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a c k n o w l e d g m e n t s It is a pleasure to acknowledge my indebtedness and thanks to a variety of organizations and individuals. For granting me permission to reprint parts of articles originally appearing in their journals and periodicals, I am grateful to the editors of American Theatre, the Drama Review, Drama Survey, Educational Theatre Journal, Modern Drama, Plays and Players, Slavic and East European Performance, Theatre Design and Technology, Theatre History Studies, Theatre Journal, Theatre Survey, and the Village Voice. I am equally indebted to the liberal kindness of numerous photographic artists in granting permission for their works to be used as enhancements of the following study. Above all I wish to acknowledge the contribution made to my writings by the photographs of the late Jaromír Svoboda, and to thank his widow, Zdena Svobodová, for her authorization to use a selection of his photos here. Others whose photographic artistry is to be found in the following pages are Jaroslav Krejčí, Alexandr Paul, Oldřich Pernica, Vojtěch Pisařík, Martin Poš, Jaroslav Prokop, Josef Ptáček, Lubomír Rohan, Vilém Sochůrek, Martin Špelda, Josef Svoboda , and Vladislav Vaňák. I also wish to thank the Czech National Theatre and its archive, headed by Zdena Benešová; the Prague Theatre Institute; and other Prague theatres for a few uncredited photographs, as noted in their respective captions. My research and subsequent publications relating to Czech theatre were encouraged and facilitated by the generous support of others. I am deeply grateful to the administrations, committees, and councils of the following institutions. The U.S. State Department Specialist’s Grant supported my stay in Czechoslovakia in the fall of 1965, when I lectured at several universities and became seriously involved in Czech theatre. The Inter-University Committee on Travel Grants supported my research in Czechoslovakia in 1968–1969; the International Research Exchanges Board (IREX) underwrote two of my extended research visits to Prague (1974–1975, 1993–1994); the Council for International Exchange of Scholars (Fulbright Program) funded my research visit to Prague in the spring of 1988. My gratitude extends to several offices and ministries of the Czechoslovak Socialist Republic and its successor, the Czech Republic, for sharing in the support of these international cooperative grants. The National Endowment for the Humanities awarded me a valuable summer research grant in the 1970s; and from 1965 onward the State University of New York and the administration of the University at Albany provided me with a variety of grants and leaves of absence for my research and publications in Czech theatre. Several specific institutions and archives in Prague provided me with cordial and sustained assistance in my studies. Since 1965, the Prague Theatre Institute (Divadelní ústav) has been instrumental in my liaison with Czech theatres and their artists and has also granted me access to its own library and archives. I am especially grateful to its directors and other personnel, in particular the following: Eva Soukupová, director from the 1960s until the late 1980s, and subsequent directors Helena Albertová and Ondřej Černý. Jarmila Gabrielová, head of the institute’s international liaison section, has for four decades continued to be a friendly counselor and guide. Others who provided generous help over the years include Blanka Calábková, Alena Kulhanková, Jaroslav Máchek, Květoslava Marková, Ladislava Petišková, Miroslava Potučková, Věra Ptáčková, and the personnel of the institute’s archives. The Theatre Section of the National Museum was a rich source of materials , especially those concerning Czech theatre from its beginnings to the midtwentieth century. Some of its key personnel who provided me with valuable guidance were Jiří Hilmera, Vilemína Pecharová, and Jaroslav Janů. The Cabinet for the Study of Czech Theatre, of the Czech Academy of Science , comprises specialist scholars dedicated to ongoing projects and publications in the history of Czech theatre. My work in Czech theatre owes a great deal to their scholarship and friendly counsel. Those with whom I had the most communication included František Černý (for long its guiding spirit), Adolf Scherl, Eva Šormová, Evžen Turnovský, and Milan Obst. The Department of Theatre and Film Studies of Charles University often was a source of supplemental information from its store of graduate dissertations and its audio library and also provided valuable assistance from its faculty and staff, among whom I would particularly like to mention Jan...

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