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[...]all occupations of my life have been indifferent to me; I have never pushed myself into any or offered myself, but neither have I ever refused even the most insignificant to which I felt myself drawn by any kind of predilection. . . . they hit upon the plan to use even that in me which makes me such a slow, or as my more energetic friends deem, such a lazy workman: criticism. [...]the production of the Dream happened in 1843, following presentations of Sophocles' Antigone and Euripides' Medea, staged according to Tieck's ideas of Greek theater practice. For nine years, he served as Director of Literary Services at Theatre Communications Group, the national organization of nonprofit theaters, where he worked with writers and dramaturgs, and initiated the publications Dramatists Sourcebook, Plays in Process (a series that published over 100 dramatic works), and New Plays USA. From 1997 to 2003, he was Chair of the Department of Dramaturgy and Dramatic Criticism at Yale School of Drama, where he is currently Associate Professor.

\"It took courage to do what Spalding did-courage to make theatre so naked and unadorned, to expose himself in this way and fight the demons in public. In doing so, he entered our hearts-my heart-because he made his struggle my struggle. His life became my life.\"-Eric Bogosian \"Virtuosic. A master writer, reporter, comic and playwright. Spalding Gray is a sit-down monologist with the soul of a stand-up comedian. A contemporary Gulliver, he travels the globe in search of experience and finds the ridiculous.\"-The New York Times In 2004, we mourned the loss of one of America's true theatrical innovators. Spalding Gray took his own life by jumping from the Staten Island ferry into the waters of New York Harbor, finally succumbing to the impossible notion that he could in fact swim to Cambodia. At a memorial gathering for family, friends and fans at Lincoln Center in New York, his widow expressed the need to honor Gray's legacy as an artist and writer for his children, as well as for future generations of fans and readers. Originally published in 1985,Swimming to Cambodiais reissued here 20 years later in a new edition as a tribute to Gray's singular artistry. Writer, actor and performer,Spalding Grayis the author ofSex and Death to the Age 14;Monster in a Box;It's a Slippery Slope;Gray's AnatomyandMorning, Noon and Night, among other works. His appearance inThe Killing Fieldswas the inspiration for hisSwimming to Cambodia, which was also filmed by Jonathan Demme.

Leverett comments on the conversation at New York City's Town Hall between playwright August Wilson and critic Robert Brustein on American theater and the role race plays in it.

Eighty-four college males were administered either the Sexual Experiences Survey (SES) or the Modified Sexual Experiences Survey (M-SES), the Sensation Seeking Scale (SSS), the Eysenck Personality Questionnaire (EPQ), and the SRA Nonverbal Form. Reference to female consent was removed on the M-SES. This was hypothesized to significantly increase the reporting of sexually coercive behavior. A multitrait-monomethod validation procedure was used to investigate the validity of the SES and M-SES, using Extraversion, Psychoticism, Sensation Seeking, and nonverbal intellectual capacity to assess convergent and discriminant validity. The M-SES did not yield a statistically significant increase in the reporting of sexually coercive behaviors. No significant relationship was found to exist between Sensation Seeking or Psychoticism and sexually coercive behavior by subjects. No significant relationship was found to exist between Extraversion and responding on the SES, but a significant inverse relationship was shown to exist between Extraversion and sexual coercion for subjects completing the M-SES. The M-SES was shown to measure the same construct as the SES. Internal consistency and test-retest reliability were demonstrated for the M-SES. These findings and their implications are discussed and suggestions for future research are made.

What Frank Rich expresses when he deplores the exclusion of work by excellent producers like Joseph Papp, Lynne Meadow and Andre Bishop for Tony competition is that all theater is really one theater, each part nourishing and depending upon the others, no matter how experimental or escapist.