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Broadway Season, 1999-2000 offers a highly idiosyncratic and personal view of the Broadway season by an accomplished writer and producer. The season's shows are discussed in chronological order.

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Aquest primer volum compta amb un llarg estudi introductori -més de seixanta pàgines- de Magí Sunyer Molné, professor titular del Departament de Filologia Catalana de la Universitat Rovira i Virgili en què estudia el conjunt representatiu del teatre menys conegut del Vuit-cents català, la de les societats d'aficionats i la que divertia el públic menestral i obrer. S'han de subratllar la dimensió del teatre polític de Rossend Arús i, sobretot, la importància superior dels seus drames realistes contemporanis i en prosa, en l'escriptura dels quals va ser pioner.

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The World of Theatre is an on-the-spot account of current theatre activity across six continents. The year 2000 edition covers the three seasons from 1996-97 to 1998-99, in over sixty countries - more than ever before. The content of the book is as varied as the theatre scene it describes, from magisterial round-ups by leading critics in Europe (Peter Hepple of The Stage) and North America (Jim O'Quinn of American Theatre) to what are sometimes literally war-torn countries such as Iran or Sierra Leone.

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In this volume Strindberg's accomplishments as a dramatist are set against his achievements in other fields, as an autobiographer, painter, letter writer and theatre director. There are studies of individual plays, in which Strindberg's theatre is related both to naturalism and the theatre of the absurd, and of the role played by his life-long interest in historical drama. Other essays range from studies of the problems posed by Strindberg's preoccupation with converting his own life into literature to a consideration of the importance he placed on letterwriting as a model for writing of all kinds. His letters are also used to explore his ideas about the theatre. A recurring concern is with the period of turmoil known as the Inferno Crisis, in which Strindberg refashioned himself as a writer. Robinson examines the importance of Strindberg's painting for his renewal as a writer and situates the achievement of his later works in relation to Symbolism and to Musical Expressionism.

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Like a two-faced Janus, Siro Ferrone carried out both research on theatre and theatre criticism, combining academic research and stage experience. His reviewer activity, carried out without interruptions, is now for the first time transcribed and organically collected in a volume. The articles, which appeared on the pages of "l'Unità-Toscana", are today an important source for the analysis of significant shows staged in the main Tuscan theatres between 1975 and 1983. The result is the documentation of a period of fertile and avant-garde theatrical production, here retraced through the aware and illuminating testimonies of one of the main Italian historians of performing arts.

Theater.