ABSTRACT
Reading this collection of chapters in their entirety is for me, in part, the experience of being overwhelmed with gratitude for the influence of Roberta Uno and the New WORLD Theater. I am just one member of the larger American theater community groping forward in an effort to help build a field that is more equitable, one that realizes the prophetic vision of Project 2050. And yet in my single case, the connections are too numerous to mention here so I will cite just three examples.
