st ed. New York: Knopf, 1956. 335 pp. Murray, Marian. Circus I From Rome to Ringling. New York: Appleton-Century-Crofts, 1956. 354 pp. Nathan, George Jean. The Theater in the Fifties. 1st ed. New York: Knopf, 1953. 2 98 pp. Nelms, Henning. Play Production: A Guidebook for the Play goer; a Handbook for the Backstage Worker. New York: Barnes and Noble, 1950. 301 pp. Ommaney, Katherine Anne. The Stage and the School. 2nd rev. ed. (also by Pierce C. Ommaney). New York: Harper, 1950. 571 pp. Gvermyer, Grace. America's First Hamlet. New York: New York University Press, 1957. 439 pp. Prideaux, Tom. World Theater in Pictures: From Ancient Times to Modern Broadway. New York: Greenberg, 1953. 253 pp. Quinn, Arthur Hobson. A History of the American Drama from the Civil War to the Present Day. New York: F. S. Crofts and Co., 1936. 296 pp. Robbins, Phillis. Maude Adams: An Intimate Portrait. New York: Putnam.,,. 1956. 308 pp. Ruggles, Eleanor. Prince of Players: Edwin Booth. 1st ed. New York: Norton, 19 53. 4 01 pp. Samachson, Dorothy. Let's Meet at the Theater (also by Joseph Samachson). New York: Abelard-Schuman, 1954. 255 pp. Samachson, Dorothy and Joseph. The Dramatic Story of the Theater. New York: Abelard-Schuman, 1955. 168 pp. Simonson, Lee. The Art of Scenic Design: Pictorial Analysis of Stage Setting and Its Relation to Theatrical Production. New York: Harper, 1950. 174 pp. 433 Smith, Milton Myers. Play Production for Little Theaters, Schools, and Colleges. New York: D. Appleton- Century Co., 1958. 482 pp. Stevens, David Harrison, ed. Ten Talents in the American Theater. With Robert E. Gard and others. 1st ed. Norman: University of Oklahoma Press, 1957. 2 99 pp. Theater. Edited by J. Chapman. New York: Random House, 1953. 564 pp. 1954. 568 pp. 1955. 474 pp. 1956. 501 pp. Theater World. Edited by D. C. Blum. New York. 1953-1954 228 pp. 1954-1955 240 pp. Wells, Helen. Barnum, Showman of America. New York: David McKay Co., 1957. 239 pp. Whiting, Frank M. An Introduction to the Theater. New York: Harper, 1954. 315 pp. Young, John Wray. The Community Theater and How It Works. 1st ed. New York: Harper, 1957. 166 pp. Plays Anderson, Maxwell. High Tor. Washington, D. C.: Anderson House, 1937. 142 pp. The Best Plays. New York: Dodd, Mead. 1954 433 pp. 1955 490 pp. 1956 472 pp. The Best Short Plays. New York: Dodd, Mead. 1954-1955 307 pp. 1955-1956 305 pp. 1957-1958 448 pp. The Best Television Plays of the Year: 1957. Edited by W. T. Kaufman. New York: Merlin Press, 1957. 303 pp. Brings, Lawrence Martin, ed. The Modern Treasury of Christ mas Plays: A Collection of One-Act Plays for Church and School. Minneapolis: Denison, 1955. 536 pp. T3“ 4 Burack, Abraham Saul, ed. Television Plays for Writers; Eight Television Plays with Comment and Analysis by the Authors. Boston: The Writer, 1957. 396 pp. Carlson, Bernice Wells. Act It Out. New York: Abington Press, 1956. 160 pp. Chayefsky, Paddy. Television Plays. New York: Simon and Schuster, 1955. 268 pp. Clark, Barrett Harper, ed. Nine Modern American Plays. New York: Appleton-Century Crofts, 1951. 432 pp. (The Hairy Ape— E. G. O'Neill; Street Scene— E. Rice; Green Grow the Lilacs— L. Riggs; High Tor— S. Anderson; Stage Door— G. Kaufman and E. Ferber; You Can't Take It with You— G. Kaufman and M.- Hart; Abe Lincoln in Illinois— R. Sherwood; The Glass Menagerie-— A. Miller; Command Decision— W. W. Haines) Ferber, Edna, and Kaufman, George S. Stage Door. New York: Dramatists Play Service, Inc., 1938. 165 pp. Foote, Horton, and Harrison, Texas. Eight Television Plays. 1st ed. New York: Harcourt Brace, 1956. 2 66 pp. Gibson, William. The Miracle Worker: A Play for Television. 1st ed. New York: Knopf, 1957. 131 pp. Gassner, John, ed. Twenty-five Best Plays of the Modern American Theater. New York: Crown Publishers, 1949. 756 pp. (Hairy Ape— E. O'Neill; Desire under the Elms— E. O'Neill; What Price Glory?— L. Stallings and M. Anderson; They Knew What They Wanted--S. Howard; Beggar on Horseback— -G. Kaufman and M. Connelly; Craig's Wife— G. Kelly; Broadway— P. Dunning and G. Abbott; Paris Bound— P. Barry; Road to Rome— R. Sherwood; The Second Man--S. N. Behr.man; Saturday's Children— M. Anderson; Porgy--D. and D. Heyward; The Front Page— C. MacArthur and B. Hecht; Machinel— S. Treadwell; Gods of the Lightning— M. Anderson; Street Scene— E. Rice; Strictly Dishonor able— P. Sturges; Berkeley Square— J. L. Balderston; The Clod— L. Beach; Trifles— S. Glaspell; lie— E. O'Neill; Aria Da Capo— E. St. Vincent Millay; Poor Aubrey— G. Kelly; White Dresses— P. Green; Minnie Field— E. D. Conkle) (Goggan), John Patrick. The Hasty Heart. New York: Crown Publishers, 1947. 152 pp. - ____. The Teahouse of the August Moon. Adapted from the novel by Vern Sneider. New York: Putnam, 1952. 180 pp. Hark, Mildred, and McQueen, Noel. Junior Plays for All Occasions: A Collection of Royalty-free Plays in One Act for Children. Boston: Plays, Inc., 1955. 576 pp. _. Teen-age Plays for All Occasions: A Collection of Royalty-free Plays in One Act. Boston: Plays, Inc., 1957. 465 pp. Hart, Moss, and Kaufman, George S'. You Can't Take It with You. New York: Dramatists Play Service, 1939. 126 pp. Hayes, Joseph Arnold. The Desperate Hours. New York: Ran dom House, 1955. 186 pp. Helm, MacKinley. Fray Junipero Serra: The Great Walker. Stanford: Stanford University Press, 1956. 86 pp. Howard, Sidney Coe. They Knew What They Wanted (Theater Guild Version). New York: Samuel French, 1931. 179 pp. Inge, William Motter. Bus Stop. New York: Random House, 1955. 154 pp. - _____. Picnic: A Summer Romance. New York: Dramatists Play Service, 1955. 77 pp. The Jeffersonian Heritage: A Radio Program, ed. and intro. by Dumas Malone; written by Morton Wishengard and others. Boston: Beacon Press, 1953. 165 pp. Kingsley, Sidney. Men in White. New York: Samuel French, 1934. 137 pp. 4 -3 -6 - Kingsley, Sidney. The Patriots. New York: Random House, 1943. 181 pp. Lavery, Emmet. The Magnificent Yankees. New York: Samuel French, 1946. 119 pp. Levin, Ira. No Time for Sergeants. Adapted from the novel by Mac Hyman. New York: Random House, 1956. 17 6 pp. Lindsay, Howard, and Crouse, Russel. The Great Sebastians. New York: Random House, 1956. 177 pp. _________. The Prescott Proposals. New York: Random House, 1954. 168 pp. Loewe, Frederick. My Fair Lady: A Musical Play in Two Acts. Based on Pygmalion by G. B. Shaw. Adaptation and lyrics by Alan Jay Lerner. New York: Coward- McCann, 1956. 186 pp. New Voices in the American Theater. Foreword by Brooks Atkinson. New York: Modern Library, 1955. 559 pp. (Death of a Salesman— A. Miller; Seven-Year Itch— G. Axelrod; Tea and Sympathy— R. Anderson; Caine Mutiny Court Martial— H. Wouk) Odets, Clifford. Golden Boy. New York: Dramatists Play Service, 194 8. 81 pp. O'Neill, Eugene Gladstone. Ah, Wilderness 1 New York: Ran dom House, 1933. 159 pp. . _____. Beyond the Horizon. New York: Dramatists Play Service, n.d. (unpaged) _________. The Emperor Jones; Anna Christie; The Hairy Ape. New York: The Modern Library, 1937. 260 pp. _________. Long Day's Journey into Night. 1st ed. New Haven: Yale University Press, 1956. 17 6 pp. _________. Nine Plays (introduction by Joseph Wood Krutch). New York: The Modern Library, 1941. 8 67 pp. (The Emperor Jones; The Hairy Ape; All God's Chillun Got Wings; Desire Under the Elms; Marco Millions: The TT7 O'Neill, Eugene Gladstone. Plays. New York: Random House, 1951. 3 vols. (I: Strange Interlude; Desire Under the Elms; Lazarus Laughed; The Fountain; The Moon of the Caribees; Bound East for Cardiff; The Long Voyage Home; The Zone; lie; Where the Cross Is Made; The Rope; The Dreamy Kid; Before Breakfast. II: Mourning Becomes Electra; Ah, Wilderness I; All God's ChillunT~~ Got Wings; Marco Millions; Welded; Diff'rent; The First Man; Gold. Ill: Anna Christie; Beyond the Horizon; The Emperor Jones; The Hairy Ape; The Great God Brown; The Straw; Days Without End; The Iceman Cometh.) _______ . A Touch of the Poet. 1st pub. ed. New Haven: Yale University Press, 1957. 182 pp. Playbook: Five Plays for a New Theater. New York: New Di- rections, 1956. 298 pp. (The Death of Odysseus— Lionel Abel; The Ticklish Acrobat— Robert Hirnot; Twilight Crane— Jinji Konoshita; The Immortal Hus band— James Merrill; A Leak in the Universe— L.A. Richards.) Plays: The Drama Magazine for Young People. Christmas Plays for Young People. Christmas Plays for Young Actors: ” A Collection of Royalty-free Stage and Radio Plays. Edited by A. S. Burack. Boston: Play, Inc., 1950. 308 pp. Porter, Cole. Kiss Me Kate: A Musical Play. Book by Samuel and Bella Spewack, lyrics byC. Porter. 1st ed. New York: Knopf, 1953. 147 pp. Quinn, Arthur Hobson, ed. Representative American Plays from 17 67 to the Present Day. 7th ed., rev. andenl. New York: Appleton-Century Crofts, 1953. 124 8 pp. (The Prince of Parthia— Thomas Godfrey, The Contrast — Royall Tyler, Andre— William Dunlap, Superstition— J. N. Barker, Charles the Second— J. H. Payne and Washington Irving, Pocahontas— TJ. W. P. Curtis, The Broker of Bogota— R. M. Bird, Tortesa the Usurer— N. P. Willis, Fashion— A. C. M. Ritchie, Francesca da Rimini— G. H. Boker, The Octoroon— Dion Bouci- cault, Rip Van Winkle as played by Joseph Jefferson, Hazel Kirke— Steele MacKaye, Shenandoah— Bronwon Howard, Madame Butterfly— David Belasco and J. L. Long, The Girl with the 'Green Eyes— Clyde Fitch, The New York Idea— Lanqdon Mitchell, The Witching Hour— Augustus Thomas, The Faith Healer— W. V. Moody, TKe Scarecrow— Percy MacKay, The Boss-Edward Sheldon, He and She— Rachel CrothersT Beyond the Horizon— Eugene O'Neill, Sun-up— Lula Vollmer, The Silver Cord— Sidney Howard, Paris Bound— Philip 438 Barry, Winterset— Maxwell Anderson, Command Decision — W. W. Haines, South Pacific— Richard Rodgers, Oscar Hammerstein II, and Joshua Logan. Rodgers, Richard. Six Plays by Rodgers and Hammerstein. New York: Random House, 1955. 527 pp. (Oklahoma, Carousel, Allegro, South Pacific, The King and I, Me and Juliet) Serling, Rod. Patterns: Four Television Plays with the Author1s Personal Commentaries. New York: Simon anc Schuster, 1957. 246 pp. Sherwood, Robert Emmet. Abe Lincoln in Illinois. New York: C. Scribner's Sons, 1939. 250 pp. Taylor, Samuel Albert. Sabrina Fair: or, A Woman of the World. New York: Random House, 19 54. 182 pp. Very Alice: Round-the-Year Plays for Children: 35 Royalty- free Plays for All Occasions. Boston: Plays, Inc., 1957. 279 pp. Vidal, Gore. Visit to a Small Planet. 1st ed. Boston: Little, Brown, 1957. 158 pp. . Visit to a Small Planet and Other Television Plays. 1st ed. Boston: Little, Brown and Co., 1956. 278 pp. Warnock, Robert, ed. Representative Modern Plays. Chicago: Scott, Foresman, 1952. 758 pp. (Beggar on Horseback . j. . — G.. Kaufman and M. Connelly; The Late Christopher Bean — S. Howard; Biography— S. N. Behrman; Mourning Becomes Electra— O'Neill; Valley Forge— M. Ander son; Waiting for Lefty— Clifford Odets; The Glass Menagerie— A. Miller; Death of a Salesman— A. Miller) Wilder, Thornton. Our Town. New York: Coward McCann, Inc., 1938. 128 pp. The Skin of Our Teeth. New York: Harper and Brothers, 1942. 142 pp. 439 Wilder, Thornton. Three Plays: Our Town, The Matchmaker, The Skin of Our Teeth. New York: Harper, 1957. 401 pp. Williams, Tennessee. The Glass Menagerie. New York: New Directions, 1945. 124 pp. Woolsey, Janette. It's Time to Give a Play: New Plays for All Occasions. Philadelphia: Macrae Smith, 1955. 307 pp. Wouk, Herman. The Caine Mutiny Court-Martial. New York: Doubleday, 1954. 128 pp. Writers Guild of America: Prize Plays for Radio and Tele vision, 1956. New York: Random House, 1957. 309 pp. (Requiem for a Heavy Weight— Rod Serling; Good- Bye , Grey Flannel— J. Harvey Howells; A Night to Remember— George Roy Hill and John Whedon; Bring on the Angels— Allan Sloane; The $99,000 Answer — Leonard Stern and Sydney Zelinka; She Walks in Beauty— Kenneth Kolb; Paper Fox Hole— James Elward; The Penny- — Stanley Niss; Decision for Freedom — Robert S. Greene; The Edgar Bergen Show— Si Rose; The Visitor— Thelma Robinson; The George Gobel Show — H. Kanter, H. Leeds, H. Winkler, and E. Green- baum.) Blue Book No. 6 Books Recommended 1958-1960 On Theater and Theatrical Personalities ftdix, Vern. Theater Scenecraft for the Backstage Technician - and Artist. Illus. Anchorage, Ky.: Children's Theater Press, 1956. 309 pp. Albright, Harry Darkes; Halstead, William P.; Mitchell, Lee, Principles of Theater Art. Boston: Houghton Miff lin, 1955. 547 pp. 440 Aldrich, Richard Stoddard. Gertrude Lawrence as Mrs. A.; An Intimate Biography of the Great Star. New York: Greystone Press, 1954. 414 pp. Allen, Fred. Much Ado about Me. Boston: Little, Brown, 1956. 380 pp. Altman, George. Theater Pictorial: A History of World The ater as Recorded in Drawings, Paintings, Engravings and Photographs. Berkeley: University of California Press, 1953. (unpaged.) American Educational Theater Association. The Educational Theater in Adult Education. Washington: Division of Adult Education Service/National Education Associa tion, 1951. 44 pp. Anderson, Maxwell. Off Broadway: Essays about the Theater. New York: W. Sloane Associates, 1947. 91 pp. Astaire, Fred. Steps in Time. 1st ed. New York: Harper, 1959. 338 pp. Atkinson, Justin Brooks. Broadway Scrapbook. New York: Theater Arts, 1947. 312 pp. Bailey, Howard. The ABC's of Playproducing: A Handbook for the Non-professional. New York: David McKay Co., 1955. 276 pp. Bailey, Mabel Driscoll. Maxwell Anderson: The Playwright as Prophet. New York: Abelard-Schuman, 1957. 200 pp. Bakeless, Katherine (Little). In the Big Time: Career Stories of American Entertainers. 1st ed. Phila delphia: Lippincott, 1953. 211 pp. Barnes, Grace, and Sutcliffe, Mary Jean. On Stage, Every one . New York: Macmillan, 1954. 400 pp. Barrymore, Lionel. We Barrymores (as told to Cameron Shipp). New York: Appleton-Century-Crofts, 1951. 31 pp. Barton, Lucy. Historic Costume for the Stage. Boston: Walter H. Baker Company, 1935. 605 pp. ¥¥r Batchelder, Marjorie Hope. The Puppet Theater Handbook. New York: Harper and Brothers, 1947. 293 pp. Bentley, Eric Russell. What Is Theater? A Query in Chron icle Form. Boston: Beacon Press, 1956. 27 3 pp. Berk, Barbara, and Bendick, Jeanne. How to Have a Show. New York: F. Watts, 1957. 63 pp. Binns, Archie. Mrs. Fiske and the American Theater. New York: Crown Publishers, 1955. 43 6 pp. Blum, Daniel C. Great Stars of the American Stage: A Pic torial Record. New York: Greenberg, 1952. (unpaged! _______. A Pictorial History of the American Theater, 1900-1956. Rev. 4th ed. New York: Greenberg, 1956. 319 pp. Bowers, Faubian. Japanese Theater. Foreword by Joshua Logan. 1st ed. New York: Hermitage House, 1952. 294 pp. . ____. Theater in the East: A Survey of Asian Dance and Drama. New York: I. Nelson, 1956. 374 pp. Bowman, Wayne. Modern Theater Lighting. New York: Harper, 1957. 228 pp. Boyle, Walden P. Central and Flexible Staging: A New The ater in the Making. Berkeley: University of Cali fornia Press, 1956. 117 pp. Buerki, F. A. Stagecraft for Non-professionals. 2d ed. Madison: University of Wisconsin Press, 1955. 131 PP- Burger, Isabel B. Creative Play Acting. New York: A. S. Barnes, 1950. 199 pp. Burris-Meyer, Harold, and Cole, Edward C. Scenery for the Theater. Boston: Little, Brown and Company, 1938. 473 pp. Busfield^ Robert-M^ .The Playwright's Art: Stage, Radio, Television and Motion Pictures. New York: Harper, 44'2 1958. 260 pp. Cahn, William. The Laugh Makers: A Pictorial History of American Comedians. New York: Putnam, 1957. 192 pp. Cheney, Sheldon. The Theater: Three Thousand Years of Drama, Acting and Stagecraft. Rev. ed. New York: Longmans Green, 1952. 592 pp. Chindahl, George Leonard. A History of the Circus in America. Caldwell, Idaho: Caxton Printers, 1959. 27 9 pp. Chorpenning, Charlotte Barrows. Twenty-one Years with Children's Theater. Anchorage, Ky.: Children's Theater Press, 1954. 112 pp. Clark, Barrett H. Eugene O'Neill: The Man and His Plays. Rev. ed. New York: Dover Publications, 1947. 182 pp. Clark, William S., ed. Chief Patterns of World Drama: Aeschylus to Anderson. Boston: Houghton Mifflin Co., 1946. 1152 pp. Clurman, Harold. The Fervent Years: The Story of the Group Theater and the '30s. New York: Hill and Wang, 1957. 302 pp. Cornberg, Sol, and Gebauer, Emanuel L. A Stage Crew Hand book. Rev. ed. New York: Harper, 1957. 291 pp. Corson, Richard. Stage Makeup. 2d ed. New York: Appleton- Century-Crofts, 1949. 211 pp. Crowley, Alice Lewisohn. The Neighborhood Playhouse. New York: Theater Arts Books, 1959. 266 pp. Dean Alexander. Fundamentals of Play Directing. New York: Farrar and Rinehart, Inc., 1941. 428 pp. Debevic, Robert M. Laws Governing Amusements. New York: Oceana Publications, 1960. 96 pp. 443 Derwent, Clarence. The Derwent Story: My First 50 Years in the Theater in England and America. New York: H. Schuman, 1953. 304 pp. Dietrich, John E. Play Direction. New York: Prentice-Hall, 1953. 484 pp. Dolman, John. The Art of Acting. 1st ed. New York: Harper, 1949. 313 pp. Downer, Alan S. Fifty Years of American Drama, 1900-1950. Chicago: Regnery, 1951. 158 pp. Draper, Ruth. The Art of Ruth Draper: Her Dramas and Char acters . 1st ed. Garden City, N. Y.: Doubleday, 1960. 373 pp. Durant, John. Pictorial History of the American Circus. New York: A. S. Barnes, 1957. 328 pp. Durland, Frances Caldwell. Creative Dramatics for Children: A Practical Manual for Teachers and Leaders. Yellow Springs, Ohio: Antioch Press, 1952. 181 pp. Eaton, Walter Pritchard. The Theater Guild: The First 10 Years. New York: Brentano's, 1929. 19 9 pp. Egri, Lajox. The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives. With an introduction by Gilbert Miller. New York: Simon and Schuster, 1946. 294 pp. Ernst, Earle. The Kabuki Theater. New York: Oxford Univer sity Press, 1956. 296 pp. Falk, Doris V. Eugene 01 Neill and the Tragic Tension: An Interpretive Study of the Plays. New Brunswick, N. J.: Rutgers University Press, 1958. 211 pp. Felheim, Marvin. The Theater of Augustin Daly: An Account of the Late 19th Century American Stage. Cambridge: Harvard University Press, 1956. 329 pp. Fergusson, Francis. The Human Image in Dramatic Literature. Garden City, N. Y.: Doubleday, 1957. 217 pp. r 4 _4_ Fergusson, Francis. The Idea of a Theater: A Study of 10 Plays. Garden City, N. Y.: Doubleday, 1953. 255 pp. Fisher, Caroline E., and Robertson, Hazel Glaister. Chil dren and the Theater. Rev. ed. Stanford: Stanford University Press, 1950. 325 pp. Forsee, Aylesa. American Women Who Scored First. Phila delphia: Macrae Smith Co., 1958. 253 pp. i Freedley, George. The Lunts. New York: Macmillan, 1958. 134 pp. Friederick, Willard J., and Fraser, John H. Scenery Design for the Amateur Stage. New York: Macmillan, 1950. 262 pp. Gagey, Edmond McAdoo. Revolution in American Drama. New York: Columbia University Press, 1947. 315 pp. Gard, Robert Edward, and Burley, Gertrude S. Community Theater: Idea and Achievement. 1st ed. New York: Duell, Sloan and Pearce, 1959. 182 pp. Gassner, John. Form and Idea in Modern Theater. New York: Dryden Press, 1956. 289 pp. ___. Masters of the Drama. New York: Dover Publica tions, 1954. 804 pp. _________. Producing the Play, with the New Scene Techni cian 's Handbook by Philip Barber. Rev. ed. New York: Dryden Press, 1953. 915 pp. _________. Theater at the Crossroads: Plays and Playwrights of the Mid-century American Stage. 1st ed. New York: Holt, Rinehart and Winston, 1960. 3 27 pp. _________. The Theater in Our Times. New York: Crown Pub lishers, 1954. 609 pp. Gibson, William. The Seesaw Log: A Chronicle of the Stage Production with the Text of Two for the Seesaw. New York: Knopf, 1959. 273 pp. - 4- 4- 5 Gillette, Arnold S. Stage Scenery; Its Construction and Rigging. New York: Harper, 1959. 315 pp. Goodman, Edward. Make Believe: The Art of Acting. New York: Scribner, 1956. 242 pp. Gorchakov, Nikolai Alexsandrovich. The Theater in Soviet Russia. Translated by Edgar Lehrman. New York: Columbia University Press, 1957. 480 pp. Graham, Philip. Showboats: The History of an American Institution. Austin: University of Texas Press, 1951. 224 pp. Gruver, Elbert A. The Stage Manager1s Handbook. New York: Harper, 1953. 202 pp. Harmon, Charlotte,: and Gay lor, Rosemary. Broadway in a Barn. New York: Crowell, 1957. 242 pp. Hart, Moss. Act One: An Autobiography. New York: Random House, 1959. 444 pp. Heffner, Hubert C.; Seldon, Samuel; and Sellman, Hunton D. Modern Theater Practice: A Handbook for Non-profes sionals . 3rd ed. New York: Crofts, 1946. 501 pp. Henderson, Archibald, ed. Pioneering a People's Theater. Chapel Hill: University of North Carolina Press, 1945. 104 pp. Hewitt, Barnard Wolcott; Foster, J. F.; and Wolle, Muriel Sibell. Play Production: Theory and Practice. Philadelphia: Lippincott, 1952. 4 88 pp. Hewitt, Barnard Wolcott. Theater USA: 1668-1957. New York: McGraw-Hill, 1959. 528 pp. Hirschfeld, Albert. Show Business Is No Business. New York: Simon and Schuster, 1951. 141 pp. Hopkins, Arthur Melancthon. Reference Point: Reflection on Creative Ways in General with a Special Reference to Creative Ways in Theater. New York: Samuel French, 1948. 135 pp. rce Houghton, Norris. But Not Forgotten: The Adventure of the University Players. New York: Sloane, 1952. 346 pp. Houseman, John, and Landau, Jack. The American Shakespeare Festival. New York: Simon and Schuster, 195 9. 95 pp. Hughes, Glenn. A History of the American Theater, 17 00- 1950. New York: Samuel French, 1951. 562 pp. _________. The Penthouse Theater: Its History and Technique. Rev. ed. Seattle: University of Washington Press, 1950. 66 pp. Isaacs, Edith Juliet. The Negro in the American Theater. New York: Theater Arts, 1947. 143 pp. James, Henry. The Scenic Art: Notes on Acting and the Drama, 1872-1901. Edited and with an introduction by Allen Wade. New York: Hill and Wang, 1957. 3 84 pp. Jones, Margo. Theater-in-the-Round. New York: Rinehart, 1951. 244 pp. Kerr, Walter. How Not to Write a Play. New York: Simon and Schuster, 1955. 244 pp. Pieces at Eight. New York: Simon and Schuster, 1957. 244 pp. Kinne, Wisner Payne. George Pierce Baker and the American Theater. Cambridge: Harvard University Press, 1954. 348 pp. Krutch, Joseph Wood. The American Drama Since 1918. Rev. ed. New York: G. Braziller, 1957. 344 pp. Klein, Ruth. The Art and Technique of Play Directing. New York: Rinehart, 1953. 177 pp. Langner, Lawrence. The Magic Curtain: The Story of a Life in Two Fields, Theater and Invention. 1st ed. New York: Dutton, 1951. 498 pp. 447 Le Gallienne, Eva. At 33. New York: Longmans, Green and Co., 1934. 262 pp. _________. With a Quiet Heart: An Autobiography. New York: Viking Press, 1953. 311 pp. Lewis, Robert. Method or Madness? New York: Samuel French, 1958. 165 pp. Macgowan, Kenneth, and Melnitz, William. The Living Stage: A History of the World Theater. New York: Prentice- Hall, 1955. 543 pp. _________. A Primer of Playwriting. New York: Random House, 1951. 210 pp. Malvern, Gladys. Curtain Going Upi The Story of Katherine Cornell. New York: J. Messner, Inc., 1943. 244 pp. Marx, Milton. Enjoyment of Drama. New York: Appleton- Century-Crofts, 1940. 242 pp. McCandless, Stanley Russell. A Method of Lighting the Stage. New rev. 3rd ed. New York: Theater Arts, 1947. 143 pp. McClintic, Guthrie. Me and Kit. Boston: Little, Brown, 1955. 341 pp. McGaw, Charles J. Acting Is Believing. New York: Rinehart, 1955. 177 pp. Millett, Fred Benjamin, and Bentley, Gerald Eades. The Art of the Drama. New York: D. Appleton-Century Com pany, Inc., 193 5. 253 pp. Moody, Richard. Edwin Forrest: First Star of the American Stage. New York: Knopf, 19 60. 415 pp. Morris, Lloyd R. Curtain Time: The Story of the American Theater. New York: Random House, 1953. 380 pp. Nadell, Aeron. The Master Guide to Theater Maintenance. New York (n.p., n.d.). 240 pp. 44£j Nathan, George Jean. The Theater in the '50s. New York: Knopf, 1953. 298 pp. National Council of Teachers of English (Committee on Play list) . Guide to Play Selection. 2d ed. New York: Appleton-Century-Crofts, 1958. 178 pp. Nelms, Henning. Play Production: A Guide for the Playgoer, a Handbook for the Backstage Worker. New York: Barnes and Noble, 1950. 301 pp. _________. Play Production. New York: Barnes and Noble, 1956. 301 pp. Niggli, Josephine. Pointers on Playwriting. Boston: The Writer, Inc., 1945. 114 pp. O'Hara, Frank Hurburt. Invitation to the Theater. New York: Harper, 1951. 211 pp. Ommaney, Katherine Anne. The Stage and the School. New York: Harper, 1950. 571 pp. Oppenheimer, George, ed. The Passionate Playgoer: A Per- sonal Scrapbook. New York: Viking Press, 1958. 623 pp. Overmyer, Grace. America's First Hamlet. Washington Square N. Y.: New York University Press, 1957. 439 pp. Paterek, Josephine D. Costuming for the Theater. New York: Crown Publishers, 1959. 150 pp. Pendleton, Ralph, ed. The Theater of Robert Edmond Jones. Middleton, Conn.: Wesleyan University Press, 1958. 196 pp. Philippi, Herbert. Stagecraft and Scene Design. Boston: Houghton, Mifflin, 1953. 448 pp. Prideaux, Tom. World Theater in Pictures: From Ancient Times to Modern Broadway. New York: Greenberg, 1953. 253 pp. '419 Quinn, Arthur Hobson. A History of the American Drama from the Beginning to the Civil War. New York: F. S. Crofts and Co., 1943. 530 pp. ________i _. A History of the American Drama from the Civil War to the Present Day. New York: F. S. Crofts and Co., 1936. 296 pp. Raphaelson, Samson. The Human Nature of Playwriting. New York: Macmillan Co., 1949. 267 pp. Rice, Elmer L. The Living Theater. New York: Harper, 1959. 306 pp. Robbins, Phillis. Maude Adams: An Intimate Portrait. New York: Putnam, 1956. 308 pp. Rowe, Kenneth Thrope. A Theater in Your Head. New York: Funk and Wagnalls, 1960. 438 pp. Rubin, Joel E., and Watson, Leland H. Theatrical Lighting Practice. New York: Theater Arts Books, 1954. 142 pp. Ruggles, Eleanor. Prince of Players: Edwin Booth. New York: Norton, 1953. 4 01 pp. Samachson, Dorothy, and Samachson, Joseph. The Dramatic Story of the Theater. New York: Abelard-Schuman, 1955. 168 pp. ________ . Let's Meet the Theater. With an introduction by John Gassner. New York: Abelard-Schuman, 19 54. 255 pp. Selden, Samuel, ed. Organizing a Community Theater. Cleve land, Ohio: National Theater Conference, 194 5. 127 pp. Shipley, Joseph Twadell. Guide to Great Plays. Washington: Public Affairs Press, 1956. 867 pp. Sievers, Wieder David. Freud on Broadway: A History of Psychoanalysis and the American Drama. New York: Hermitage House, 1955. 47 9 pp. 450 Simon's Director of Theatrical Materials/ Services and Simonson, Lee. The Art of Scenic Design. New York: Harper, 1950. 174 pp. Simos, Jack. Social Growth through Play Production. New York: Association Press, 1957. 192 pp. Skinner, Cornelia Otis. Family Circle. Boston: Houghton, Mifflin Co., 1948. 310 pp. Smith, Milton Myers. Play Production for Little Theaters, Schools, Colleges. New York: D. Appleton-Century Co., 1948. 482 pp. Sobel, Bernard, ed. The New Theater Handbook and Digest of Plays. Preface by George Freedley. 8th ed. Comp, revised. New York: Crown Publishers, 1959. 749 pp. Sponsler, Whitney R. A Manual for High School and College Theatrical Administration. Hollywood, Ca.: Ameri can Legitimate Theater Service, 1956. 65 pp. Stevens, David Harrison, ed. Ten Talents in the American Theater. Norman: University of Oklahoma Press, 1957. 299 pp. Strickland, Francis Cowles. The Technique of Acting. New York: McGraw-Hill, 1956. 306 pp. Theater World, 1951-52. New York, D. C. Blum, 1952. /an Druten, John. Playwright at Work. New York: Harper, 1953. 210 pp. Information. New York: B. Simon, 1955. 96 pp 1952-53 1953-54 1954-55 1955-56 1956-57 1957-58 1953 1954 1955 1956 1957 1958 Ward, Winifred Louise. Playmaking with Children from Kinder garten through Junion High School. New York: Appleton-Century-Crofts, 1957. 341 pp. ¥51 Wells, Helen. Barnum, Showman of America. New York: D. McKay and Co., 1957. 239 pp. Whiting, Frank M. An Introduction to the Theater. New York: Harper, 1954. 315 pp. Wilde, Percival. The Craftsmanship of the One-Act Play; The New Augmented Edition with a Section on the One-Act Play for Television. New York: Crown Pub lishers, 1951. 436 pp. Wright, Edward A. A Primer for Playgoers: An Introduction to the Understanding and Appreciation of the Cinema, Stage and Television. Englewood Cliffs, N. J.: Prentice-Hali, 1958. 27 0 pp. Young, John Wray. The Community Theater and How It Works. New York: Harper, 1957. 166 pp. _________. Directing the Play. New York: Harper, 1958. 171 pp. Young, Stark. The Flower in Drama, and Glamour: Theater Essays and Criticism. Rev. ed. New York: Scribner. 1955. 223 pp. _________. Immortal Shadows: A Book of Dramatic Criticism. New York: C. Scribner's Sons, 1948. 29 0 pp. _________. The Theater. New York: Hill and Wang, 1954. 124 pp. Plays Anderson, Robert W. Tea and Sympathy. New York: New Ameri can Library, 1956. 126 pp. Best American Plays. Edited by John Gassner. 4th Series. 1951-1957. New York: Crown Publishers, 1957. 648 pp. The Best Plays. 1956-57. New York: Dodd, Mead, 1957. 446 pp 1957-58. 1958. 402 pp 1958-59. 1959. 405 pp T4'5'2" The Best Short Plays. 1955-56. Boston: Beacon, 1956. 1956-57. 1957. Best Television Plays. Vol. 1, Edited by Gore Vidal. New York: Ballantine Books, 1956. Best Television Plays. Vol. 2, Edited by F. Britton. New York: Ballantine Books, 1957. Bentley, Eric Russell, ed. The Modern Theater: Plays. New York: Doubleday, 1955. (Vol. I: Woyzeck--Georg Buchner, Cavalleria Rusticana— Henry Becque, The Threepenny Opera— Bertolt Brecht, Electra— Jean Girandoux) Bierman, Judah; Hart, James; and Johnson, Stanley. The Dramatic Experience. Englewood Cliffs, N. J.: Pren- tice-Hall, 1958. 549 pp. Bissell, Richard Pike. Say Darling. New York: Bantam Books, n. d. Cerf, Bennett Alfred, and Cartwell, Van H^ Twenty-four Favorite One-act Plays. Garden City, N. Y.: Double- day, 1958. 455 pp. (A Memory of Two Mondays by A. Miller; The Browning Version by Terrence Ratti- gan; Twenty-seven Wagons Full of Cotton by T. Wil liams; Sorry, Wrong Number by L. Fletcher; Glory in the Flower by W. Inge; Hands Across the Sea by N. Coward; The Devil and Daniel Webster by S. V. Benet; The Happy Journey by T. Wilder; Here We Are by D. Parker; The Traveler by M. Connelly; The Still Alarm by G. S. Kaufman; The Moon of the Caribbees by E. O'Neill; The Maker of Dreams by Oliphant Down; The Flattering Word by George Kelly; The Tridget of Greva by Ring Lardner; The Apollo of Bellac by Jean Giraudoux; Trifles by S. Glaspell; The Ugly Duckling by A. A. Milne; ; The Jest.' of Hahalaba by. .Lord • Dun- sany; In the Shadow of the Glen by J. M. Synge; Cathleen ni Houlihan by W. B. Yeats; A Marriage Pro posal by Anton Chekhov; Spreading the News by Lady Gregory; A Florentine Tragedy by Oscar Wilde) Chayefsky, Paddy. Middle of the Night. New York: Random House, 1957. 146 pp. 453 Chayefsky, Paddy. Television Plays. New York: Simon and Schuster, 1955. 268 pp. Chorpenning, Charlotte. The Adventures of Tom Sawyer, dramatized from the story by Samuel L. Clemens. Chicago: The Dramatic Publishing Co., 1946. 86 pp. Drinkwater, John. Abraham Lincoln. New York: Houghton- Mifflin Company, 1927. 130 pp. Fields, Dorothy. Annie Get Your Gun (as a straight play without music). Based on the original musical play Chicago: Dramatists Publishing Co., 1952. 84 pp. Fields, Joseph, and Chodorov, Jerome. My Sister Eileen. New York: Random House, 1941. 187 pp. Frings, Ketti. Look Homeward, Angel. Based on novel by Thomas Wolfe.' New York: Scribner, 1958. 186 pp. George, Charles. The Adventures of Huckleberry Finn. Based on Mark Twain Story. Boston: Walter H. Baker Co., 1940. 128 pp. Hansberry, Lorraine. A Raisin in the Sun. New York: Random House, 1959. 14 2 pp. Inge, William M. Bus Stop. New York: Bantam Books, n.d. Four Plays: Come Back Little Sheba, Picnic, Bus Stop, The Dark at the Top of the Stairs. New York: Random House, 1958. 304 pp. Kamerman, Sylvia E., ed. A Treasury of Christmas Plays: Royalty-free Stage and Radio Dramas for Young Play ers . Boston: Plays, Inc., 1958. 509 pp. Lavery, Emmet. The Magnificent Yankee. New York: Samuel French, 1946. 119 pp. Lawrence, Jerome, and Lee, Robert E. Auntie Mame. Based on novel by Patrick Dennis. New York: Vanguard Press, 1957. 182 pp. --------------------------------------------------------- ; ------------------- 4-54 Lindsay, Howard, and Crouse, Russel. The Great Sebastians. New York: Random House, 1956. 177 pp. _________. The Prescott Proposals. New York: Random House, 1954. 168 pp. McCullers, Carson. The Square Root of Wonderful. Boston: Houghton Mifflin, 1958. 159 pp. MacLeish, Archibald. J. B. Boston: Houghton Mifflin, 1958. 153 pp. Marquand, John Phillips, and Kaufman, George S. The Late George Apley. Grosset Publishing Co., n.d. Miller, Helen Louise. First Plays for Children. Boston: Plays, Inc., 1960. 295 pp. Nash, N. Richard. The Rainmaker. New York: Random House, 1955. 182 pp. O'Neill, Eugene Gladstone. Beyond the Horizon. New York: Dramatists Play Service, n.d. _________. The Iceman Cometh. New York: Random House, 1957. 260 pp. ________ . Nine Plays. New York: The Modern Library, 1941. 867 pp. (The Emperor Jones, The Hairy Ape, All God's Chillun' Got Wings, Desire Under the Elms, Marco Millions, The Great God Brown, Lazarus ; Laughed, Strange Interlude, Mourning Becomes Electra) _______ . A Touch of the Poet. New Haven: Yale University Press, 1957. 182 pp. Riggs, Lynn. Green Grow the Lilacs. New York: Samuel French, 1931. 166 pp. St. Clair, Robert. Mark Twain's A Double Barrelled Detec tive Story. Edited and revised by Verne E. Powers. Evanston, 111.: Row, Peterson, 1955. 144 pp. 455 Saroyan, William. The Cave Dwellers. New York: Putnam, 1958. 187 pp. Schary, Dore. Sunrise at Campobello. New York: Random House, 1958. 109 pp. Sherwood, Robert E. Abe Lincoln in Illinois. New York: C. Scribner's Sons, 1939. 250 pp. Spigelgass, Leonard. A Majority of One. New York: Random House, 1959. 142 pp. Taylor, Samuel Albert, and Skinner, Cornelia Otis. The Pleasure of His Company. New York: Random House, 1959. 145 pp. Van Doren, Mark. The Last Days of Lincoln. New York: Hill and Wang, 1959. 152 pp. Wilder, Thornton. Three Plays: Our Town, The Skin of Our Teeth, The Matchmaker. New York: Harper, 1957. 401 pp. Williams, Tennessee. A Streetcar Named Desire. New York: New American Library, n.d. Blue Book No. 9 Books Recommended to Supplement No. 3 and No. 6 in 1963 On Theater and Theatrical Personalities Alexander, Doris. The Tempering of Eugene O'Neill. 1st ed, New York: Harcourt, Brace and World, 1962. 380 pp. Blum, Daniel C. A Pictorial History of the American The ater— 100 Years: 1860-1960. Philadelphia: Chilton Co., 1960. 384 pp. Bowers, Faubian. Japanese Theater. 1st ed. New York: Hermitage House, 1952. 294 pp. _____ . Theater in the East: A Survey of Asian Dance and Drama. New York: Grove Press, n.d. (unpaged). 456 Bowman/ Walter Parker, and Ball, Robert Hamilton. Theater Language: A Dictionary of Terms in English of the Drama and Stage from Medieval to Modern Times. New York: Theater Art Books, 19 61. 428 pp. Cahn, William. The Laugh Makers: A Pictorial History of American Comedians. New York: Putnam, 1957. 192 pp. Cheney, Sheldon. The Theater: 3000 Years of Drama, Acting and Stagecraft. Revised and enlarged. New York: Longmans, Green, 1952. 5 92 pp. Churchill, Allen. The Great White Way: A Re-creation of Broadway's Golden Era of Theatrical Entertainment. 1st ed. New York: Dutton* 1962. 310 pp. Cole, Toby, and Chinoy, Helen Krich, eds. Directors on Directing. Rev. ed. Indianapolis: Bobbs-Merrill, 1963. 463 pp. Ernst, Earle. The Kabuki Theater. New York: Oxford Univer sity Press, 1956. 29 6 pp. Gassner, John. Producing the Play. Rev. ed. New York: Dryden Press, 1953. 915 pp. _________ Theater at the Crossroads: Plays and Playwrights of the Mid-century American Stage. 1st ed. New York: Holt, Rinehart and Winston, 1960. 327 pp. ■ The Theater in Our Times. New York: Crown Pub lishers, 1954. 609 pp. Gelb, Arthur and Barbara.O'Neill. 1st ed. New York: Harper, 1962. 970 pp. Heffner, Hubert C.? Seldon, Samuel; and Sellman, Hunton D. Modern Theater Practice. 4th ed. New York: Apple- ton-Century-Crofts, 1959. 662 pp. Hewitt, Barnard Wolcott. Theater U.S.A.: 1668-1957. New York: McGraw-Hill, 1959. 528 pp. Kerr, Walter. The Theater in Spite of Itself. New York: Simon and Schuster, 19 63. 319 pp. ______________ 457 Macgowan, Kenneth, and Melnitz, William. The Living Stage: A History of the World Theater. New York: Prentice- Hall, 1955. 543 pp. Nadell, Aaron. The Master Guide to Theater Maintenance. New York: n.p., 1955. 240 pp. Nathan, George Jean. The Magic Mirror: Selected Writings on the Theater. Edited by Thomas Quinn Curtis. 1st ed. New York: Knopf, 1960. 262 pp. Rice, Elmer L. The Living Theater. 1st ed. New York: Harper, 1959. 306 pp. Roberts, Vera Mowry. On Stage: A History of Theater. New York: Harper and Row, 1962. 534 pp. Ross, Lillian, and Ross, Helen. The Player: A Profile of an Art. New York: Simon and Schuster, 1962. 459 pp. Saroyan, William. Here Comes, There Goes, You Know Who. New York: Simon and Schuster, 1961. 273 pp. Sobel, Bernard, ed. The New Theater Handbook and Digest of Plays. Preface by George Freedley. 8th ed., com pletely revised. New York: Crown Publishers, 1959. 749 pp. Theater Arts Anthology. Edited by Rosamond Guilder and others. New York: Theater Arts Books, 1961. 687 pp Theater World, 1961-62. v. 18. New York: D. C. Blum, 1962. 256 pp. Tischler, Nancy Marie. Tennessee Williams. New York: Citadel Press, 1961. 319 pp. Tompkins, Dorothy Lee. Handbook for Theatrical Apprentices. New York: Samuel French, 1962. 181 pp. Tynan, Kenneth. Curtains: Selections from the Drama Criti cism and Related Writings. 1st ed. New York: Atheneum, 1961. 495 pp. 458 Wagner, Frederick, and Brady, Barbara. Famous American Actors and Actresses. New York: Dodd, Mead, 1961. 159 pp. Who1s Who in the Theater: A Biographical Record of the Contemporary Stage. 13th ed. London: I. Pitman, 1960. 1,594 pp. Whiting, Frank M. An Introduction to the Theater. Rev. ed. New York: Harper, 1961. 3 69 pp. Young, Stark. Immortal Shadows: A Book of Dramatic Criti- cism. New York: C. Scribner's Sons, 1948. 290 pp. Plays Ardrey, Robert. Shadow of Heroes. London: Collins, 1958. 127 pp. The Best Plays: 1959-60. New York: Dodd, Mead, 1960. 1960-61. 1961. 1961-62. 1962 The Best Short Plays: 1959-60. New York: Dodd, Mead, 1960. 280 pp. Cosgrove, Frances, ed. Scenes for Student Actors: Dramatic Selections from New Plays. New York: Samuel French, 1958. 106 pp. Coxe, Louis Osborne, and Chapman, Robert. Billy Budd. Based on the novel by.Herman Melville. New York: Hill and Wang, 1962. 90 pp. Dias, Earl J. One-act Plays for Teen-agers: A Collection of Royalty-free Comedies. Boston: Plays, 1961. 839 pp. Gardner, Herb. A Thousand Clowns. New York: Random House, 1962. 126 pp. TOT Gassner, John, ed. Twenty Best Plays of Modern American Theater. New York: Crown Publishers, 1939. 874 pp. (Winterset by M. Anderson; High Tor by M. Anderson; Idiot's Delight by R. E. Sherwood; Johnny Johnson by P. Green; Green Pastures by M. Connelly; You Can’t Take It with You by G. S’. Kaufman and M. Hart; End of Summer by S. N. Behrman; The Animal Kingdom by P. Barry; Boy Meets Girl by B. and S. Spewack; The Women by C. Boothe; Yes, My Darling Daughter by Mark Reed; Three Men On a Horse by G. Abbott and J. C. Holm; The Children's Hour by L. Heilman; Tobacco Road by J. Kirkland and E. Cald- j well; Of Mice and Men by J. Steinbeck; Dead End by S. Kingsley; Bury the Dead by I. Shaw; The Fall of the City by A. MacLeish; Golden Boy by C. Odets; Stage Door by E. Ferber and G. S. Kaufman) ■ ■ . Best Plays of Modern American Theater. New York: Crown Publishers, 1947. 776 pp. (The Glass Menag erie by T. Williams; The Time of Your Life by W. Saroyan; I Remember Mama by J. Van Druten; Life with Father by H. Lindsay and R. Crouse; Born Yesterday by G. Kanin; The Voice of the Turtle by J. Van Druten; The Male Animal by J. Thurber and Elliott Nugent; The Man Who Came to Dinner by G. S. Kaufman and M. Hart; Dream Girl by E. Rice; The Philadel phia Story by P. Barry; Arsenic arid Old Lace by J. Kesselring; The Hasty Heart by J. Patrick; Home of the Brave by A. Laurents; Tomorrow the World by J. Gow and A. D’Usseau; Watch on the Rhine by L. Heilman; The Patriots by S. Kingsley; Abe Lincoln in Illinois by R. E. Sherwood) _. Twenty-five Best Plays of Modern American The ater. New York: Crown Publishers, 194 9. 756 pp. (listed previously.) ________ . Best American Plays: 1945-51. New York: Crown Publishers, 1952. 707 pp. (Death of a Salesman by A. Miller; A Streetcar Named Desire by T. Williams; The Iceman Cometh by E. O'Neill; The Member of the Wedding by C. McCullers; The Autumn Garden by L. Heilman; Come Back, Little Sheba by W. Inge; All My Sons by A. Miller; Detective Story by S. Kingsley; Billy Budd by L. 0. Coxe and R. Chapman; Medea by R. Jeffers; Mister Roberts by T. Heggen and J. 460 Logan; State of the Union by H. Lindsay and R. Crouse; Darkness at Noon by S. Kingsley; Anne of a Thousand Days by M. Anderson; Bell, Book and Candle by J. Van Druten; The Moon Is Blue by F. H. Herbert; Summer and Smoke by T. Williams) Gassner, John, ed. Best American Plays: 1951-57. New York: Crown Publishers, 1958. 648 pp. (I Am a Camera by J. Van Druten; Cat on a Hot Tin Roof by T. Wil liams; A Moon for the Misbegotten by E. O'Neill; A Hat Full of Rain by M. V. Gazzo; Picnic by W. Inge; Bus Stop by W. Inge; Tea and Sympathy by R. Ander- son; A View from the Bridge by A. Miller; The Cru cible by A. Miller? Inherit the Wind by J. Lawrence and R. E. Lee? The Caine Mutiny Court-Martial by H. Wouk; The Fourposter by J. de Hartog; The Seven Year Itch by G. Axelrod; The Matchmaker by T. Wilder; No Time for Sergeants by Ira Levin and Mac Hyman; The Solid Gold Cadillac by G. S. Kaufman and H. Teichmann) Gibson, William. Pinny and the Witches and The Miracle Worker. 1st ed. New York: Atheneum, 1960. 301 pp. iiansberry, Lorraine. A Raisin in the Sun and The Sign in Sidney Brustein's Window. New York: New American Library, 1966. 318 pp. Hewes, Henry, ed. Famous American Plays of the 1940s. New York: Dell Publishers Co., 1960. 447 pp. Inge, William Motter. The Dark at the Top of the Stairs. Bantam Books, n.d. Kopit, Arthur L. Oh, Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin* So Sad. 1st ed. New York: Hill and Wang, 1960. 80 pp. Lawrence, Jerome, and Lee, Robert E. Inherit the Wind. New York: Bantam Books, n.d. Lovell, John. Digests of Great American Plays: Summaries of More than 100 Plays. New York: Crowell, 1961. 452 PP- - _ _ _ _ _ 4 -6 1 - Mosel, Tad. All the Way Home. Based on the novel, A Death in the Family, by James Agee. New York: I. Obolen sky, 1961. 174 pp. O'Hara, John. Five Plays. New York: Random House, 1961. 47 3 pp. (The Farmers Hotel; The Searching Sun; The Champagne Pool; Veronique; The Way It Was) O'Neill, E. G. Three Plays. New York: Vintage Books, n.d. 376 pp. (Desire Under the Elms; Strange Interlude; Mourning Becomes Electra) Quinn, Arthur Hobson, ed. Representative American Plays from 1767 to the Present Day. 7th ed., revised and enlarged. New York: Appleton-Century-Crofts, 1953. 1248 pp. (The Prince of Parthia, T. Godfrey; The Contrast, R. Tyler; Andr£, W. Dunlap; Superstition, J. N. Barker; Charles the Second, J. H. Payne and W. Irving; Pocahontas, G. W. D. Custis; The Broker of Bogota, R. M. Bird; Tortesa the Usurer, N. P. Willis; Fashion, A. C. M. Ritchie; Francesca da Kimini, G. H. Boker; The Octoroon, D. Boucicault; Rip Van Winkle, played by J. Jefferson; Hazel Kirke, S. McKaye; Shenandoah, B. Howard; Margaret Fleming, J. A. Herne; Secret Service, W. Gillette; Madame __ Butterfly, D. Belasco and J. L. Long; The Girl with the Greer} Eyes, C. Fitch; The Witching Hour, A. Thomas; The Faith Healer, W. V. Moody; The Scarecrow, P. MacKay; The Boss, E. Sheldon; He and She, R. Crothers; Beyond the Horizon, E. O'Neill; Sun-up, L. Vollmer; The Silver Cord, S. Howard; Paris Bound, P. Barry; Winterset, M. Anderson; Command Decision, W. W. Haines; South Pacific, R. Rodgers, O. Hammer- Stein II, arid J. Logan) Schary, Dore. Sunrise at Campobello. New York: Random House, 1958. 109 pp. Van Doren, Mark. The Last Days of Lincoln. New York: Hill and Wang, 1959. 152 pp. Williams, Tennessee. The Night of the Iguana. New York: New Directions, 19 62. 128 pp. _________. Period of Adjustment. New York: New Directions, 1958. 90 pp. 462 Williams, William Carlos. Many Loves and Other Plays. Norfolk, Conn.: New Directions, 1961. 437 pp. Blue Book No. 14 Books Recommended from 1964-1967 On Theater and Theatrical Personalities Adix, Vern. Theater Scenecraft for the Backstage Techniciar. and Artist. Illustrated by the author with drawings and photographs. Anchorage, Ky.: Children's The ater Press, 1956. 309 pp. Alexander, Doris. The Tempering of Eugene O'Neill. New York: Harcourt, Brace and World, 1962. 300 pp. Bailey, Mabel Driscoll. Maxwell Anderson: The Playwright as Prophet. New York: Abelard-Schuman, 1957. 200 pp. Barnes, Grace, and Sutcliffe, Mary Jean. On Stage, Every one . New York: Macmillan, 1961. 400 pp. Blum, Daniel C. A Pictorial History of the American Thea ter: IPO years, 1860-1960. Philadelphia: Chilton Co., I960. 384 pp. Blunt, Jerry. The Composite Art of Acting. New York: Mac millan, 1966. 450 pp. Bowman, Wayne. Modern Theater Lighting. Illustrated by Jean Bowman. New York: Harper, 1957. 228 pp. Broussard, Louis. American Drama: Contemporary Allegory from Eugene O'Neill to Tennessee Williams. Norman: University of Oklahoma Press, 1962. 145 pp. Brown, John Mason. .Dramatis Personae. New York: Viking Press, 1963. 563 pp. The Worlds of Robert E. Sherwood: Mirror to His Times, 1896-1939. New York: Harper and Row, 1965. 409 pp. Buerki, F. Stagecraft for Non-Professionals. 2d ed. Madison: University of Wisconsin Press, 1955. 131 pp. Burbank, Rex. Thornton Wilder. New York: Twayne Publish ers, 1961. 156 pp. Cahn, William. The Laugh Makers: A Pictorial History of American Comedians. With an introduction by Harold Lloyd. New York: Putnam, 1957. 192 pp. Canfield, Fayette Curtis. The Craft of Playdirecting. New York: Holt, Rinehart, and Winston, 1963. 349 pp. Cargill, Oscar; Fagin, N. Bryllin; and Fisher, William J., ed. O'Neill and His Plays: Four Decades of Criti cism. New York: New York University Press, 1961. 528 pp. Carpenter, Frederic Ives. Eugene O'Neill. New York: Twayne Publishers, 1964. 191 pp. Churchill, Allen. The Great White Way: A Recreation of Broadway's Golden Era of Theatrical Entertainment. New York: Dutton, 1962. 310 pp. Cole, Toby, and Chinoy, Helen Krich, ed. Directors on Directing. Rev. ed. Indianapolis: Bobbs-Merrill, 1963. 463 pp. Coolidge, Olivia E. Eugene O'Neill. New York: Scribner, 1966. 223 pp. Cornberg, Sol, and Gebauer, Emanuel L. A Stage Crew Hand book . Drawings by Jack Forman. Rev. ed. New York: Harper, 1957. 291 pp. Crowley, Alice (Lewisohn). The Neighborhood Playhouse. New York: Theater Arts Books, 1959. 266 pp. Dean, Alexander. Fundamentals of Play Directing. With re visions and a chapter on central staging by Lawrence Carra. New York: Holt, Rinehartt and Winston, 1965. 367 pp. Dietrich, John E. Play Direction. New York: Prentice-Hall, 464 1953. 484 pp. Donahue, Francis. The Dramatic World of Tennessee Williams. New York: F. Ungar Publishing Co., 1964. 243 pp. Downer, Alan Seymour, ed. American Drama and Its Critics. Chicago: University of Chicago Press, 1965. 258 pp. _________. The American Theater Today. New York: Basic Books, 1967. 212 pp. ________ . _ Recent American Drama. Minneapolis: University of Minnesota Press, 1961. 46 pp. . ______. Fifty Years of America Drama, 1900-1950. Chi cago: Regnery, 1951. 158 pp. Duerr, Edwin. The Length and Depth of Acting. With a foreword by A. M. Nagler. New York: Holt, Rinehart, and Winston, 1962. 590 pp. Falk, Doris V. Eugene O'Neill and the Tragic Tension. New Brunswick, N.J.: Rutgers University Press, 1958. 211 pp. Falk, Signi Lenea. Tennessee Williams. New York: Twayne Publishers, 1962. 224 pp. Fuchs, Theodore. Home—built Lighting Equipment for the Small Stage. New York: Samuel French, 1939. 39 pp. 16 folding diagrams. 3ard, Robert Edward, and Burley, Gertrude S. Community Theater: Idea and Achievement. New York: Duell, Sloan, and Pearce, 1959. 182 pp. Gassner, John. Eugene O'Neill. Minneapolis: University of Minnesota Press, 1965. 48 pp. ________ , ed. O'Neill: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1964. 180 pp. Producing the Play: With the New Scene Techni cian's Handbook, by Philip Barber. Rev. ed. New York: Dryden Press, 1953. 915 pp. -------------------------- ------------------------ . ------------- 4‘ 65- Gassner, John. Theater at the Crossroads: Plays and Play wrights of the Mid-Century American Stage. New York: Holt, Rinehart, and Winston, 1960. 327 pp. Gelb, Arthur and Barbara. O'Neill. New York: Harper, 19 62. 970 pp. Gillette, Arnold S. Stage Scenery: Its Construction and Rigging. New York: Harper, 1959. 315 pp. Golden, Joseph. The Death of Tinker Bell: The American ■ Theater in the Twentieth Century. Syracuse, N. Y.: Syracuse University Press, 1967. 181 pp. Goldstein, Malcolm. The Art of Thornton Wilder. Lincoln: University of Nebraska Press, 1965. 17 9 pp. Gould, Jean. Modern American Playwrights. New York: Dodd, Mead, 1966. 302 pp. Grebanier, Bernard D. Thornton Wilder. Minneapolis: Uni versity of Minnesota Press, 1964. 48 pp. Guthrie, Sir Tyrone. A New Theater. New York: McGraw- Hill, 1964. 188 pp. Hart, Moss. Act One: An Autobiography. New York: Random House, 1959. 44 4 pp. Heffner, Hubert C.; Selden, Samuel; and Sellman, Hunton D. Modern Theater Practice: A Handbook of Play Produc tion . With an appendix on costume and make-up by Fairfax Proudfit Walkup. 4th ed. New York: Apple- ton-Century-Crofts, 1959. 662 pp. Helburn, Theresa. A Wayward Guest: An Autobiography. Boston: Little, Brown, 1960. 344 pp. Hewitt, Bernard Wolcott. Theater U.S.A.: 1668-1957. New York: McGraw-Hill, 1959. 528 pp. Hogan, Robert Goode. Arthur Miller. Minneapolis: Univer sity of Minnesota Press, 1964. 48 pp. ~ 4 ' 6 ‘ 61 Huber, Louis H. Producing Opera in the College. New York: Bureau of Publications, Teachers College, Columbia, 1956. 115 pp. Kerr, Walter. The Theater in Spite of Itself. New York: Simon and Schuster, 19 63. 319 pp. Krutch, Joseph Wood. The American Drama since 1918. Rev. ed. New York: G. Braziller, 1957. 344 pp. Langner, Lawrence. The Play's the Thing. New York: Putnam, 1960. 258 pp. Lewis, Allan. American Plays and Playwrights of the Con temporary Theater. New York: Crown Publishers, 1965. 272 pp. Lewis, Robert. Method or Madness? With an introduction by Harold Clurman. New York: Samuel French, 1958. 165 pp. Lovell, John. Digests of Great American Plays: Complete Summaries of More Than 100 Plays. New York: Crow ell, 1961. 452 pp. McCandless, Stanley Russell. A Method of Lighting the Stage. 4th ed., amended and revised. New York: Theater Arts Books, 1958. 143 pp. McGaw, Charles J. Acting Is Believing. Foreword by Margo Jones. Sketches by Robert Reddy. New York: Rine hart, 1955. 177 pp. Mielziner, Jo. Designing for the Theater. New York: Atheneum, 1965. 242 pp. Nelms, Henning. Play Production. New York: Barnes and Noble, 1958. 301 pp. Nelson, Benjamin. Tennessee Williams: The Man and His Work. New York: I Obolensky, 1961. 304 pp. Parker, Wilford Oren, and Smith, Harvey K. Scene Design and Stage Lighting. New York: Holt, Rinehart, and Winston, 1963. 376 pp. ■ -------------------------------------------------- --- : -------- 4*67" Paterek, Josephine D. Costuming for the Theater. New York: Crown Publishers, 1959. 150 pp. Philippi, Herbert. Stagecraft and Scene Design. Boston: Houghton, Mifflin, 1953. 448 pp. Rosenstein, Sophie; Haydon, Larrae A.; and Sparrow, Wilbur. Modern Acting. New York: Samuel French, 1936. 129 pp. Rubin, Joel E., and Watson, Leland H. Theatrical Lighting Practice. New York: Theater Arts Books, 1954. 142 pp. Quinn, Arthur Hobson. A History of the American Drama from the Civil War to the Present Day. New York: F. S. Crofts and Co., 1936. Vol. I: 296 pp. Vol. II 432 pp. Rabkin, Gerald. Drama and Commitment: Politics in the Amer ican Theater of the Thirties. Bloomington: Indiana University Press, 1964. 322 pp. Roppolo, Joseph Patrick. Philip Barry. New York: Twayne Publishers, 1965. 158 pp. Saroyan, William. Here Comes, There Goes, You Know Who. New York: Simon and Schuster, 19651. 273 pp. _. Not Dying. New York: Harcourt, Brace, and World, 1963. 244 pp. Selden, Samuel, ed. Organizing a Community Theater. Cleve land: National Theater Conference, 1945. 127 pp. , and Seliman, Hunton D. Stage Scenery and Light ing. 3d ed. New York: Appleton-Century-Crofts, 1959. 394 pp. Shuman, Robert Baird. Robert E. Sherwood. New York: Twayne Publishers, 1964. 16 0 pp. ■ ______. William Inge. New York: Twayne Publishers, 1966. 100 pp. 46~8l Stahl, LeRoy. The Simplified Stagecraft Manual. Minneapo lis: T. S. Denison, 1962. 218 pp. Strickland, Francis Cowles. The Technique of Acting. New York: McGraw-Hill, 1956. 306 pp. Taubman, Hyman Howard. The Making of the American Theater. New York: Coward McCann, 1965. 385 pp. Theater: Vol. I-— Annual of the Repertory Theater of the Lincoln Center for the Performing Arts. Edited by Barry Hyaras. New York Tischler, Nancy Marie (Patterson). Tennessee Williams: Rebellious Puritan. New York: Citadel Press, 1961. 319 pp. Tompkins, Dorothy Lee. Handbook for Theatrical Apprentices. New York: Samuel French, 1962. 181 pp. Weales, Gerald Clifford. American Drama Since World War II. New York: Harcourt, Brace and World, 1962. 246 pp. _________. Tennessee Williams. Minneapolis: University of Minnesota Press, 1965. 46 pp. Wilson, Garff B, A History of American Acting. Blooming ton: Indiana University Press, 1966. 310 pp. Young, John Wray. The Community Theater and How It Works. New York: Harper, 1957. 166 pp. . ____. Directing the P'lay. New York: Harper, 1958. 171 pp. Young, Stark. Immortal Shadows: A Book of Dramatic Criti cism. New York: C. Scribner1s Sons, 1948. 290 pp. Plays Mbee, Edward. A Delicate Balance. New York: Atheneum, 1966. 170 pp. ________ . _ Tiny Alice. New York: Atheneum, 1965. 190 pp. 469 Alfred, William. Hogan's Goat. New York: Farrar, Straus and Giroux, 1966. 145 pp. Anderson, Maxwell. Four Verse Plays. New York; Harcourt, Brace, 1959. (Elizabeth the Queen; Mary of Scot land; High Tor; Winterset) Anderson, Robert Woodruff. The Days Between. New York: Random House, 1965. 120 pp. Ardrey, Robert. Shadow of Heroes. London: Collins, 1958. 127 pp. Best American Plays. Edited by John Gassner. Five volumes: 1939-63. New York: Crown Publishers. The Best Plays. Six volumes: 1959-60 to 1965-66. New York: Dodd, Mead. The Best Short Plays: 1959-60. New York: Dodd, Mead, 1960. 280 pp. Clark, Barrett Harper, and Davenport, William H., ed. Nine Modern American Plays. New York: Appleton-Century^ Crofts, 1951. 432 pp. (The Hairy Ape— E. G. O'Neill; Street Scene— E. Rice; Green Grow the Lilacs— L. Riggs; High Tor— S. Anderson; Stage Door— G. Kaufman and M. Hart; Abe Lincoln in Illi nois— R. Sherwood; The Glass Menagerie— A. Miller; Command Decision— W. W. Haines) Cosgrove, Frances, ed. Scenes for Student Actors: Dramatic Scenes from New Plays. New York: Samuel French, 1958. 106 pp. Coxe, Louis Osborne, and Chapman, Robert. Billy Budd. Based on novel by Herman Melville. New York: Hill and Wang, 1962. 90 pp. Downer, Alan Seymour, ed. American Drama. New York: Crow ell, 1960. 261 pp. (The Contrast— R. Tyler; Shore Acres— J. A. Herne; The Great Divide— W. V. Moody; The Hairy Ape— E. O'Neill; The Petrified Forest— R. E. Sherwood; The Long Christmas Dinner— T. Wilder; The Glass Menagerie— T. Williams) , 470 Feibleman, Peter S. Tiger, Tiger, Burning Bright. Cleve land: World Publishing Co., 1963. 148 pp. Gardner, Herb. A Thousand Clowns. New York: Random House, 1962. 126 pp. Gibson, William. Pinny and the Witches and The Miracle Worker. New York: Atheneum, 1960. 301 pp. Gilroy, Frank Daniel. About Those Roses: or, How Not to Do a Play and Succeed, and the text of The Subject Was Roses. New York: Random House, 1965. 210 pp. Hanes, Ernest, and Talitian, Raymond J., ed. The Laboratory of Stage: Practice Scenes for Speech and Acting. New York: Dramatists Play Service, Inc., 1946. 113 pp. Hanley, William. Mrs. Dally Has a Lover, and Other Plays. New York: Dial Press, 1962. 207 pp. _________. Slow Dance on the Killing Ground. New York: Random House, 1964. 135 pp. Hansberry, Lorraine. The Sign in Sidney Brustpin's Window. New York: Random HOuse, 1965. 143 pp. Hawkins, John. The Innocent Party: Four Short Plays. Preface by Herbert Blau. New York: New Directions Publishing Corp., 1967. 239 pp. Hewes, Henry, ed. Famous American Plays of the 1940s. New York: Dell Publishing Co., 1960. 4 47 pp. McCallum, George P. Seven Plays from American Literature for Students of English as a Second Language. Adapted by G. P. McCallum. Washington: English Language Services, distributed by General Electron ics Laboratories, Boston. 1962. 119 pp. Miller, Arthur, Death of a Salesman. New York: Viking Press, 1949. 139 pp. _________. Incident at Vichy. New York: Viking Press, 1965, 7 0 pp. 47-11 Mosel, Tad, Al1 the Way Home. Based on the novel by James Agee. New York: I. Obolensky, 19 61. 17 4 pp, O'Hara, John. Five Plays. New York: Random House, 1961. 473 pp. (The Farmer's Hotel; The Searching Sun; The Champagne Pool; Veronique; The Way It Was) O'Neill, Eugene Gladstone. More Stately Mansions. Short ened from the author's partly revised script by Karl Ragner Gierow and edited by Donald Gallup. New Haven: Yale University Press, 1964. 194 pp. Nine Plays. New York: The Modern Library, 1941. 876 pp. (The Emperor Jones; The Hairy Ape; All God's Chillun Got Wings; Desire Under the Elms; Marco Millions; The Great God Brown; Lazarus Laughed; Strange Interlude; Mourning Becomes Elec- tra) Quinn, Arthur Hobson, ed. Representative American Plays from 1967 to the Present Day. 7th ed. revised and enlarged. New York: Appleton-Centuty-Crofts, 1953. 1248 pp. Schary, Dore. Sunrise at Campobello. New York: Random House, i958. 109 pp. Schisgal, Murray. Fragments, Windows, and Other Plays. New York: Coward, McCann, 1965. 154 pp. (Others; Reverberations; Memorial Day; The Old Jew) Luv. With an introduction by Walter Kerr and an interview with the author by Ira Peck. New York: Coward-McCann, 19 65. 98 pp. Sherwood, Robert Emmet. Abe Lincoln in Illinois. With a foreword by Carl Sandburg. Sons, 1939. 250 pp. New York: Scribner's Simpson, Harold Peter. lishers, 1962. Zone Gale. New York: Twayne Pub- 157 pp. Weiss, M. Jerry, ed. Ten Short Plays. New York: Dell Pub lishers, 19 63. 352 pp. For young adults and children: William Saroyan— Coming Through the Rye; Tennessee Williams— The Case of the Crushed 47 2 Petunias; Thornton Wilder--The Happy Journey to Trenton and New Jersey; Susan Glaspell— Suppressed Desires; Sherwood Anderson--The Triumph of the Egg; Maxwell Anderson— The Feast of the Ortolans; Paul Green— Quare Medicine; M. Jerry Weiss— Parents Are People (a guidance play); Norman Corwin— My Client Curley (a radio play); Gore Vidal— Visit to a Small Planet (a play for television). Wilder, Thornton Niven. The Long Christmas Dinner, and Other Plays in One Act. New York: Harper and Row, 1963. 113 pp. (The Long Christmas Dinner; Queens of France; Pullman Car Hiawatha; Love, and How to Cure It; The Happy Journey to Trenton and Camden) _________. Three Plays: Our Town; The Skin of Our Teeth; The Matchmaker. New York: Harper, 1957. 401 pp. Williams, Tennessee. The Night of the Iguana. New York: New Directions, 1962. 128 pp. _________. Period of Adjustment. New York: New Directions, 1960. 120 pp. _________. A Streetcar Named Desire. New York: New Direc tions, 1947. 171 pp. Williams, William Carlos. Many Loves and Other Plays. Norfolk, Conn.: New Directions, 1961. 437 pp. Blue Book No. 15 Books Recommended in 1969 On Theater and Theatrical Personalities Clurman, Harold. The Naked Image: Observations of the Modern Theater. New York: Macmillan, 1966. 312 pp. Cornberg, Sol, and Gebauer, Emmanuel L. A Stage Crew Hand book . Rev. ed. New York: Harper, 1957. 201 pp. Debusscher, Gilbert. Edward Albee: Tradition and Renewal. Translated from the French by Anne D. Williams. Brussels: American Studies Center, 19 67. 94 pp. 473 Downer, Alan Seymour, ed. American Drama and Its Critics. Chicago: University of Chicago Press, 19 65. 258 pp. Freedley, George, and Reeves, John L. A History of the Theater. Third newly revised edition with a supple mentary section by G. Freedley and a group of emi nent scholars and critics. New York: Crown Pub lishers, 1968. 1008 pp. Gassner, John. Dramatic Soundings. New York: Crown Pub lishers, 1968. 716 pp. Gottfried, Martin. A Theater Divided: The Postwar American Stage. Boston: Little, 1967. 330 pp. Gruver, Elbert A. The Stage Manager's Handbook. New York: Harper, 1953. 202 pp. Kernan, Alvin B., ed. The Modern American Theater. Engle wood Cliffs* N. J.: Prentice-Hall, 1967. 183 pp. Kostelanetz, Richard. The Theater of Mixed Means: An Introduction to Happenings, Kinetic Environments, and Other Mixed—Means Performances. New York: Dial Press, 1968. 311 pp. Matthews, Jane De Hart. The Federal Theater, 1935-1939. Princeton, N. J.: Princeton University Press, 1967. 342 pp. Moss, Leonard. Arthur Miller. New York: Twayne Publish ers, 1967. 100 pp. Novick, Julius. Beyond Broadway: The Quest for Permanent Theaters. New York: Hill and Wang, 1968. 393 pp. Patterson, Lindsay, comp, and ed. Anthology of the American Negro in the Theater. 2d ed. New York: Publishers Co., 1968. 306 pp*. Rollins, Charlemae Hill. Famous Negro Entertainers of Stage, Screen and Television. New York: Dodd, Mead, 1967. 122 pp. . ; Stahl, LeRoy. The Simplified Stagecraft Manual. Minneapo lis: T. S. Denison, 1962. 218 pp. Taubman, Hyman Howard. The Making of the American Theater. With a foreword by Richard Rodgers. Rev. ed. New York: Coward-McCann, 1967. 402 pp. Theater World: 1966-67 Season. Vol. 23. New York: Crown, 1967. 286 pp. Toohey, John L. A History of the Pulitzer Prize Plays. New York: Citadel Press, 1967. 344 pp. Plays Albee, Edward. Who's Afraid of Virginia Woolf? New York: Atheneum, 1962. 242 pp. Anderson, Robert Woodruff. You Know I Can't Hear You When the Water's Running. New York: Random House, 19 67. 91 pp. (The Shock of Recognition; The Footsteps of Doves; I'll Be Home for Christmas; I'm Herbert; You Know . . . Running) Ardrey, Robert. Plays for Three Decades. New York: Athe- neum, 1968. 255 pp. (Thunder Rock; Jeb; Shadow of Heroes) Ballet, Arthur H. ed. Playwrights for Tomorrow. Minneapo lis: University of Minnesota Press, 1966-67. Four volumes. Vol. 1: American Power: The Space Fan: The Master, J. Schevill; Ex-Miss Copper Queen on a Set of Pills, M. Terry; A Bad Play for an Old Lady, E. Johnson; And Things That Go Bump in the Night, T. McNally; Vol. 2: Two one-act plays: Tango Palace and The Successful Life of Three, M. I. Fornes; Shelter Area, N. Boretz; The Boy Who Came to Leave, L. H. Kalcheim; Vo. 3: Five Easy Payments, J. Lewin; Where Is De Queen, J. C. Van Itallie; The Great Git- Away, R. Muller; With Malice Aforethought, J. Stranack; I, Elizabeth Otis, Being of Sound Mind, P. Barber; Vol. 4: The World Tipped Over and Laying on Its Side, M. Feldhous-Weber; Vision of Sugar Plums, B. Pritchard; The Strangler, A Powell; The Long War, K. O'Morrison. 475 Benedikt, Michael, comp. Theater Experiment. Garden City: New York: Doubleday^ I"967. 396 pp. (The Bong Christmas Dinner— T. Wilder; The t Ping-Pong Players— W. Saroyan; The Tridget of Greva and Abend di anni nouveau— -Ring Lardner; Three Travelers Watch a Sun- rise— W. Stevens; Santa Claus— E. E, Cummings; The Birthday— P. Goodman; Benito Cereno— R. Lowell; George Washington Crossing the Delaware— K. Kock; Hot Buttered Roll— R. Drexler; Gallows Humor— J. Richardson; The Falling Sickness— R. Edson; Poem- Plays— -R. Krauss; What Happened— G. Stew; Flower— Rl Whitman; Met Joy— C. Schneemann; Gas— A. Kaprow; Afterward— C. Frazier) The Best Plays of 1966-1967. Edited by Otis L. Guernsey, Jr. New York: Dodd, Mead, 1967. 498 pp. The Best Short Plays of 1968. Edited by Stanley Richards Philadelphia: Chiton, 1968. 388 pp. Cerf, Bennett Alfred, ed. Plavs of Our Time. New York: Random House, 1967. 782 pp. (The Iceman Cometh— E. O'Neill; A Streetcar Named Desire--T. Williams; Death of a Salesman— A. Miller; Mister Roberts— T. Heggen and J. Logan; Come Back, Little Sheba— W. Inge; Look Back in Anger— J. Osborne; A Raisin in the Sun— L. Hansberry; A Man for All Seasons— R. Bolt; Luv--M. Schisgal) Gassner, John, ed. Best American Plays, Fifth Series: 1957-1963. New York: Crown Publishers, 1963. 678 pp. , in association with Mollie Gassner. Best Plays of the Early American Theater from the Beginning to 1916. New York: Crown Publishers, 1967. 716 pp. Best Plavs of the Modern American Theater. 2nd series. New York: Crown Publishers, 1947. 774 pp", Goldman, James. The Lion in Winter. New York: Random House, 1966. 110 pp. Hanley, William. Flesh and Blood. New York: Random House, 1968. 114 pp. ~47~6; McLeish, Archibald. Herakles: A Play in Verse. Boston: Houghton Mifflin, 1967. 91 pp. Miller, Arthur. Collected Plays. New York: Viking Press, 1957. 439 pp. (All My Sons; Death of a Salesman; The Crucible; A Memory of Two Mondays; A View from the Bridge) . The Price. New York: Viking Press, 1968. 116 pp. O'Neill, Eugene Gladstone. Nine Plays by Eugene O'Neill. Introduction by Joseph Wood Krutch. New York: The Modern Library, 1941. 867 pp. (The Emperor Jones; The Hairy Ape; All God's Chillun Got Wings; Desire Under the Elms; Marco Millions; The Great God Brown; Lazarus Laughed? Strange Interlude; Mourning Becomes Electra) Shumlin, Herman. Spofford. Adapted from the novel, Reuben, Reuben, by Peter de Vries. New York: Random House, 1968. 114 pp. White, Theodore Harold. Caesar at the Rubicon. New York: Atheneum, 1968. 174 pp. Wilson, Lanford. The Rimers of Eldritch, and Other Plays. New York: Hill and Wang, 1967. 122 pp. (The Rimers of Eldritch; Day Ahead; The Madness of Lady Bright; Wandering; This Is the Pill Speaking) Blue Book No. 16 Books Recommended for 1970 On Theater and Theatrical Personalities Abramson, Doris W. Negro Playwrights in the American The ater, 1925-1959. New York: Columbia University Press, 1969. 335 pp. Albright, Hardie. Acting: The Creative Process. Belmont, Ca.: Dickenson Publishing Co., 1967. 287 pp. 477 Amacher, Richard E. Edward Albee. New York: Twayne Pub lishers, 1969. 190 pp. Austell, Jan. What's in a Play? New York: Harcourt, Brace and World, 1968. 100 pp. Bigsby, C. W. E. Confrontation and Commitment: A Study of Contemporary American Drama 1959-66. Columbia: University of Missouri Press, 1968. 187 pp. Brockett, Oscar Gross. The Theater: An Introduction. 2d ed. New York: Holt, Rinehart and Winston, 19 69. 596 pp. Downer, Alan Seymour, ed. The American Theater Today. New York: Basic Books, 1967. 212 pp. Ewers, Carolyn H. The Long Journey: A Biography of Sidney Poitier. New York: New American Library, 1969. 126 pp. Fernald, John. Sense of -Direction: The Director and His Actors. New York: Stein and Day, 1969. 189 pp. Gassner, John. Dramatic Soundings. New York: Crown Pub lishers, 1968. 716 pp. Gillette, Arnold S. An Introduction to Scenic Design. New York: Harper and Row, 1967. 210 pp. Gottfried, Martin. A Theater Divided: The Postwar American Stage. Boston: Little, 1967. 350 pp. Kahan, Stanley. An Actor's Workbook. New York: Harcourt, Brace and World, 1967. 320 pp. Kernan, Alvin B., ed. The Modern American Theater: A Col lection of Critical Essays. Englewood Cliffs, N. J.: Prentice-Hall, 1967. 188 pp. Kerr, Walter. Thirty Plays Hath November: Pain and Pleasure in the Contemporary Theater. New York: Simon, 1969. 343 pp. _ . i j " 7 ' 8 ‘ Kostelanetz, Richard. The Theater of Mixed Means. New York: Dial Press, 1968. 311 pp. Morison, Bradley G., and Fliehr, Kay. In Search of an Audience. New York: Pitman, 1968. 229 pp. Novick, Julius. Beyond Broadway: The Quest for Permanent Theaters. New York: Hill and Wang, 1968. 393 pp. Parker, Wilford Oren, and Smith, Harvey K. Scene Design and Stage Lighting. 2d ed. New York: Holt, Rine hart and Winston, 1968. 496 pp. Porter, Thomas E. Myth and Modern American Drama. Detroit: Wayne State University Press, 1969. 285 pp. Theater I: The American Theater, 1967-68. New York: Inter national Theater Institute of the United States, 1969. Theater World. 1967-68 Season. Vol. 24. New York: Crown, 1968. 272 pp. Weales, Gerald Clifford. The Jumping-Off Place: American Drama in the 1960s. New York: Macmilland, 1969. 306 pp. Whiting, Frank M. An Introduction to the Theater. 3d ed. New York: Harper and Row, 1969. 401 pp. Plays Baldwin, James. The Amen Corner. New York: Dial Press, 1968. 91 pp. The Best Plays of 1967-68. Edited by Otis L. Guernsey, Jr. New York: Dodd, Mead, 1968. 495 pp. (synopses of 10 plays; After the Rain— J. Bower; Scuba Duba— B. J. Friedman; Rosencrantz and Guildenstern Are Dead— T. Stoppard; Staircase— C. Dyer; Your Own Thing— D. Driver, H. Hester, and D. Apolinar; A Day in the Death of Joe Egg— P. Nichols; The Price— A. Miller; Plaza Suite— N. Simon; I Never Sang for My Father— R. Anderson; The Boys in the Band— M. Crowley. 479 Cowen, Ron. Summertree. New York: Random House, 1968. 10 6 pp. Elder, Lome. Ceremonies in Dark Old Men. New York: Farrar Straus and Giroux, 1969. 179 pp. Gilroy, Frank Daniel. The Only Game in Town. New York: Random House, 1968. 105 pp. Kaufman, William Irving, comp. Great Television Plays. Introduction by Ned E. Hoopes. New York: Dell, 1969. 301 pp.. Lowell, Robert. The Old Glory. Rev. ed. New York: Farrar, Straus, and Giroux, 1968. 223 pp. Sackler, Howard O. The Great White Hope. New York: Dial Press, 1968. 264 pp. Simon, Neil. Plaza Suite. New York: Random House, 196 9. Trainer, David. The Undertaking; Thief; The Pig. New York: Random House, 1968. 176 pp. Wilson, Edmund. The Duke of Palermo and Other Plays, with an open letter to Mike Nichols. New York: Farrar, Straus and Giroux, 1969. 250 pp. Blue Book No. 17 Books Recommended for 1971 Oh Theater and Theatrical Personalities Albright, Hardie. Acting: The Creative Process. Belmont, Ca.: Dickenson Publishing Co., 1967. 287 pp. Angelou, Maya. I Know Why the Caged Bird Sings. New York: Random House, 19 70. 281 pp. Bentham, Frederick. The Art of Stage Lighting. New York: Taplinger Publishing Co., 1969. 447 pp. ' 4 80 Blum, Daniel C. A Pictorial History of the American The ater, 1860-1970. New 3d ed., revised and enlarged by John Willis. New York: Crown Publishers, 196 9. 416 pp. Brandon, James R. Theater in Southeast Asia. Cambridge, Mass.: Harvard University Press, 1967. 370 pp. Broekett, Oscar Gross. The Theater: An Introduction. 2d ed. New York: Holt, Rinehart and Winston, 1969. 596 pp. Corev, Irene. The Mask of Reality: An Approach to Design for the Theater. Anchorage, Ky.: Anchorage Press, 19 68. 124 pp. Ewers, Carolyn H. The Long Journey: A Biography of Sidney Poitier. New American Library, 1969. 126 pp. Gottfried, Martin. Opening Night: Theater Criticisms In the Sixties. New York: Putnam, 1969. 384 pp. . A Theater Divided: The Postwar American Stage. Boston: Little, Brown, 1968. 330 pp. Kahan, Stanley. An Actor's Workbook. New York: Harcourt, Brace and World, 1969. 320 pp. Kerr, Walter. Thirty Plays Hath November: Pain and Pleasure in the Contemporary Theater. New York: Simon and Schuster, 1969. 343 pp. Kozelka, Paul. The Theater Student: Directing. New York: R. Rosen Press, 1968. 184 pp. Little, Stuart W., and Cantor, Arthur. The Playmakers. New York: Norton, 1970. 320 pp. Nadel, Norman. A Pictorial History of the Theater Guild. Special material by Lawrence Lahger and Armina Mar shall. Introduction by Brooks Atkinson. New York: Crown Publishers, 1969. 312 pp. Peacock, James L. Rites of Modernization: Symbolic and Social Aspects of Indonesian Proletarian Drama. Chicago: University of Chicago Press, 1968. 306 pp. . 4_ 8T Prisk, Bernice, and Byers, Jack A. The Theater Student: Costuming. New York: Richards Rosen, 1969. 108pp. Selden, Samuel. Theater Double Game. Chapel Hill: Univer sity of North Carolina Press, 1969. 123 pp. Stell, W. Joseph. The Theater Student: Scenery. New York: Richards Rosen Press, 1970. 256 pp. Taubman, Hyman Howard. The Making of the American Theater. With a foreword by Richard Rodgers. Rev. ed. New York: Coward-McCann, 1967. 402 pp. Theater I: The American Theater, 19 67-1968. New York: International Theater Institute of the United States, 1969. 127 pp. Theater World. New York: Crown, 1971. unpaged. Welker, David Harold. Theatrical Set Design: The Basic Techniques. Boston: Allyn and Bacon, 1969. 349 pp. Whiting, Frank M. An Introduction to the Theater. 3d ed. New York: Harper and Row, 1969. 401 pp. Blue Book No. 18 Books Recommended for 1972 On Theater and Theatrical Personalities Atkinson, Brooks. Broadway. New York: Macmillan, 1970. 4 84 pp. Cheifetz, Dan. Theater in My Head. Boston: Little Brown, 1971. 178 pp. Gilman, Richard. Common and Uncommon Masks: Writings on Theater 1961-197 0. New York: Random House, 1971. 321 pp. '482 Kernodle, George Riley, and Kernodle, Portia. Invitation to the Theater. Brief edition. New York: Harcourt, Brace, Jovanovich, 1971. 331 pp. Martin, Ralph G. Lincoln Center for the Performing Arts. Englewood Cliffs, N. J.: Prentice-Hall, 1971. 192 pp. Theater World: 1969-70 Season. Vol. 26. New York: Crown, 1970. 271 pp. APPENDIX 2 USIA BOOK PUBLICATION PROGRAM 483 APPENDIX 2 USIA BOOK PUBLICATION PROGRAM Following is a list of books on theater which the USIA has helped to have published in foreign countries. The agency itself does not publish books. Rather, it provides assistance (1) to foreign publishers to make it possible for them to produce books in English and indigenous languages and (2) to American publishers to enable them to bring out simplified editions in English for sale at low retail prices. No. of Year (Fiscal) Play Copies* Arabic (Lebanon) 1960 Three American Plays: Lindsay, Howard and 6,000 Crouse, RusselThe Great Sebastians; Sherwood, Robert, Abe Lincoln in Illinois; Patrick, John, The Hasty Heart. 1972 French, Warren G., and Kidd, Walter E. 3,000 American Winners of the Nobel Literary Prize (condensation which includes O'Neill) *When not included, information was not tabulated for ICS/USIA Washington files. 484 485 Arabic (U.A.R.) 1959 Kingsley, Sidney. Darkness at Noon. 10 ,000 The Patriots. 5 ,000 1961 Kerr, Walter. How Not to Write a Play. 4 ,000 Bengali (India) 1962 Sherwood, Robert E. Abe Lincoln in Illinois. 4,000 1963 Ibid. 51,700 1964 Howard, Sydney, and de Kruif, Paul. Yellow Jack. (Ladder ed.) 2,200 Ibid. (Supplement of Homshikha magazine.) 7 ,200 Wilder, Thornton. Our Town. 2,200 1967 Williams, T. A Streetcar Named Desire. 2 ,200 Wouk, Herman. The Caine Mutiny Court-Martial. 2,000 Rice, Elmer. The Living Theater (published earlier year; reported FY 1967) 2 ,000 1968 O'Neill, Eugene. Long Voyage Home: Seven Plays of the Sea. 2,200 Bengali (Pakistan) 1966 Four Plays: Miller, A. Death of a Salesman; O'Neill, E. Ah, Wilderness!; Sherwood, Robert E. Abe Lincoln in Illinois; Wilder, Thornton. The Skin of Our Teeth. 3,000 1967 O'Neill, E. All God's Chillun Got Wings. 2,000 Desire Under the Elms. 2,000 Four Plays (from Nine Plays) 2,000 4 86 Vol. I: Desire Under the Elms; Strange Interlude; Lazarus Laughed; The Hairy Ape. O'Neill, E. The Great God Brown. 2,000 The Hairy Ape. 2,000 Lazarus Laughed. 2,000 Long Day's Journey into Night. 2 ,000 Strange Interlude. 2 ,000 1968 Four Plays (from Nine Plays). Vol. II: The Great God Brown; All God's Chillun Got Wings; Marco Millions; Mourning Becomes Electra. 3,000 Marco Millions. 2,000 Mourning Becomes Electra. 2,000 Wilder, T. The Ides of March. 3,000 Our Town. 5,000 Williams, T. Summer and Smoke. 5 ,000 Chinese (Hong Kong) 1953 Jelagin. Taming of the Arts, Part I: The Theater. not listed 1962 Wilder, T. Our Town (first printing). (second printing). 6,000 2,500 1963 Kingsley, Sidney. The Patriots. 9,000 Sherwood, Robert E. Abe Lincoln in Illinois. 9,000 19 66 Wilder, T. Three Plays: Our Town, The Skin of Our Teeth, The Matchmaker. 10,000 487 1967 Williams, T. The Glass Menagerie. 8,000 1969 O'Neill, E. Mourning Becomes Electra. 8 , 000 1971 Wilder, T. Three Plays: Our Town; Skin of Our 10,000 Teeth; The Matchmaker. 1972 Miller, A. Death of a Salesman. 8, 000 Williams, T. The Glass Menagerie (second printing). 2,000 Chinese (Taiwan) 1958 Aldrich. Gertrude Lawrence as Mrs. "A." not listed 1972 Cohen, Hennig, ed. Landmarks of American Writing (VOA Forum Lectures). Includes symbolic analysis of E. O'Neill's The Iceman Cometh by Gerald Weales. 3,000 English (India) 1964 O'Neill, E. Excerpt from Long Day's Journey into Night (SPAN, May 1963— USIS news paper, subscription basis) 69,0 00 1968 Falk, Doris V. Eugene O'Neill and the Tragic Tension. 3,228 1970 (English reprints) Gould, Jean. Modern American Playwrights. 3,000 1971 Porter, Thomas E. Myth and Modern American Drama. 5,000 1972 Cohen, Hennig, ed. Landmarks of American Writing. 3 ,00 0 488 English (Japan) 1964 Howard, Sidney, and De Kruif, Paul. Yellow Jack. (Ladder edition with notes in Japanese.) 2,000 19 68 Sherwood, R, :E. Abe Lincoln in Illinois. 2,000 English (Philippines) 1959 Wilder, T. The Happy Journey to Trenton and Camden 10,000 English (Taiwan) 1968 Sherwood, R. E. Abe Lincoln in Illinois. (Ladder reprints with Chinese annota tions .) 5,000 English (Yugoslavia) 1967 Downer, Alan. Recent American Drama. 3 ,000 Krutch, Joseph Wood. The American Drama Since 3 ,000 1918. 1968 0‘Neill, E. Desire Under the Elms and The Hairy Ape. 6,000 1970 Wilder, Thornton. Three Plays: Our Town, The Skin of Our Teeth, and the Matchmaker. These four entries for Yugoslavia are under P.L. 480Textbook Program and are English reprint textbooks. French (France) 1954 Jeffers, R. Medea. not tabul. 1964 Hansbury, Lorraine. A Raisin in the Sun 10,000 .... 489 (publ. 1963; reported Fy 64) Ftench (Low-priced Book Program) 1967 Anderson, Maxwell. Lost in the Stars. 7,500 1968 Sherwood, R. E. Abe Lincoln in Illinois. 7 ,500 1969 Gibson, William. The Miracle Worker. 7,500 German (Austria) 1952 O'Neill, E. Prodigal Genius. hot tabul. 1954 Franken, R. Claudia (serialization) not tabul. Greek (Greece) 1956 Wilder, T. Our Town. not tabul. Lindsay and Crouse. Life with Father. not tabul. 1958 Patrick, J. Teahouse of the August Moon. not tabul. Theater 1957: Goodrich and Hackett, The Diary of Anne Frank; N. R. Nash, The Rainmaker. not tabul. 1959 Inge, W. Bus Stop Picnic. 2,500 2 ,500 1962 Saroyan, W. Saroyan Special. 20 ,000 Gujarati (India) 1962 Sherwood, Robert E. Abe Lincoln in Illinois 3 ,000 1966 (publ. in FY 19 65; reported FY 1966) Wilder, T. The Matchmaker. 2,000 490 Wilder, T. Our Town. 2,000 The Skin of Our Teeth. 2,000 Hindi (India) 1962 Sherwood, R. E. Abe Lincoln in Illinois. (Ladder edition) 5,000 1964 Gargi, Balwant. Theater in the United States. 10,000 O'Neill, E. Beyond the Horizon. Long Day's Journey into Night. 3,000 Wouk, Herman. The Caine Mutiny Court Martial. 10,000 1966 Classics of American Literature: includes E. O'Neill's The Long Voyage Home; Howard Teichmann and George S. Kauf man's The Solid Gold Cadillac, and T. Williams' The Glass Menagerie. 1, 000 cloth 2,000 hard 1967 Williams, Tennessee. The Glass Menagerie. 25,000 O'Neill, E. The Long Voyage Home. 3,000 1968 Wilder, Thornton. The Matchmaker. 3, 000 1969 O'Neill, E. Mourning Becomes Electra. 3,000 Italian (Italy) 1957 Fergusson, Francis. The Idea of a Theater. not tabul. Japanese (Japan) 1951 Saroyan, William. The Human Comedy. not tabul, 1953 Jelagin, Juri. The Taming of the Arts. (Part I is on Theater) not tabul. 491 1957 1958 1959 1964 1967 1968 1969 L970 L972 Downer, Alan. Fifty Years of American not tabul. Drama. American Literature Series. Vol. XI not tabul. includes M. Rawlings and W. Saroyan. Vol. XII Includes J. Steinbeck. Fergusson, Francis. The Idea of a Theater. not tabul. American Literature Series. Vol. XIII 10,000 includes Eugene O'Neill Downer, Alan. Recent American Drama (a 2,000 pamphlet published by the University of Minnesota). Ibid. Second printing. 500 Anthology of 20th Century American Litera- 6,000 ture. Vol. II includes Tennessee Wil liams' Summer and Smoke. Anthology of 20th Century American Litera- 4,000 ture ♦ Vol. X includes E. O'Neill's Mourning Becomes Electra. Gassner, John. Eugene O'Neill (University 2,000 of Minnesota pamphlet). Hogan, Robert. Arthur Miller (University of 2,000 Minnesota pamphlet). Grebanier, Bernard. Thornton Wilder. 2,000 Anthology of 20th Century American Litera- 4,000 ture. Vol. V Includes William Saroy an's My Name Is Aram and Sidney Kings- ley's The Patriots. Downer, Alan, ed. The American Theater 3,000 Today. (VOA Forum series.) Cohen, Hennig, ed. Landmarks of American 3,000 Writing (includes G. Weales on Eugene O'Neill). 492 Margolis, Edward. Native Sons: A Critical Study of 20th Century Negro American Authors. 4,000 Kannada (India) 1960 Sherwood, Robert. Abe Lincoln in Illinois. 2,500 Korean (Korea) 1956 American Plays. Vol. I: The Hasty Heart by John Patrick and I Remember Mama by John Van Druten not tabul. 1957 American Plays. Vol. II: Beyond the Hori zon by Eugene O'Neill and The Glass Menagerie by Tennessee Williams. not tabul. 1958 Alan S. Downer. Fifty Years of American Drama. not tabul. American Plays. Vol. I second printing not tabul. 1960 Wilder, Thornton. Three Plays (Our Town; The Skin of Our Teeth; The Matchmaker) 5,000 1961 Inge, William. Three Plays (Picnic; Bus Stop; Dark at the Top of the Stairs). 3,000 O'Neill, Eugene. The Long Voyage Home; Seven 3,000 Plays of the Sea. 1962 O'Neill, Eugene. Long Day's Journey into Night; A Touch of the Poet. 3,000 1964 Ibid. Second printing. 1,000 1965 Burbank, Rex. Thornton Wilder. 3,000 Downer, Alan. Recent American Drama. 3,000 Malayalam (India) 1959 Saroyan, William. The Human Comedy. 1,000 491 1963 Sherwood, Robert E. Abe Lincoln in Illinois. 1,500 Marathi (India) 1959 Sherwood, Robert E. Abe Lincoln in Illinois. (Ladder edition) 3,500 1962 Lindsay, Howard, and Crouse, Russel. The Great Sebastians. Sherwood, Robert E. Abe Lincoln in Illinois. (Ladder edition; second printing.) 3,000 1966 O'Neill, Eugene. Ah, Wilderness! 2 ,500 The Emperor Jones. 2,500 Williams, Tennessee. The Glass Menagerie. 2,500 Wilder, Thornton. The Matchmaker (published FY 1964; reported FY 1966) 3,000 Our Town (published FY 1965; reported FY 19 66) 3,000 1967 O'Neill, Eugene. Mourning Becomes Electra. 2,500 Williams, Tennessee. A Streetcar Named Desire. 2,500 1969 O'Neill, Eugene. Strange Interlude. 2,500 Polish (Poland) 1957 Wilder, Thornton. The Long Christmas not Dinner tabul. Portuguese (Brazil) 1962 Rice, Elmer. Living Theater. 4,000 49< 1963 Lewis, Robert. Method or Madness. 3,500 1964 Downer, Alan. Recent American Drama. 6,000 Fergusson, Francis. The Idea of a Theater. 4,000 Williams, Tennessee. Summer and Smoke. 3 ,000 The Glass Menagerie. 3,000 Young, Stark. The Theater. 3 ,000 1965 Grebanier, Bernard. Thornton Wilder. 6,000 O'Neill, Eugene. Ah, Wilderness! 3,000 Mosel, Tad. All the Way Home. 3,000 Sherwood, Robert. Abe Lincoln in Illinois. 3,000 1966 Gassner, John. Theater at the Crossroads: Plays and Playwrights on the Mid- Century American Stage. 4,000 Gibson, William. The Miracle Worker. 3 ,000 Hogan, Robert. Arthur Miller. 6,000 1967 Carpenter, Frederic I. Eugene O'Neill. 3,500 Falk, Signi Lenea. Tennessee Williams. 4,000 Gilroy, Frank Daniel. About Those Roses: or, How Not to Do a Play and Succeed, and the text of The Subject Was Roses. 3,000 Weber, Brom. Sherwood Anderson. 6 ,000 1968 Bentley, Eric. The Life of the Drama. 4,000 Brustein, Robert. The Theater of Revolt: An Approach to Modern Drama. 4 ,000 Ewen, David. The Story of America's Musical Theater. 3 ,000 495 Gould, Jean. Modern American Playwrights. 4,000 1969 Albee, Edward. A Delicate Balance. 3 ,000 Downer, Alan S., ed. The American Theater Today (VOA Forum series). 4,000 Hanley, William. Slow Dance on the Killing Ground. 3,000 Kerr, Walter. How Not to Write a Play. 3,000 Moss, Leonard. Arthur Miller. 3,000 Williams, Tennessee. The Glass Menagerie. 3,000 Summer and Smoke. 3,000 Second printings: O'Neill, E. Ah, Wilderness! 3,000 Beyond the Horizon. 3,000 Sherwood, R. E. Abe Lincoln in Illinois. 3,000 1970 Bentley, Eric. The Theater of Commitment, 4,000 Gottfried, Martin. A Theater Divided. 3,000 Miller, Arthur. The Price. 3,000 O'Neill, E. Desire Under the Elms. 3,000 Mourning Becomes Electra. 3,000 Punjabi (India) 1966 Sherwood, Robert E. Abe Lincoln in Illinois. (Ladder edition) 5,000 Spanish (Argentina) L956 Kingsley, Sydney. The Patriots. not tabul. 496 Gagey, Edmond M. Revolution in American Drama. not tabul. Van Druten, John. I Remember Mama. not tabul. 1960 Falk, Doris. Eugene O'Neill and the Tragic Tension. 4,000 1961 Frings, Ketti. Look Homeward Angel. 4,000 1967 Krutch, Joseph Wood. American Drama Since 1918. 6,653 1968 Burbank, Rex. Thornton Wilder. 5,059 Falk, Signi Lenea. Tennessee Williams. 4,890 1970 Albee, Edward. A Delicate Balance. 4,000 Downer, Alan S., ed. The American Theater Today (VOA Forum series). 6,000 1971 Brustein, Robert. The Theater of Revolt. 5,000 1972 Amacher, Richard E. Edward Albee. / 5,000 Bentley, Eric. The Life of the Drama. 3,000 Carpenter, Frederic I. Eugene O'Neill. 5,000 Spanish (Mexico) 1966 Guthrie, Tyrone. A New Theater. 15,000 1967 Donahue, Francis. The Dramatic World of Tennessee Williams. 6,000 1968 Gassner, John. Directions in Modern Theater and Drama (an expanded edition of Form and Drama in the Modern Theater). 3,000 Gould, Jean. Modern American Playwrights. 8,000 1969 Ewen, David. The Story of America's Musical Theater. 3 ,000 497 Stahl, LeRoy. The Simplified Stagecraft Manual. 4,000 Thompkins, Dorothy Lee. Handbook for Theatri cal Apprentices. 4,000 1970 Canfield, Curtis. The Craft of Play Directing. 6,000 Gottfried, Martin. A Theater Divided. 2 ,000 1972 Canfield, Fayette Curtis. The Craft of Play Directing. Second printing. 1,000 Spanish (Spain) 1964 Contemporary North American Literature. 3 ,000 Includes Downer, Alan. Recent Ameri can Drama. Tamil (India) 1966 O'Neill, Eugene. The Long Voyage Home Williams, Tennessee. The Glass Menagerie. Wilder, Thornton. The Matchmaker. 2,000 total for 1966 1967 Wilder, Thornton. Our Town. 2,000 Telugu (India) 1960 Kingsley, Sidney. The Patriots. not tabul. Patrick, John. The Hasty Heart. not tabul. 1968 Wilder, Thornton. Our Town. 2,000 The Matchmaker. 2,000 The Skin of Our Teeth. 2,000 ~ 4 9'8 1968 Wilder, Thornton. Urdu (Pakistan) 1960 Wilder, Thornton. Our Town. 1963 Van Druten, John. I Remember Mama, 1968 Wilder, Thornton. Our Town. Thai (Thailand) 1969 Kingsley, Sidney. The Patriots, 12,000 Turkish (Turkey) The Skin of Our Teeth, The Matchmaker. 1969 Grebanier, Bernard. Thornton Wilder. Schary, Dore. Sunrise at Campobello, Vietnamese (Vietnam) 3.000 3.000 5.000 2.000 2 ,000 3.000 2.000 1968 Downer, Alan. Recent American Drama (Univer- 3,000 sity of Minnesota Press). APPENDIX 3 USIA FILMS 499 APPENDIX 3 USIA FILMS USIA Produced Filins with Theater Content Documentaries made by the United States Information Agency on Theatrical subjects including the following (asterisk [*] indicates still in use as of February 1974): American Experience (series) *1. American Experience- — A series of vignettes and read ings from American literature over the past two centuries. (David Wayne and others.) *2. The Peddler of Dreams— An original dramatization featuring Vachel Lindsay, Emily Dickinson, and Edwin Arlington Robinson. *3. The Promised Land— An original account of Norwegian settlers in Iowa based on characters created by Willa Cather and O. E. Rolvaag. *4. Three Memories of Youth— Dramatized excerpts from the works of Thoreau, Saroyan, and Wolfe. Charlton Heston Readings. A program made up for publicity for a Heston Australia-New Zealand tour. *College Actors . . . in Liberia. The drama club at Cuttington College. *Consul. A television production of the Menotti opera. 500 501 Curtain Going Up. Concerns the Theater Guild American Repertory Company for publicity use in connection with overseas tours of the President's Special International Program for Cultural Presentations. *Day of the Oath. Contains excerpts from performances of Rudolf Nureyev, Margot Fonteyn, Louis Armstrong, and Carol Channing. *Joy of Learning. An honor graduate from Ghana on a dra matic arts fellowship at the University of North Caro lina. *Louis Armstrong. A brief biographical sketch, including movies. *My Father; Gordon Parks. The Negro writer seen during the filming of his book, The Learning Tree. *One Man: Ken Murray. The films archivist and movie memo ries . *One Man: Joe Papp. The "theater in the park" impresario. *Renaissance of a City. Erie, Pa., and its cultural ad vancement. Repertory Theater. (Hedgerow Theater) Philadelphia. River Showboat. Technical Training at Hiram University, Ohio. Some of Our Voices. Cultural heritage of the U.S. (includ ing drama) . Stagecraft. Untitled montages of scenes from Broadway productions, stressing technical aspects (1961). Treasures of Japan and Arts of Japan— A Bridge of Beauty. Two films on the Japanese cultural heritage, made with aid of Foreign Office consultants, including drama. *We Are Americans. Includes some Latin-American theater. 502 *White House Festival of the Arts: The American Film. Scenes from motion pictures directed by Hitchcock, Stevens, Syler, Zimmerman, and Kazan. Adventures A series for Africa. Adventures #2. Nigerian playwright Ola Rotimi and Yale School of Drama. Adventures #24. Everyman's Language (UCLA drama studies by Africans). Experts Answer Series These 30-minute discussion programs were distributed in three languages for TV abroad (Spanish, English, Arabic) and each program is an original production, although some performers appear in several of the language series. American Entertainer. (Spanish) Sammy Davis, Jr. American Humor. (English) Danny Kaye. Theater in Today's World. (Arabic) Fredric March and Florence Eldridge. American Entertainer. (English) Gene Kelly American Comedy. (English) Eve Arden First Friday Correspondente International Realidades These are programs telecast in Brazil. They include interviews and other activities of the following: Shirley Temple Black Art Buchwald A1 Capp Linda Cristal Robert Cummings Ken Curtis 5 0 3 Kirk Douglas Clint Eastwood Art Linkletter James Michener Frank Kapra Jose Ferrer James Garner Janet Gaynor Ralph Nelson Hugh O'Brian Susan Oliver Gordon Parks Don Siegel Leonard Gershe Alfred Hitchcock George Stevens, Jr Lowell Thomas Janet Leigh Mervin LeRoy Robert Young Efram Zimbalist, Jr. Horizons A monthly magazine-type review for Latin America. Horizons #71. Puppet theater. *Horizons #107. New York Shakespeare Festival Horizons #9. An Uruguayan school for actors. Horizons #23. New York performance of play by Spanish playwright De Vega. Media Hora Series (for Latin America) Jose Ferrer in Man of La Mancha. A monthly magazine-type review for Africa. Today #87. Ghana theater. *Today #126. New York City troupe. Today #19. Student actors in Greek Medea performance. *Today #149. Ajayi, young Nigerian actor and producer. Vision U.S.A. A monthly television program containing six to eight vignettes on American life and personalities. Examples: American Film Institute, Lost Horizon, Stunts and Special Effects, etc. Today . ; 5'0” 4 Washington Correspondent 3 to 5 minute programs provided about 50 countries for TV release, made in the IMV studio with narration in language of the targeted country. Samples: Houston Repertory Inter-American Festival at Hiram College Ford Theater in Washington 1968 Pulitzer Prizes (comment) New Concepts in Children's Theater Chinese Drama in Baltimore Theater of the Deaf in Connecticut USIA co-productions with foreign TV producers Japanese Mainichi Broadcasting Service: Kabuki Theater in U.S. BBC: Program including excerpt from Jesus Christ Super- Star , Last Picture Show, New York Times Critic Barnes, etc. Yugoslavia: The American Theater Belgium: SUNY, Stony Brook, Long Island, and its Hamlet production. The Agency also provides newsclip coverages for foreign TV and newsreels oh significant theatrical events requested by foreign USIS posts. Examples: A Turkish play at the Department of State, Czech theater in New York, Uruguayan dramatists at Catholic University, El Paso Bi-lingual Theater Group, American College Theater Festival performance by Polish Theater Academy, etc. Agency-Acquired Films for Foreign Audiences Face of Genius (1966) This documentary explores both the professional and personal life of Eugene O’Neill. Hamlet (1957) A filmed impression of an unorthodox staging of Shakespeare's Hamlet, showing the major scenes as they unfold on-stage. 505 Ideas on the Theatre: Harold Clurman (1968) An extraordinary seven-part film encompassing the near-totality of the modern stage. Lincoln Center (1967) Lincoln Center, the magnificent enclave in the mid dle of New York City, is not only dedicated to the arts, but it also has a mission to educate the general public and to provide training for the gifted artist. Mark Twain Gives an Interview (1961) After some brief silent film footage of Mark Twain himself, Hal Holbrook impersonates Twain in a supposed conversation with several students. The Miracle Worker (1962) (United Artists) The early encounters of the child Helen Keller with her first teacher, Annie Sullivan, have the drama of miraculous triumph over insurmountable obstacles. Our Town and Our Universe (1959) Clifton Fadiman introduces the study of the play Our Town by Thornton Wilder. He summarizes the story of the play, illustrates its unique staging by means of a model theater, explains the functions of each of the play characters and the stage mana ger, and discusses the theme of the play. Our Town and Ourselves (1959) Clifton Fadiman discusses use of music in the play Our Town by Thornton Wilder, the variations on specific themes in the play, the condensation of the theme, use of time, and the general significance of the play to each individual member of the audience. Psychology and Arthur Miller (Parts I and II) (1965) In Part I, playwright Arthur Miller discusses vari ous concepts of motivation, his own reactions to the psychoanalysis of an author through his work, and reveals his attitudes toward psychological theories and methods. In the second part, Mr. Miller dis cusses his own reaction to major personality theo ries, the nature of the "message," his own reflec tions on contemporary problems. 506 The Stronger (1970) Based on the one-act play by playwright August Strindberg, it is the story of two women; one has elected to put home and family ahead of her career; the other has devoted herself to the pursuit of her profession and has led a less conventional exist ence . The Tell Tale Heart (1959) Based on the short story of the same title by Edgar Allan Poe, the film includes a short biographical sketch and excerpts from other Poe works. Twelve Angry Men (1957) (United Artists) An all male jury is faced with the choice of sending a young boy to the electric chair or of releasing him because of "reasonable doubt." Walter Kerr on Theatre: Introduction to the Performing Arts (197 0) Renowned dramatic critic Walter Kerr compares film to theater and illuminates both. This is a person al, provocative view of a major cultural form, and an excellent introduction to theater and to film. West Side Story (1961) (United Artists) In a masterly translation from the stage to the screen, West Side Story becomes a superlative film— a brilliant fusing of drama, ballet, and music. APPENDIX 4 FULBRIGHT AND SMITH--MUNDT GRANTEES IN THEATER 507 APPENDIX 4 FULBRIGHT AND SMITH-MUNDT GRANTEES IN THEATER Following are lists of Fulbright and Smith-Mundt grantees in theater. Not included are the many in English who include dramatic literature in their studies and lec tures abroad but do not list it as a specialty; nor does it include names of the short-term American grantees mentioned in the American Specialists Program. American Grantees* Name Home Institute Foreign Institute Position 1948-49 None 1949-50 None *L stands for lecturer; R stands for research scholar; S stands for student. 508 509 1950-51 Kubly, H. Univ. Illinois U. Milan, Italy R-Drama Vardac, A. N. Stanford Birmingham, Eng. R-Drama 1951-52 Dierlam, R. U. Florida U. Vienna, AustriaR-Theater & Graz, France Arts Zuker, A. U. Maryland U. Vienna, AustriaR-Theater Arts Faulkner, J. U. New Hampshire U. Paris, France R-French Drama Cooke, A. Howard U. U. Oslo, Norway R-Theater Arts 1952-53 Bowers, F. Prof. Eng. U. Virginia U. London, Eng. R-Restora- tion Drama 1953-54 Downer, A. Assoc.Prof. Eng. Princeton U. U. Copenhagen, Denmark L-Amer. Drama Dyhrenfurth, N. Asst. Prof./Head Mot.Pic.Div., Dept. Theat. Arts, UCLA Center of Cine matographic Experimentation, Rome, Italy R-Theater Arts Oliver, Revilo Assoc.Prof./ Span. & Ital. U. Illinois U. Pisa, Italy R-Humanis- tic Drama of the Ren aissance 1954-55 None 510 1955-56 Gilder, R. Hormann, H. 1956-57 Dugan, J. T Ulman, S. P 1957-58 Curvin, J. i Strickland, Ulman, S. P (renewal) 1958-59 Robinson, H. W. McMullan, F. A. Assoc, in Eng., Barnard Col., Columbia U. U. Paris, France R-Theater Arts Dir. of Plays, Pasadena Play house U. Munich (Ludwi g-Maximi1- lian), Germany R-Theater Arts Assoc. Prof. Speech & Dram./ Catholic U. of Amer. U. Rome, Italy R-Theater Arts Asst. Prof. Dram. Waseda U, Art, U. Cal., Berkeley Japan L-Dramatic Art V.Prof.Sp. & Thea- Finnish Theater ter, U. Wisconsin School, Denmark L-Dramatic Art Assoc. Prof. Stanford Finnish Theater School, Denmark L-Speech & Drama Asst. Prof. Sp. Waseda U., Japan & Drama, U. Cal., Berkeley L-Dramatic Prof. Speech, U. Oregon, Eugene U. Melbourne, Australia L-Speech (Drama in Tertiary Education) Assoc. Prof., Play Prod, in charge of Direc tion, Yale U. U. Chile & Catho lic U., Colombia L-Drama (Play Prod. & Direction) 51: Jurgensen, K.Assoc.Prof. of Dram. Arts, U. No.Carolina, Chapel Hill U. Copenhagen, Denmark L-Dram. Lit. & History Strickland, F. (renewal) Stanford Finnish Theater School, Finland L-Drama Belcher, F. Prof. Dram., W. Virginia State Col. U. Tehran, Iran L-Drama Sungaard, A. Playwright, New York Trinity College, Dublin, Ireland L-Playwrit- ing and Production 1959-60 de Laban, J. Assoc. Prof. Drama, Baylor U., Waco, Texas U. Chile, Santi ago, Chile L-Drama- Stage Move ment McMullan, F. (renewal under Smith- Mundt Act) Yale U. U. Panama, Panama L-Theater Arts Kuner, M . C. Instr. English Hunter Col., New York U. Vienna, Aus tria R-Theater Arts Gard, R. E . Prof. & Theater Dir., U. Wiscon sin, Madison Finnish Theater School, Denmark R-Drama Popkin, H. Asst. Prof. Eng., Brandeis U., Wal tham, Mass. U. Clermont- Ferraud, France L-Amer.Lit. & Drama Wright, E. Prof. Th. Arts, Denison U., Gran ville, 0. Aoyama Gakuin U., Tokyo, Japan L-Amer.Lit. & Drama Elson, C. Assoc.Prof. Sp. & Drama., Hunter Col., New York Indian Acad. Dram. Arts, Bom bay, India L-Sp. & Drama '5T2 1960-61 de Laban, J. (renewal) Miller, N. (under Smith- Mundt) Nardin, J. Jackson, E. Withey, J. Popper, H. J. Beckerman, B. Jones, J. L. 1961-62 S/asquez, R. t Diaz, J. (see above) Dir. Playhouse, U. Honduras, L-Dramatics ■Repertory Th., San Francisco Honduras Prof. Eng. Universities of L- 2 0 th Colorado State Caen & Lyon, Cent. Amer. Col. Greeley France Drama Prof. Eng., Tus- Victoria & Albert L-Shake~ kegee Inst., Museum, London, speare Alabama England Assoc.Prof. Eng., U. Mandalay, L-Theater E. Carolina Col., Greenville, N.C. Burma Arts Prof. Music, U. Tokyo U. of Arts, L-Education- Calif., Berkeley Japan al Opera & Other Musi- co-dramatic sub j . Chair., Dept. Sp. U. Tel Aviv, L-Drama & Drama, Hofstra Col. Israel Assoc.Prof. Th. Higher Inst, of L-Directing Arts, UCLA Cinematographic Art, Cairo, Egypt & Acting TV Director, San National U., L-Produc- Juan Bogota, Colombia tion & Direction Instr. Mod. Lang. U. Panama, Panama L-Drama & Drama, Trinity Col., Hartford, Conn. 513 Falconeiri, J. Assoc. Prof. Rom. Lang., West. Reserve U., Cleveland U. Madrid, Spain R-Renais sance Theater Clark, J. L. Prof. Eng., San Francisco State Col. U. Damascus, Syria L-Dramatic Literature Driscoll, J. Asst. Prof. Th. Arts, UCLA Higher Insti. L-Play Cinematographic Prod. & Arts, Cairo, EgyptDirection 1962-63 Diaz, J•A. (see above) Diskey, G. Prod. Mgr., DallasU. San Marcos, Theater Center Lima, Peru L-Theater Arts Goff, L. Dir. U. Theater, U. Kansas, Law rence U. Vienna, Austria R-Theater Arts Philbrick, N. Exec. Head, Dept. Sp. & Drama, Stanford U. New South Wales, Sydney Australia L-Speech & Drama Patterson, T. Assoc.Prof. Dram. Arts, U. N. Caro lina, Chapel Hill Dong Kook U., Seoul, Korea L-Dramatic Arts Brown, I. Assoc. Prof. Th. Arts, Lake Erie Col., Ohio Greek & Turkish Bds. of Educ., Nicosia, Cypress L-Theater Arts Quinby, G. Prof. & Dir. Dramatics, Bow- doin Col., Maine U. Tehran, Iran L-Drama Hatch, J. Asst. Prof. Th. Arts, UCLA Higher Insti. of L-Theater Cinematographic Arts Arts, Cairo, Egypt Kuhlman, D. 1963-64 Robb, A. Pettegrove, J. P. Robinson, H. Smith, R. Lattimore, R. Stone, G. Pettit, P. McPharlin, M. Hatch, J. (renewal) 1964-65 Robb, A. (renewal) 5174” Instr. Eng., U. U. Col., Addis L-Drama Bridgeport, Conn. Ababa, Ethiopia Asst. Prof. Human-U. of the Andes, L-Theater ities, Oregon Col.Bogota, Colombia Arts of Educ., Mon mouth Assoc. Prof. Eng. U. Vienna, Montclair State Austria Col., Upper Mont clair, N. J. L-Drama Prof. Sp. & Dir. Univ. Th., U. Oregon, Eugene U. Turku & Abo Acad., Finland R-Theater Arts Prof. Sp. & Drama, Purdue U. Affiliation in France R-Theater Prof. Greek, Bryn U. Oxford, Eng. L-Greek Maur Col. Tragedy Prof. Eng., New U. London, Eng. R-Eng. York U., N.Y.C. Drama Chm., Dept. Sp. & Greek & Turkish L-Theater Drama, State U. Communal Chambers, Arts New York, Albany Nicosia, Cyprus Rancho San Sabas- Bhartiya Kok Kala, L-Puppetry tian, Santa Fe., Mandal, Udaipur, & Creative N. Mex. Rajasthan, India Drama Asst. Prof. Th. Arts, UCLA Higher Insti. Cin-L-Theater ematographic Arts,Arts Cairo, Egypt 515 Brent, R. Stage Dir., Actor Theater Guild Rep. Co., N.Y.C. ,Guatemala, Ecua dor , Mexico, Chile, Argen., Venez., Colom., Panama Conduct Drama Workshops Frolik, M. U. Nebraska, Lincoln U. Strasbourg, France S-Contemp. Theater Zaslove, A. Carnegie Insti. Technology Nat. Conserv. Dram. Art, Paris, France S-Pantomimg: Cooper, N. Instr. Trinity Col., San Antonio Texas Seminar- Insti. ,French Studies, Peru R-Contemp. French Drama Gray, J. German Instr. U. Illinois, Chicago U. Tubingen, Germany S-German Drama Kussrow, V. Assoc. Prof., Dept. Sp. & Dram. Valparaiso U., Indiana U. Madrid, Spain r R-Theater Arts Duncan, L. U. Louisville, Ky. U. London, Eng. S-British Fiction & Drama Ivey, D. Rollins Col., Florida London Acad. Mu sic & Dram. Art, England S-Classic Drama Keach, S. UCLA Actor- Student London Acad. Mu sic & Dram. Art, England S-Drama Robinson, A. The New School, New York London Acad. Mu sic & Dram. Art, England S-Theater Arts Tovatt, E. Antioch Col., Ohio London Acad. Mu sic & Dram. Art, England S-Acting 516 Worsnopp, A. Kenyon Col., Ohio London Acad. Mu sic & Dram. Art, England S-Drama Rapkin, G. Prof. Eng., Indiana U., Bloom ington U. Zagreb & U. -Sarajevo, Yugo slavia L-Drama Hamilton, S. Franklin Col., Ind. U. Ceylon, Colom bo , Ceylon S-Singha- lese Folk Drama Gazetas, A. Instr., Grade II Theater Dept. & Designer, U. British Col. Nat. Polytechni cal U., Athens, Greece S-Theatri- cal Design & Fine Arts Richmond, R. Michigan State U. Lansing (East) ,Nat. School of Drama, New Delhi, India S-English Lang. Thea ter Hatch, J. (renewal) Jones, J. Assoc. Prof., Th. Arts, UCLA Higher Insti. Cin ematographic Arts Cairo, Egypt -L-Theater , Arts Stimmel, B. Free-lance chore ographer , N . Y. State Teachers Col. Iran & Greece Specialist- Choreog- raphy-Stage Movement Oenslager, D. Prof. Scene Design, Yale U Japan Specialist- to lecture at UNESCO Theater Symposium Baker, P. Mgr. Dir. Dallas Center Theater & Chm. Dept. Dram., Trinity U. New Zealand Specialist in theater 517 MOSS, A. Actor-Mgr., The atrical Prod., Broadway Congo, Togo, Upper Volta, Alge ria, Malagasy, Thailand Specialist- -Theater 1965-66 Robb, A. (renewal) Paolucci, A. Instr. Eng., City Col., N.Y.C. U. Naples, Italy L-Renais- sance Lit. & Drama 1966-67 Wheatley, W. Instr., NYC Com munity Col. , Brooklyn Colombian Assn. of Universities, Colombia L-Theater Arts Brooking, J. Prof. Sp. & Drama U. Kansas, Law rence ,U. San Carlos, Guatemala L-Theater Arts Brandon, J. Assoc. Prof. Sp. & Comp. Lit., Michigan State U. Eas t Lans ing Waseda U., Nikon U., U. Tokyo, ,Japan R-Theater Arts King, E. Assoc. Prof., U. Arkansas, Fay etteville Tai-medera Temple Nara; Mibudra Temple, Kyoto; Sumijoshi Shrine, Osaka, Japan ,R-Dance & Drama 1967-68 Gorelik, M. So. Illinois U., Carbondale U. New So. Wales, Australia R-Theater Arts Brandon, J. (renewal) Via, R. no affiliation Japan Theater Interchange, Tokyo, Japan L-Theatri- cal Litera ture .... 518 1969-70 Hightower, J. Exec. Dir., N. Y. State Council on the Arts Distinguished Visitor Prog., Australian UNESCO Aus. Nat. U. Canberra, Aus tralia L-Perf. Arts Semi nar -Gov' t & Publ.Arts Support 1970-71 Kahn, Sy. Chm., Drama Dept. U. of the Pacific Stockton, Cal. ,U. Vienna, ,Austria L-Modern Amer. Drama & Poetry 1971-72 McCall, D. Lect. Romance St. Cornell U. France L-Amer.St. Focus on Fr.Lit. (in Fr.) Wixon, D. Instr. Eng., U. No. Carolina France L-Eng. & Amer. Lit. (in Fr.) Visit Scholars in the United States* 1956-57 Rowell Lect. Dram., U. Bristol, U. King dom Columbia U. R-Dramatic Arts Brown, J. U. Birmingham, Lect. Eng., U. Kingdom Folger Shakes. Lib. R and L Inoue Chm. Eng. Dept., Wakayama U., Japan Yale R-Contemp. Amer.Dram, esp.O'Neill *Foreign recipients of the Fulbright and Smith-Mundt U.S. government grants under Acts, 1955-1971. 1957-58 * 519 Not in files of Fulbright Office, Washington, D.C. 1958-59 Christini Italy, Stage Mgr. San Carlos Opera House/Prof. Stage Tech., U. Naples Indiana U. R-Operatic Stage Sets, Univ. the aters I to Prof. Voice, Japan Juilliard R-Operatic Stage Direction Straume Dir. Rogaland Theater, Norway Columbia R-Dram. Instr. for TV & Radio Bradbrook Cambridge, Eng., Lect. t Folger Shakes. Lib. & Hunting ton Lib. R Craik U. Leicester, Eng., Lect. Queen's Col., New York L-"Eliz. Drama" & "Prin. Of Lit. Criticism" Cruttwell U. Exeter Lect., Eng. U. of Cal. at Santa Barbara L-"Shakes." & "18th Cent. Lit." 1959-60 Humphreys Prof., U. Leices ter, U. Kingdom Folger Shakes. Lib. R-5 months 1960-61 Hunter Lect., U. Liver pool, Eng. U. Rochester L-"Shakes." 7 months Jones Myleru Ricois Samyn 1961-62 Jacguot 0'Neill 1962-63 Molander Ricois (extended 1963-64 Hung Lect., Bay Col., Freetown, Sierra Leone Reader in Eng., Annamalai U., India Folger Shakes Lib. U. Penn. Prof. Eng., Lycee Dickinson Col Mixte, France Asst, in Am. Lit., U. Montpellier, France 5X0“ R-" African Figures in Eliz.Drama" 6 months L & R-"So. Indian Drama" & Amer.Drama L-French R-Thornton Wilder 9 months L-French R-incl. Wm, Vaughn Moody 4 months Dir. Research, C.N.R.S., Paris, France Folger R-3 months Lect. in Sch. of U. Michigan Oriental & Afri can Studies, U. of London L-Jap.Dram. & Lit. 9 months Prod., Dir., Swed. Radio & TV, Stockholm UCLA R-Amer. Drama 4 months TV from 1961) San Diego St. Col. L & R 9 months Prof. West Grinnel Col., L-8 months Dram., Nat. Tai- Iowa "Oriental wan U., Taipei St. Joseph Col., Drama" Maryland 521 Bouju Teacher, Classics Lycee Lavoisier, Paris Pine Manor Jr. Col., Mass. L-Fr.Lang. & Lit. R~Grk. Trad. 9 months Sukkary Asst. Prof., Eng. U. Cairo, Egypt Hiram Col., Ohio L-Arabic Lit. 9 months Kito & Tomoeda Noh Players, Tokyo Inst, for Adv. St., Th. Arts, N.Y.C. L- 4 months Yamazaki Instr., Kyoto U. Yale U. R-Aesthet ics 4 months Enkvist Prof., Eng. Lang. Dean, Fac. Arts, Turku, Finland Abo Acad. Folger Shakes. Lib., UCLA R S t L 9 months Sorelius Asst. Eng. U. Uppsala, Swed. Folger Shakes. Lib. R 4 months 1965-66 Kostic Lect. Philos., U. Belgrade, Yugoslavia Folger Shakes. Lib. R-Eng.Rent aissance Drama Solomos Director, Athens East. Mich. U. L-Ancient Grk.Drama Vos Prof., Acad. Dram. Art, Amsterdam Stanford U. & Carnegie Inst. Tech. L-Hist. of Th. & Play Direct. 9 months Yamasaki Playwright, Instr., Kyoto U. Yale U. & Insti. for Adv. Stud, in Theater Arts, N.Y.C. R-Modern Amer. Drama 9 months 522 Janicka Lect., Dept.Eng., U. Lodz, Poland U. Calif, at Berkeley R-Eng. Lit. Oyama Lect., Eng. Lit., Seijo U., Tokyo Harvard U. R-Shakes. Salgado Lect. Amer. St. U. Sussex, Eng. Earlham Col., Indiana L-Eng.Lit. 17th C. Eng. Dram. & 19th C. Fiction Wood Prof. Eng., Elphinstone Col., Bombay, India U. Pittsburgh L-Eng.Lit. R-Shakes. 1966-67 Gorostiza Playwright— Dir. Nat. Sch. Scenic Art, Buenos Aires Indiana St. U., Terre Haute L-Th. Arts (in Span.) 5 months Hung Prof., West. Various assign- Drama, Nat. Taiwan ments U., Taipei L-Hist. Chin.Dram. & Opera 4 months Roepke Prof. Hist, of The., Catholic U. Santiago, Chile U. Kansas, Law rence L-Hist. Dev. of West Drama 9 months Nishida Prof., For. St., Tokyo U. Yale U. R-Hist. Amer.Drama 9 months 1967-68 Paro Dir., Nat. Croa tian Th., & Prof. Zagreb Acad. Dram. Arts, Yugoslavia U. Cal., Santa Barbara L-Dram.Art; avant-garde acting 3 months Alexander Lect. Eng. Lit., U. Glasgow, Scot land U. Arizona, Tucson L-Eng.Lit. & Eliz. Dram. 9 mos 523 Gabrielsen Asst. Prof., Sagene Tchrs. Train. Col., Oslo Norway U. Chicago & San Francisco St. Col r L-Scand. .Dram. R-Amer.Lit. 10 months Sandoval Prof. Amer & Eng. Lit., U. Chile, Santiago U. Kansas, Lawrence R-inc. Contemp. Amer. Dram. & Hist. 9 months 1968-69 Hainaux Brussels Royal Conserv. of Liege Cornell U. & U. Cal. at Berkeley L-Hist. of Th. & Act. R-Relation bet. univ. & Int. Th. 9 months Singh U. Bangalore, India Cornell U. R-Art of Th. in U.S. Drama sch. curricula 9 months Djukanovic U. Belgrade, Yugoslavia Various assign ments R-Bibliog. of Slav. Shakes. Transla tions 5 months 1969-70 Zilliacus Asst. Lect. Comp. Lit., Abo Acad., Turku, Finland Columbia U. R-Radio Dram. Audience Sociology Habicht Prof. Eng., U. Heidelberg, Germany Folger Shakes. Lib. R-Shakes. & Eliz. Dram, adapt, to modern stage 3 months 524 1970-71 Mutalik Prof. & Head of U. Cal., Berkeley R-Amer. & Dept. Eng., Indian Gov't C. Arts & Drama Sci. Aurangabad, 11 months India Engelsfeld Prof. Phil., U. Folger Shakes. R-Shakes. Zagreb., Yugo-.. .Lib. Criticism slavia 10 months Tsegaye Ed., Oxford Univ. Sarah Lawrence R-Orig. of Press, Addis Col. African Th. Ababa, Ethiopia L-African Lit & Dram. 3 months 525 BIBLIOGRAPHY Books Barghoorn, Frederick C. The Soviet Cultural Offensive: The Role of Cultural Diplomacy in Soviet Foreign Policy. Princeton, N.J.: Princeton University Press, 1960. Constantino, Renato. The Filipinos in the Philippines and Other Essays. Quezon City (Philippines): Malaya Books, 196 6. Haviland, H. Field, Jr. The Formulation and Administration of United States Foreign Policy. Washington, D.C.: The Brookings Institution, 1960. Sorensen, Thomas C. The Word War: The Story of American Propaganda. New York: Harper and Row, Publishers, Inc., 1968. Thomson, Charles A. H. Overseas Information Service of the United States Government. Washington, D.C.: The Brookings Institution, 1948. _________, and Laves, Walter H. C. Cultural Relations and U.S. Foreign Policy. Bloomington: Indiana Univer sity Press, 1963. Articles and Periodicals American Studies News (untitled comment). Autumn 1967, p. 1. Blatchford, Joseph H. "The Peace Corps: Making It in the Seventies." Foreign Affairs, October 1970, pp. 122-26. 526 ---------------------------------------------------------------------- 5 -27 "Ceylon." American Studies News. Committee on American Studies, Committee on International Exchange of Persons of the Conference Board of Associated Re search Councils. Winter and Spring, 1968. Wash ington, D. C. p. 24. Ellison, Charles M. "Cultural Presentations: A Force for International Understanding." International Educa tion and Cultural Exchange, Winter 1966, p. 17. "India." American Studies News. Autumn 1967. p. 21. Loney, Glenn M. "Behind the Soviet Scenes: Lawrence and Lee Tour USSR." Theater Design and Technology. May 1973. pp. 13-17. Orosa, Rosalinda L. "Turbulent Theater." The Fookien Times Yearbook '71. Manila: Reprint, 1971, p. 283. Newspapers "Arena Stage Plays Americana in Moscow." The New York Times, 8 October 1973, p. 4. Coe, Richard L. "Arena on the Move." The Washington Post, 29 July 1973. The Daily Gleaner (Jamaica). June 1962. Folka da Manha (Sao Paulo). 13 August 1958. Lague, Louise. "Arena Has Its Day in D.C.: Tomorrow the Soviet Union." Washington Star-News, 28 September 1973. _______. "Arena Company Back from Soviet Success." Wash ington Star-News, 18 October 1973. New York Times. 6 November 1945, 1:25; 19 May 1946, 11:1; 4 November 1947, 1:4; 10 May 1956, 1:30; 13 May 1956, 1:85; 29 December 1959, 1:13; 20 October 1965, 1:53; 12 November 1968, 1:53; 21 November 1969, 1:50; 8 October 1973, 1:41. ~52'81 "Thompson Raps U.S. Scales for Arts Overseas." Variety, 8 May 1957, p. 2. Variety. 10. February 1965, p. 2. Public Documents Adams, Walter. "A Report on the Strategic Importance of Western Europe." A Report to the U.S. Advisory Commission on International Educational and Cultural Affairs. September 19 64. Board of Foreign Scholarships. International Educational Exchange: The Opening Decades, 1946-1966. Washing ton: Board of Foreign Scholarships, 1967. Chown, Donn M. "American Cultural and Educational Inter change with Japan: A Report to the Sixth United States-Japan Conference on Cultural and Educational Interchange, 21-24 June 1972." "Communications Among Peoples, The Challenge of Cultural Diplomacy." Department of State Bulletin. 18 January 1960. Graves, Lemuel E., Jr. "The Exchange of Persons Program as an Instrument of U.S. National Policy." Individual Research Paper. Washington, D.C.: National War College, 14 April, 19 65. Intergovernmental Conference on Institutional, Administra- Tive and Financial Aspects of Cultural Policies. Venice, 24 August-2 September 197 0. Santiago. Information Office of the Ministry of Foreign Relations. Facts about Chile, 1971. Santiago: Information Office, 1971. United Nations. Educational, Scientific and Cultural Organization. Round Table Meeting on Cultural Policies. Monaco, 18-22 December 1957. ________. Round Table on Theater, Cinema, Literature and Plastic Arts in the Middle East and Asia. Beirut, 5 ” 2’91 27 October-1 November, 1969. U.S. Congress. House. Committee on Appropriations. Hearings before the Subcommittee of the Committee on Appropriations. 85th Cong., 2d sess., 1958. U.S. Congress. House. Committee on Foreign Affairs. Statement before the Subcommittee on State Depart ment Organization and Foreign Operations, by Bruce Herschensohn, Assistant Director, USIA Motion Pic ture and Television Service, 19 October 1971. Washington, D.C.: Government Printing Office, 1971. _. Statement before the Subcommittee on State Department Organization and Foreign Operations, by Harold S. Schneidman, Assistant Director, USIA-ICS, 18 October 1971. Washington, D.C.: Government Printing Office, 1971. _. Subcommittee of the Committee on Appropriations. Departments of State and Justice, the Judiciary, and Related Agencies Appropriations for 1960. Hearings before the Subcommittee of the Committee on Appropriations, House of Representatives. 8 6th Cong., 2d sess., 1960. Washington, D.C.: Government Printing Office, 1960. _. Subcommittee of the Committee on Appropriations. Departments of State, Justice and Commerce, the Judiciary and Related Agencies Appropriations for 1962. Hearings before a Subcommittee on Appropri ations, House of Representatives. 87th Cong., 2d sess., 1962. Washington, D.C.: Government Printing Office, 1962. _. Subcommittee of the Committee on Appropriations. Departments of State, Justice and Commerce, the Judiciary and Related Agencies Appropriations for 1963. Hearings before a Subcommittee on Appropria tions, House of Representatives, statement by T. Mann, "The Financial Aspects of the Off-Broadway Theater, 19 60." 88th Cong., 1st sess., 1963. Washington, D.C.: Government Printing Office, 1963. . --------_____---5 ' 3~ ( T U.S. Congress. House. Subcommittee of the Committee on Appropriations. Departments of State and Justice, the Judiciary and Related Agencies Appropriations for 19 67. Hearings before the Subcommittee of the Committee on Appropriations, House of Representa tives . 93d Cong., 1st sess., 1967. Washington, D.C.: Government Printing Office, 1967. _________. The Mutual Educational and Cultural Exchange Act of 1961. Pub. L. 87-256. 87th Cong., 1st sess., 1961, H.R. 8666. U.S. Department of State. Airgram from John W. Mowinckel, Counselor, United States Embassy, Paris. 9 March 1963. _________. American Foreign Policy, 1950-55: Basic Docu ments. Washington, D.C.: Government Printing Office, 1957. _________. American Foreign Policy: Current Documents. Washington, D.C.: Government Printing Office, 1965. _________. Bureau of Public Affairs. Gist: A Quick Refer ence Aid on United States Foreign Relations, No. 82. Washington, D.C.: Department of State, August 1972. _________. "Clurman Drama Demonstration Team," Strengthen ing Cultural Bonds Between Nations . . . through the Performing Arts. A Report on the Cultural Presentations Program of the Department of State, July 1, 1964-June 30, 1965. Washington, D.C.: Gov ernment Printing Office, 1966. _________. "Communications Among Peoples, the Challenge of Cultural Diplomacy." Department of State Bulletin. Washington, D.C.: Department of State, 18 January 1960. _________. Cultural Presentations Program of the U.S. Department of State, 1 July 1963 to 30 June 1964: A Report to the Congress and the Public by the Advis ory Committee on the Arts. Washington: Department of State, n.d. 5 3 T U.S. Department of State. Cultural Presentations USA, 1965-1966: A Report to the Congress and the Public by the Advisory Committee on the Arts. Washington, D.C.: Department of State, n.d. _________. Educational and Cultural Exchange Opportunities. Washington, D.C.: Department of State, n.d. _________. The International Educational Exchange Program: 24th Semiannual Report. July-December 1959. Washington, D.C.: Government Printing Office, 1960. _________. International Exchange--1967: A Report of the Bureau of Educational and Cultural Affairs. Wash ington, D.C.: Government Printing Office, 1968. _________. "Report from American Consul, Belize City. 28 September 1966." Operations memorandum to USIA, 27 September 1966. U.S. Advisory Commission on International Educational and Cultural Affairs. A Report on the Strategic Impor tance of Western Europe, by Walter Adams. Washing ton, D.C.: Government Printing Office, September 1964. _________. Two-Way Street: International, Educational and Technical Exchange in Fiscal Year 1950. Washing ton, D.C.: Government Printing Office, 30 June 1950. U.S. Advisory Commission on Information. "Twenty-second Report to Congress by the U.S. Advisory Commission on Information" (excerpt submitted 26 January 1967). American Foreign Policy: Current Documents, 1966. Washington, D.C.: Government Printing Office, 1969. United States Information Agency. The Agency in Brief, 1972. Washington, D.C.: Government Printing Office, 1972. United States Information Agency. 41st Semiannual Report to the Congress, July 1-December 31, 1973. Washing ton, D.C.: Government Printing Office, 1974. 532 United States Information Agency. Play Production Hand- book: Manual of Operations and Administration; Cultural Operations Series. Washington, D.C.: Reproduction and Special Services Branch, Office of Administration, USIA., n.d. United States Information Service, Athens, American Thea ter: Bibliography on American Theater, Pamphlet produced for USIS Libraries in Athens, Thessaloniki and Patras. Nip., 1972. United States Peace Corps. Visual Aids: A Guide for Peace Corps Volunteers. Washington: Peace Corps, Medical Program Division, n.d, U.S. President. First Semi-Annual Report, Presidents Special International Program, 1 July to 31 Decem ber 1956. Washington, D.C.: Government Printing Office, n.d. _______ . Second Semi-Annual Report, President's Special International Program, 1 January to 30 June, 1957, Washington, D.C.: Government Printing Office, n.d. ______. Fourth Semi-Annual Report, President’s Special International Program, 1 January 1958 to 30 June 1958. Washington, D.C.: Government Printing Office, n.d. . Eighth Semi-Annual Report, President’s Special International Program, 1 January to 30 June, I960. Washington, D.C.: Government Printing Office, n.d, ■ _____. Tenth Semi-Annual Report, President’s Special International Program, 1 January to 30 June 1961. Washington, D.C.: Government Printing Office, n.d. USA Focus. No. 3 USIS Copenhagen. n.d. USIS Library Catalogues USIS Abidjan, Ivory Coast. List sent by Frank C. Strovas, CAO. June 1972. ‘5 3 3 1 USIS Ankara, Turkey. List sent by R. E. McDowell, Assist ant CAO. 20 October 197 2. American Theater: Bibliography on American Theater. Pam phlet produced by USIS Athens for USIS libraries in Athens, Thessaloniki and Patras, 1972. USIS Cantho, Vietnam. List sent by librarian. October 1972. USIS Frankfurt. List from Karin Stephen, Regional Librar ian. 19 October 1972. USIS Ibadan, Nigeria. List sent by Gerald E. Huchel, Deputy Director. 17 October 197 2. United States Consulate, Johannesburg, South Africa. List sent by John T. Burns, American Consul and PAO. 16 November 197 2. USIS Kao Hsiung, Taiwan, China. List sent by staff. Octo ber 1972. Biblioteca Washington Irving. Madrid, Spain. List sent in August .197 2. USIS Montevideo, Uruguay. (mimeographed) 1972. USIS Nairobi, Kenya. List sent by Leonard J. Sherwin, Regional Librarian. 25 October 1972. USIS Nicosia, Cyprus. List sent by David D. Grimland, Assistant Director. 17 October 1972. USIS Library, Port of Spain (Trinidad). 1972. USIS Library, Rio de Janeiro. (mimeographed) 1972. USIS Saigon, Vietnam. List sent by librarian. October 1972. USIS Tainan, Taiwan, China. List sent by staff. October 1972. 5'3"41 USIS Field Messages The following selections were found in files locatec in the Voluntary Speakers Bureau, Information Center Serv ice, USIA, Washington, D.C., August-September 1972. All were sent to ICS from individual USIS posts. None was signed. America USIS Asuncion (Paraguay). 19 July 1967. USIS Bogota (Colombia). Spring 1964, Fall 1966, Summer 1967. USIS Buenos Aires (Argentina). Spring 1964, Fall 1965, Spring 1966, Fall 1972, 25 July 1972. USIS Caracas (Venezuela). Spring 1963. USIS Georgetown (Bahamas). Summer 1963, Fall 1965, Fall 1967. USIS Guatemala. 31 August 1963, 25 November 1965. USIS Guayaquil (Equador). Spring 1971. USIS La Paz (Bolivia). 21 June 1963, Spring 1966, Fall 1966. USIS Panama. 2 May 1968. USIS Port-au-Prince. Post report. July 1962. USIS Quito (Equador). Spring 1965. USIS Rio de Janeiro (Brazil). Fall 1963, Winter 1968, Fall 1970, 7 June 1967. USIS San Jose (Costa Rica). 9 May 1967, 25 September 1969. USIS San Salvador (El Salvador). 24 May 1961, 22 May 1964, Summer 1962, Fall 1970, Summer 1971. 5 -3 -5 - USIS Santiago (Chile). Fall 1964, Spring 1970. USIS Santo Domingo (Dominican Republic). Fall 1965, Fall 1962. USIA Washington, D.C., to USIS Rio de Janeiro. 13 February 1963. Europe USIS Bonn (Germany). 25 June 1962, 6 September 1963, Summer 1972. USIS Brussels (Belgium). Spring 1966. USIS Helsinki (Finland). Fall 1966. American Embassy London (United Kingdom). To Office of Western European Programs, Bureau of Educational and Cultural Affairs, Department of State, Washington, D.C. 14 November 1964. USIS London. To USIA Washington, D.C. 3 May 197 2. USIS Paris (France). From Burnett Anderson, PAO. 27 April 1972. USIS Rome (Italy). By PAO Joseph B. Phillips. 7 December 1961. Schechter, Edmund. Acting PAO in Rome. To USIA Washington, D.C. USIS Stockholm (Sweden). To USIA Washington, D.C. 16 April 1962, 8 February 1963, 2 April 1965. USIA Washington, D.C. to USIS Stockholm. 29 May 1962. Africa USIS Abidjan (Ivory Coast). 30 September 1964. USIS Accra (Ghana). 7 December 1966 and 12 June 1967. 536 United States Embassy, Addis Ababa. To Department of State, Cultural Affairs, Office of Educational Exchange, Washington, D.C. 2 2 January 1963. USIS Addis Ababa (Ethiopia). 8 August 1963, 8 November 1964. USIS Blantyre (Malawi). January 1967. USIS Dakar (Senegal). Spring 1964. USIS Freetown (Sierra Leone). Fall 1967. USIS Ibadan (Nigeria). 25 October 1961. USIS Kampala (Uganda). Spring 1963, Fall 1966, Fall 1967, Fall 1969, Fall 1971. USIS Khartoum (Sudan). Fall 1962. USIS Lagos (Nigeria). Reporting on USIS Abadan. Fall 1972. USIS Libreville (Gabon). Fall 1963. USIS Lome (Togo). Fall 1964. USIS Lusaka (Zambia). Spring 1966, Fall 1966, Winter 1966. American Embassy, Pretoria. To State Department, Washing ton, D.C. 2 September 1961. To State Department and USIA. 17 October 1963. USIS Pretoria. Summer 1968, 14 April 1967. USIS Pretoria. Summer 1968, 14 April 1967. USIS Tananarive (Malagasy Republic). 10 May 1967. USIS Tangier (Algeria). Fall 1968. USIS Tripoli (Libya). 28 December 1960, 7 May 1966. USIS Yaounde (Camaroon). Spring 1964. 33/ Near East and South Asia USIS Amman (Jordan). 25 September 1969. USIS <r Athens (Greece). 28 January 1963. USIS Baghdad (Iraq). 26 March 1963. USIS Beirut (Lebanon). 4 January 1963, 17 November 1961, 1 21 January 1963. January 1962, USIS Cairo (Egypt). Spring 1962, Fall 1964. USIS Calcutta (India). 28 October 1963, 22 June 1964. USIS Colombo (Ceylon). 1968 . Spring 1966, Winter 1966, Summer USIS Dacca (Pakistan). 7 March 1962, 5 April 1962, 23 July 1962, 18 December 1970. USIS Damascus (Syria). Spring 1966. USIS Istanbul (Turkey). 8 June 197 2. USIS Izmir (Turkey). Fall 1966. USIS Kabul (Afghanistan) 1972. Fall 1969, Spring 1972 , Fall USIS Karachi (Pakistan). 15 January 1962, Spring 1972. USIS Kathmandu (Nepal). Spring 1970. USIS Lahore (Pakistan). 17 April 1961. USIS Tehran (Iran). Spring 1962. East Asia and Pacific USIS Bangkok (Thailand). 26 September 1967. USIS Hong Kong. Fall 19 67. 53 a USIS Kuala Lumpur (Malaysia). Spring 1965, Fall 1968. USIS Saigon (Vietnam). Fall 1961, Summer 1964. USIS Seoul (Korea). Spring 1963, Fall 1963, 21 June 1972. USIS Taipei (China). Spring 1960, Fall 1960. American Embassy Tokyo to Office of Educational and Cultural Affairs, Department of State. (on file at USIA/ ICS, Washington, D.C.) 21 November 1968. Eastern Europe and Soviet Union United States Embassy Sofia (Bulgaria). 15 November 1967. Letters General Blatchford, Joseph H., to Nancy Hanks, Chairman, National Endowment for the Arts. October 1971. Hewett, Robert B., Director of Publications and Public Affairs, East-West Center, Hawaii. 1 October 1972. Lewis, Mark B. Director, Office of Cultural Presentations, Washington, D.C. 20 July 1972. Richardson, John R. Assistant Secretary for Educational and Cultural Affairs. To Congressman Mark Andrews, House of Representatives, Washington, D.C. 22 July 1971. America Ablach, Kenneth, Information Attache, Embassy of Trinidad and Tobago. Washington, D.C. 21 July 1972. Anderson, Parker J. Assistant CAO, U.S. Embassy, Lima, Peru. 23 May 197 2. '5391 Anderson, Sarah R. Third Secretary to the PAO, United States Embassy, Ottawa, Ontario, Canada. 2 May 1972. Barber, Jeffrey B. Acting Director, Peace Corps, Chile. 26 May 1972. Barton, Robert D. Branch PAO, American Consulate General, Guadalajara, Mexico. April 1972. Becchetti, Fred. CAO, USIS Panama. 5 May 1972. Brock, Beverly H. CAO, USIS San Salvador. 9 May 1972. Bullion, William R. Deputy Director, Peace Corps, Venezu ela. 18 May 1972. Burson, Ray H. Director, Costa Rica-North American Cultural Center, San Jose. 24 April 197 2. Canas, Alberto F. Minister, Costa Rica Ministry of Culture, San Jose. 22 November 1972. Cardenas, Hector. Counselor of Cultural Affairs, Embassy of Mexico, Washington, D.C. 11 July 1972. Chaplin, Stephen M» PAO, USIS Hermosillo, Mexico. 9 May 1972. Chiarello, Vincent. Director, Central Colombo-Americano, Barranquilla, Colombia. 2 May 1972. Crider, R. D. Director, Casa Thomas Jefferson, USIS Bra- zilia, Brazil. 9 June 1972. Cross, Robert D. Cultural Affairs Officer, United States Embassy, Montevideo, Uruguay. 11 August 1972. Donahue, Gilbert J. American Vice Consul, Mazatlan, Mexico. 11 May 1972. Dunman, Tabor E., Jr. Director, Central Cultural Colombo- Americano, Medellin, Mexico. 11 May 1972. , 51n: Gresham, William F. PAO, USIS Port-au-Spain, Trinidad and Tobago. 16 May 1972. Haber, David. Director of Programming, National Arts Cen ter, Ottawa, Ontario, Canada. 2 August 1972. Hughes, James F., III. Consul, United States Consulate General, Calgary, Alberta, Canada. 2 May 1972. Hughes, Morris M., Jr. American Vice Consul, United States Consulate, Merida, Yucatan, Mexico. 22 April 1972. Jacobs, Robert C. Deputy Director, Peace Corps. Brazilia, Brazil. 9 May 1972. Johnston, Donald A. American Consul General, United States Consulate General, Paramaribo, Surinam. 19 May 1972. Keiderling, WAllace. Director, BNC Asuncion, Paraguay. 4 May 1972. Kushinsky, Martin. CAO, USIS Santo Somingo, Dominican Republic. 15 May 1972. Lofton, Harry M. American Consul General, Curacao, Nether lands Antilles. 16 May 1972. McCue, Donald B. American Consul General, United States Consulate General, Hamilton, Bermuda. 23 May 1972. McDonough, Jerome. Assistant CAO, BNC Director, USIS Fortaleza, Brazil. 8 May 197 2. Melby, Everett K. Consul General, United States Consulate General, Quebec, Quebec, Canada. 26 April 1972. Morville, Miro. PAO, American Consulate General, Monterrey, Mexico. 10 May 197 2. 20 October 1972. Mulligan, Donald W. CAO, USIS Quito, Equador. 7 June 1972. Oliver!, Joseph P. Director, Education Program, Peace Corps, Honduras. 8 May 1972. 5 ' c r Pace, Vance C. CAO, United States Embassy, Tegucigalpa, Honduras. 10 May 197 2. Palmer, James C, CAO, USIS Kingston, Jamaica. 19 July 1972. Parker, John D. Branch CAO, USIS Guayaquil, Ecuador. May 1972. Peaslee, Alexander L. Consul General, United States Con sulate General, Halifax, Nova Scotia, Canada. 25 April 1972. Phillips, Richard B. CAO, United States Embassy, Mexico City, Mexico. 27 April 1972. Rewinkel, Milton C. Consul General, United States Consulate General, Vancouver, British Columbia, Canada. 24 April 1972. Schultz, Carl D., III. Policy and Research Officer, USIS Brazilia, Brazil. 30 May 1972. Schwartz, Andrew J. CAO, USIS La Paz, Bolivia. 4 May 1972. Scott, Jerry. Director, Centro Cultural Panameno Norte- americano, Panama. 5 May 1972. Scruggs, Carolyn V. USIS Librarian, Balboa, Canal Zone. 6 November 197 2. Smith, Matthew D., Jr. American Consul, United States Con sulate, Matamoros, Mexico. 8 May 1972. Snow, Christopher. Former Public Affairs Officer, USIS Barbados. 1 July 197 2. Straus, Richard. Consul General, United States Consulate General, St. John's, Newfoundland, Canada. 2 5 April 197 2. Taylor, E. Paul. Consul, United States Consulate General, Tijuana, Mexico. 27 April 1972. . 5 ' 4 ' 2 Thielen, Anthony M. Deputy Director, Peace Corps, Nicara gua. 27 April 1972, 17 May 1972. Torrey, Charles P. American Consul General, Belize City, British Honduras. 3 May 1972. Wood, Brayton. Executive Director, Instituto Cultural Mexicano-Norteamericano de Jalisco, Guadalajara, Mexico. 2 May 1972. Europe Alcaide, Asta-Rose. Assistant CAO, United States Embassy, Lisbon, Portugal. 8 June 1972. Alenius, Lilian. Director, American Center, United States Embassy, Helsinki, Finland. 24 May 1972. \ Arnadottir, Vigdxs. Librarian, USIS Reykjarth, Iceland. With mimeographed list. 15 November 1972. Attolico, B. Ambasciata D'Italia, Washington, D.C. 11 July 1972. Benson, Philip A. Cultural Attache, United States Embassy, The Hague, Netherlands. 19 May 1972. Bloom, Hyman. American Consul, United States Consulate, Ponta Delgada, Azores, Portugal. 2 May 197 2. Cardillo, Guisseppi. Director, Instituto Italiano Di Cultura, New York City. 25 July 1972. Casanova, Luis Javier. Cultural Attache, Embassy of Spain, Washington, D.C. 17 July 1972. Clive, Beatrice. American Cultural Center, Paris, France. 18 May 1972. Crocker, William T. Cultural Attache, United States Embas sy, Copenhagen, Denmark. 1 May 1972. Cutter, Curtis C. Principal Officer, United States Con sulate General, Seville, Spain. 3 May 1972. '5"4'31 Fisher, Frederic A. Consul, United States Consulate Gener al, Dusseldorf, Germany. 16 May 1972. Garcia, Ramon. Information Specialist, United States Consulate General, Marseille, France. 5 May 1972. Gatheron, B. USIS Bordeaux, France. 26 April 1972. Gyllenpalm, Bo. Program Director, USIS Stockholm, Sweden. 4 May 1972. Haferd, Margaret. Assistant CAO, USIS Rome, Italy. 3 May 1972. Heichler, Lucian. PAO, USIS Bern, Switzerland. 27 April 1972. Heikkila, Eila. Chief Librarian, American Center Library, Helsinki, Finland. With list. 31 October 1972. Heindle, Gottfried. Director, Osterreichischer, Bundes- theaterverband, Vienna, Austria. 8 October 1972. Hinker, Edward J. Director of Amerika Haus, Munich, Ger many. 19 May 1972. Holzapel, Hans. Director of Field Programs, USIS Bonn, Germany. 9 June 197 2, 3 May 197 2. Hoofnagle, James E. PAO Bonn, Germany. To Morrill Cody, Assistant Director for Europe, USIA. 28 March 1963. Hume, Cameron R. American Vice Consul, United States Con sulate General, Palermo, Italy. 9 May 1972. Jacobsen, William L., Jr. Second Secretary, Press and Cultural Section, United States Embassy, Lisbon, Portugal. 13 November 1972. Kahn, Sy. Chairman, Drama Department, University of the Pacific, Stockton, California. 30 June 1972. Krene, Joseph I. PAO for Southern Italy, USIS Naples, Italy. 8 May 1972. — 5 '4 ~* Larke, Kenneth W. Cultural Advisor, USIS Lyon, France. 28 August 1972. McHale, James D. CAO, United States Embassy, Brussels, Belgium. 12 May 1972, 24 October 1972. McHugh, Anne M. American Vice Consul, United States Con sulate, Oporto, Portugal. 1972 (not dated). Mattos, Edward H. Director of Public Affairs, John F. Kennedy Center for the Performing Arts, Washington, D.C. 9 June 1972. Maurstad, Toralv. Director, Fra Teatersjefen, Oslo, Norway. 21 August 1972. Miller, Robert D. Director of Amerika Haus, Berlin, Ger many. 8 June 1972. Murfin, Thomas H. American Consul General, United States Consulate General, Genoa, Italy. 10 May 1972. Nielsen, Niels-Jorgen. Assistant Head of Section, Royal Ministry of Cultural Affairs, Copenhagen, Denmark. 2 August 197 2. O'Connor, Thomas E. Acting PAO, USIS Hamburg, Germany. 9 May 1972. Penberthy, Grover W. American Consul General, Belfast, Northern Ireland. 28 April 1972. Plotkin, Robert D. USIS PAO, United States Embassy, Valletta, Malta. 5 May 1972. Porhansl, Anton. Executive Secretary, Austrian American Educational Commission (Fulbright Commission), Vienna, Austria. 21 July 1972. Ranta, Jorma. Director, Finnish Center of the International Theater Institute. Helsinki, Finland. 24 July 1972. Russell, Theodore E. American Consul, Trieste, Italy. 2 May 197 2. '5T5 Sampaio, Maria Torre do Valle. Director, American Library, Lisbon, Portugal. 13 November 1972. Shetterly, Howard E. PAO, United States Consulate General, Barcelona, Spain. 5 June 1972. Smith, Joseph L. American Consul, United States Consulate, Bilbao, Spain. 12 May 1972. Sonne, C. Melvin, Jr. American Consul, Turin, Italy. 14 August 1972. Stanley, Diane. Assistant CAO, United States Embassy, Madrid, Spain. 5 May 1972. Stevens, Maria A. Program Officer, Office of Western Euro pean Programs, Bureau of Educational and Cultural Affairs, Department of State, Washington, D.C. 14 August 1972. Sullivan, K. P. T. American Consul General, United States Consulate General, Bremen, Germany. 9 May 1972. Voth, Robert C. USIS Director, Oslo, Norway. 8 May 197 2. Weidinger, Dr. Hildegard. USIS Cultural Advisor, American Embassy, Vienna, Austria. 10 May 197 2. Africa Alpern, Stanley B. PAO, American Embassy, Ouagadougou, Upper Volta. 3 May 197 2. Altrutz, Louis James. Peace Corps Director, Maseru, Leso tho. 8 May 1972. Antico, Peter J. Deputy Director, USIS, United States Embassy, Lusaka, Zambia. 4 May 1972. Barton, D. G. Director, Performing'Arts Council, Silverton, Transvaal, South Africa. 9 October 1972. Bell, Orville L. Peace Corps Volunteer, Institute of Afri can Studies, University of Ghana, Legon, Ghana. 20 May 1972. 5T61 Berger, Arthur S. PAO, USIS Kampala, Uganda. 20 July 1972. Boafo, Victor A. Librarian, United States Embassy, Accra, Ghana. 10 May 1972. Brown, Philip C. CAO, United States Interests Section, Embassy of Switzerland, Algiers, Algeria. 2 May 1972. Burns, John T. American Consul and PAO, United States Consulate, Johannesburg, South Africa. 16 November 1972. Chastain, J. Dale. Peace Corps Director, Accra, Ghana. Also former Peace Corps Director, Liberia. 25 May 1972. Converse, Margaret. Assistant CAO, United States Embassy, Dakar, Senegal. 15 December 1972. Crosson, W. H. Peace Corps Director, Kinshasa, Republic of Zaire. 12 May 1972. Crockett, John. Cultural Attache, American Cultural Center, United States Embassy, Tunis, Tunisia. 29 April 1972. Curtis, Peter. Artistic Director, Cape Performing Board, Cape Town, South Africa. 31 July 1972. Edwards, Gary. Assistant CAO, United States Embassy, Rabat, Morocco. 3 May 19 72. Eriksen, John H. Director, Peace Corps, Mbabane, Swaziland. 5 July 1972. Evans, Walter F. Former Peace Corps Director, Guinea. Potomac, Maryland. 9 June 1972. Fleming, Harold S. Former Peace Corps Director, Ivory Coast. Department of Health, Education and Welfare, Washington, D.C. 18 May 1972. Gabanski, Glenn L. Peace Corps Volunteer, Bathurst, Gambia. 16 May 197 2. 5 T 7 Gaynor, Frederic J. Cultural Attache, USIS Tananarive, Malagasy Republic. 4 May 1972. Hodges, Nora. Technical Representative, Education, Peace Corps, Abidjan, Ivory Coast. 16 June 1972. Hogan, James J. Deputy Director, Peace Corps, Niamey, Niger. 9 May 1972. Huchel, Gerald E. Deputy Director, USIS Ibadan, Nigeria. 10 May 1972. Jamison, Judith R. Assistant CAO, USIS Kinshasa, Zaire. 23 May 1972. Jesseramsing, C. First Secretary, Embassy of Mauritius, Washington, D.C. 11 July 1972. Kallas, Gerald J. PAO, American Cultural Center, United States Embassy, Khartoum, Sudan. 19 October 1972. Koob, Kathryn L. Office of the Assistant Director, Africa, USIA, Washington, D.C. 7 August 1972. Kuniholm, Thor H. American Consul, United States Consulate, Zanzibar, Tanzania. 8 May 1972. La Gamma, Robert R. CAO, USIS Abidjan, Ivory Coast. 27 April 1972. Leshoai, B. L. Chairman, Theater Arts Department, Univer sity of Dar es Salaam, Dar es Salaam, Tanzania. 30 October 1972. Lisle, Leslie M. CAO, American Interests Section, Royal Netherlands Embassy, Khartoum, Sudan. 8 June 1972. McCaffery, James A. Acting Director, Peace Corps, Gaborone, Botswana. 4 May 1972. McGowan, Howard L. American Consul, United States Consulate General, Luanda, Angola. 1 May 1972. Mashologu, M. T. Ambassador, Embassy of the Kingdom of Lesotho, Washington, D.C. 25 July 1972. 5~41 Maxim, Robert M. American Consul, United States Consulate, Oran, Algeria. 9 May 1972. Nouama, Emmanuel. First Counselor, Embassy of the Ivory Coast, Washington, D. C. 1 August 1972. Palmeri, Robert J. Assistant CAO, United States Embassy, Lagos, Nigeria. 7 August 1972. Parker, James A. Alternate Director, Office of Central African Affairs, Department of State, Washington, D.C. 17 April 1973. Petrides, George. Acting Deputy Director, Peace Corps, Nairobi, Kenya. 8 May 197 2. Portugill, Jestyn. Peace Corps Director, Addis Ababa, Ethiopia. 11 May 1972. Radday, Harold F. PAO, United States Embassy, Banqui, Central African Republic. 12 May 1972. Rounes, Aris. PAO, USIS Libreville, Gabon. 26 April 1972. Ryan, Henry A. PAO, United States Embassy, Conakry, Repub lic of Guinea. 6 November 1972. Schlessinger, Andrew C. CAO, United States Embassy, Dar es Salaam, Tanzania. 5 May 1972. Seitz, R. G. H. American Consul, United States Consulate, Bukavu, Republic of Zaire. 12 May 1972. Siegel, Bob. Former Peace Corps Volunteer in Nairobi. Barcelona, Spain. 25 July 1972. Simmonds, John W., Jr. Director, American Cultural Center, Niamey, Niger. 8 November 1972. Smith, Henry L. Peace Corps Director, Kampala, Uganda. 18 May 197 2. Soergel, Donald E. CAO, American Embassy, Mogadiscio, Somali Democratic Republic. 6 May 1972. ' 5 ~ 4 ' 9 ; Southwick, E. Michael. American Vice Consul, United States Embassy, Kigali, Rwanda. 15 May 1972. Swan, Marshall W. S. PAO, United States Embassy, Bujumbura, Burundi. 8 May 19 72. Taylor, Patricia K. USIS Librarian, United States Embassy, Lusaka, Zambia. 16 October 1972. Teeple, Howard S. PAO, United States Embassy, Monrovia, Liberia. 18 July 1972. Thurber, James P., Jr. Deputy PAO, United States Embassy, Lagos, Nigeria. 15 May 197 2. Venter, Casper S. C. Information Counsellor, Embassy of South Africa, Washington, D.C. 11 July 1972. Waddell, Alfred J. PAO, USIS Maseru, Lesotho. 24 October 1972 . Near East and South Asia Al-Hassani, Jamil. Charge d"Affaires, Embassy of the State of Kuwait, Washington, D.C. 2 6 July 1972. Allen, Arthur B. Director, Near East and South Asia, Educational and Cultural Affairs, State Department, Washington, D.C. Memorandum to John Richardson, Assistant Secretary of State for Educational and Cultural Affairs. (On file at USIA-ICS, Washington, D.C.) August 1970. Calhoun, Thomas A. Director, Hellenic American Union, Athens, Greece. 23 June 1972. Dove, Thomas C. PAO, United States Embassy, Kathmandu, Nepal. 8 December 1972. Drake, Emily J. Assistant CAO, United States Embassy, Tel Aviv, Israel. 17 October 1972. Flanagan, Lois. CAO, USIS, New Delhi, India. 12 May 1972. 550 Furst, M. J. Director, Peace Corps, Kathmandu, Nepal. 24 April 1972. Gangulee, P. Minister, Education and Culture, Embassy of India, Washington, D. C. 13 July 19 72. Gooneratane, Margaret. Chief Librarian, United States Embassy, Colombo, Ceylon. 20 October 1972. Guvendiren, E. E. First Secretary, Turkish Embassy, Wash ington, D.C. 14 July 1972. Hallman, William H. American Consul, United States Consul ate, Adana, Turkey. 22 June 1972. Heck, Ernestine. Librarian, Abraham Lincoln Library, USIS Tehran, Iran. 16 October 1972. Hopwbod, G. Richard. Cultural Attache, United States Embas sy, Islamabad, Pakistan. 20 September 1972. Imus, Richard H. Economic Officer, United States Consulate General, Dhahran, Saudi Arabia. 11 October 1972. Iran-American Society to Mr. Whitelaw (on file at USIA-ICS, Washington, D.C.). 2 July 1970. Irving, Frederick. Deputy Assistant Secretary of State for Educational and Cultural Affairs. Memorandum (on file at USIA-ICS, Washington, D.C.). 24 July 1970. McClintock, David W. Former Principal Officer, Aden, Yemen. Amman, Jordan. 23 May 1972. McDowell, R. E. Assistant CAO, USIS Ankara, Turkey. 20 October 1972. Miller, Paul A. Memorandum to Walter M. Bastian, Jr. (on file at USIA-ICS, Washington, D.C.). 17 December 1962. Mufti, Zuhayr. Ambassador, Royal Jordanian Embassy, Wash ington, D.C. 13 July 1972. Nugent, Michael J. Assistant CAO, United States Embassy, Jidda, Saudi Arabia. 15 May 1972. '5311 Penny, Edward T. CAO, United States Interests Section, Embassy of Spain, Cairo, Egypt. 17 May 1972. Ramsay, Walter G. American Consul, United States Consulate, Tabriz, Iran. 9 May 197 2. Rogers, David H. Peace Corps Director, New Delhi, India. 10 May 1972. Snyder, Joseph C., III. American Vice Consul, United States Consulate, Khorram Shahr, Iran. 10 May 1972. Thompson, William F. Cultural Attache, United States Embas sy, Tel Aviv, Israel. 15 May 1972. Traub, Daniel L. PAO, United States Consulate General, Thessaloniki, Greece. 4 May 197 2. Wertine, Theodore A. CAO, United States Embassy, Athens, Greece. 19 May 1972. Wishon, George E. PAO, United States Embassy, Kuwait, State of Kuwait. 4 June 1972. Wozniak, Robert J. PAO, United States Embassy, Nicosia, Cyprus. 1 June 1972. Young, Katherine K. Assistant CAO, USIS Bombay, India. 9 May 1972. East Asia and Pacific Allard, Wilfred P. Cultural Attache, United States Embassy, Vientiane, Laos. 5 May 197 2. Ball, Albert. Director of the American Center, Osaka, Japan. 24 April 1972. Baskin, Myron A. Cultural Attache, United States Embassy, Canberra, Australian Capital Territory, Australia. 19 June 1972. Becker, Robert W. Second Secretary, United States Embassy, Suva, Fiji. 18 May 197 2. ------------------------------- 552 Berrington, Robin A. Director, Fukuoka American Center, Fukuoka, Japan. 4 May 1972. Burns, James D. Branch PAO, USIS Khon Kaen, Thailand. 15 October 197 2. Caffin, D. J. 0. First Secretary, New Zealand Embassy, Washington, D.C. 25 July 1972. Cook, Frances D. Consul and CAO, United States Consulate General, Sydney, New South Wales, Australia. 20 October 1972. Cowan, Mary Frances. CAO, United States Embassy, Rangoon, Burma. 23 May 1972. Coward, Francis P. Education Officer, USIS, United States Embassy, Bangkok, Thailand. 9 May 1972. Croghan, Allan B. Assistant CAO; United States Embassy, Manila, Philippines. 1 June 1972. De Myer, William F. Cultural Attach^, United States Embas sy, Saigon, Vietnam. 23 May 1972. Fahs, Charles B. Miami University, Ohio. 7 October 1972. Fischman, Joel Anthony. CAO, United States Embassy, Singapore. 15 May 1972. Frazekas, Joseph S. Assistant CAO, Lembaga, Indonesia- Amerika, Djakarta, Indonesia. 15 May 197 2. Galang, Ricardo C. Civil Operations and Development Sup port, Bien Hoa Region, Vietnam. 2 8 April 1972. Haag, Richard. Program Training Officer, Peace Corps, Suva, Fiji. 11 July 1972. Hendamihard ja, Hendarsin. Assistant Educational and Cul tural Attache, Embassy of Indonesia, Washington, D.C. 13 July 1972. Hendricks, Anne. Former Peace Corps Volunteer, Bangkok, Thailand. 8 October 1972. 553 Herget, Daniel J. Director, Vietnamese-American Associa tion, Saigon, Vietnam. 3 May 1972. Holland, Edward W., Jr. Assistant PAO, United States Embas sy, Chiang Mai, Thailand. 3 May 1972. Houlahan, J. Michael. CAO, United States Embassy, Welling ton, New Zealand. 15 May 197 2. Hughes, Richard M. Former Director, Lao-American Associa tion, Vientiane, Laos. 19 May 1972. Ifshin, Edward S. Deputy Director, American Center, Amer ican Embassy, Tokyo, Japan. 17 June 1972. Kennedy, Patricia. Theater Consultant, Australian Council for the Arts, Sydney, New South Wales, Australia. 6 November 197 2. Kim, Hyang Shin. Librarian, USIS Kwanju, Chollanamdo, Korea. 17 October 1972. Kracke, David K. Assistant CAO, USIS Bangkok. Sent to John A. Fredenburg, Thai Desk Officer, USIA Washington, D.C. (onfile at USIA-ICS, Washington, D.C.). 9 April 1971. Lahey, Charles J. Branch PAO, United States Consulate, Cebu, Philippines. 6 December 1972. Loh, I Cheng. Minister-Counselor (Information), Chinese Embassy, Washington, D.C., and Director, Chinese Information Service, New York. 24 July 197 2. Maitrejean, Sigrid. Director, Thomas Jefferson Cultural Center, Quezon City, Philippines. 13 October 197 2. Mattos, Edward H. Director of Public Affairs, John F. Kennedy Center for the Performing Arts. 9 June 1972. Meng, Leong Hew. Information Attache, Embassy of Malaysia, Washington, D.C. 21 September 1972. ' 5 ' 5 ~ 4 ' Neary, Seng. Counselor, Embassy of the Republic of Khmere, Washington, D.C. 2 November 1972. Norman, Irene 0. Librarian, United States Embassy, Welling ton, New Zealand. 17 October 1972. Parsons, Blanchard K. Director, American Cultural Center, Pusan, Korea. 16 October 1972. Payne, Roy M. Assistant CAO and Director of Lembaga Indo nesia- Amerika, Surabaja, Indonesia. 4 May 1972. Ransom, Charles C. CAO, United States Embassy, Kuala Lumpur, Malaysia. 14 November 1972. Reid, John M. Director, Lao-American Association, Vienti ane, Laos. 2 June 1972. Sharpham, John R. Australian graduate student, University of Colorado, Boulder, Colorado. 27 April 197 2. Sladkin, Donald M. Branch PAO, United States Consulate, Songkhla, Thailand. 4 May 1972. Slawecki, Leon M. S. Cao, United States Consulate General, Hong Kong. 19 May 1972. Smith, David G. Branch PAO and Consul, United States Con sulate, Chiang Mai, Thailand. 13 October 1972. Stubbs, William B. Information Officer, United States Embassy, Phnom Penh, Khmer Republic (Cambodia). 4 May 1972. Taylor, Carl, Jr. American Consul, United States Consulate, Mandalay, Burma. 8 May 1972. Thomas, Lawrence M. Director, American Cultural Center, Cantho, Vietnam. 18 October 1972. Vogel, Russ. Peace Corps Volunteer, Kuala Lumpur, Malaysia. 7 August 197 2. Wimmel, Kenneth C. Cultural Programs Director, United States Embassy, Taipei, Taiwan, China. 20 October 1972. Eastern Europe and Soviet Union 3'5'51 Bator, Edmund A. First Secretary, Cultural Affairs, United States Embassy, Belgrade, Yugoslavia. 16 August 1972. Goff, Lewin. Chairman, Department of Drama, University of Texas, Austin, Texas. 11 July 1972. Lewis, Arthur W. CAO, United States Embassy, Bucharest, Romania. 22 May 1972. Mandros, James T. Consul for Press and Cultural Affairs, United States Consulate, Poznan, Poland. 2 6 May 1972. Novakovic, Branko. Counselor, Press and Cultural Affairs, Embassy of the Socialist Federal Republic of Yugo slavia, Washington, D.C. 10 August 1972. Raymond, Thomas H. Director, USIS Library, Belgrade, Yugo slavia. 17 October 1972. Rea, Tom P. Assistant Director, University Theater, Uni versity of Kansas, Lawrence, Kansas. 5 July 197 2. Silverman, Arnold J. Press and Cultural Officer, United States Embassy, Sofia, Bulgaria. 1 June 1972. Interviews Anderson, Dion. Former CAO, Tehran, Iran (1968-1970). USIA, Washington, D.C. September 1972. Baumgartner, Harriet M. Chief, Appraisals Branch, Biblio graphic Division, USIA, Washington, D.C. Interview August 1972. Black, Scott. Catholic University drama student, partici pant in 1971 and 1972 Poznan (Poland) University English Seminar. Washington, D.C. September, 1972. 556 Brauckmann, Karl F. USIA, Washington, D.C. Interview Octo ber 1971. Dombras, Theodore T., Dr. Executive Associate, Committee on International Exchange of Persons, Washington, D.C. September 1972. Gerstein, Beverly. Washington, D.C. Via telephone. Decem ber 1974. Goldberger, Eddie. Acting Chief, VOA's New York Program Center. August 1972. Johnson, Marilyn. Director of Programming, ICS, Washington, D.C. September 1972. Joyce, Richard B. USIA/ICS, Washington, D.C. August 1972. Lee, Robert E. Los Angeles, California. December 1972. Lester, Alan. Former Field Program Officer, Tehran, Iran. USIA Washington, D.C. September 197 2. McDonald, John F. Japanese Specialist, Office of Educa tional and Cultural Affairs, Department of State, Washington, D.C. 4 September 197 2. Macy, Gertrude. General Manager, International Cultural Exchange Service, New York. September 1972. Margolius, Jerome F. Washington, D.C. 2 September 197 2. Nyrop, Fleming E. Former Provincial Psychological Opera tions Advisor, USIS Saigon, Vietnam. Washington, D.C. October, 1971. 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