Titlebook: On the Performance Front; US Theatre and Inter Charlotte M. Canning Book 20151st edition The Editor(s) (if applicable) and The Author(s) 20

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Conclusion, a particularly propitious time to perform there. Battles raged around Saigon, and a grenade had been thrown at the US ambassador four months earlier.. Adams feared the show would not happen. “Right up until … our … jet … set down …, we didn’t think we were going to make it. None of us really though

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Onstage I: ,, 1927,the US appear to be leading the way technologically, but it was also making the world a smaller place on its own terms. It took time for there to be regular commercial transatlantic passenger flights, but after the . landed on French soil after an almost 34-hour flight no one could doubt that such a

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共同時代

Onstage II: ,, 1949,for the future of US theatre, as those involved in ANTA already well knew, was global. Three weeks later he outlined his plan to supply Germany (and the rest of Europe) with the best of US theatre. He even enlisted . producer Blevins Davis to use his personal connections to President Harry Truman to

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,ITI: Tomorrow’s Theatre Today, C. Robert Kase, who two years earlier had founded the University of Delaware’s theatre department and was representing the American Educational Theatre Association (AETA), spoke quickly: “Both are important. The theatre should come first, but if we don’t have a world we wouldn’t have a theatre, so

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