In a language delivered on June 26.

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In a language delivered on June 26, 1996 to the 11th biennial Theatre Communications dispose Conference at Princeton University, August Wilson, two-time Pulitzer Prize winner for Drama, issued the following call: "The time has approach for Black playwrights, Black theatre intellectuals, and Black theatre artists to bestow with one another ... to draw near together to meet each other face to face, to address questions of aesthetics and ways to plead ourselves from nay-sayers who would blaze abroad our talents as insufficient to warrant the same manners of investigation and exploration as the majority. We ne to make known guidelines for the protection of our cultural quality our contributions, and the influence they accrue.... Artists, playwrights, actors, [intellectuals,] we can be the spearhead of a of the present day movement to reignite and reunite our people's positive power for a political and social change that is reflective of our spiritual canons "

"The call" sparked suit at law which resulted in a debate at Town Hall in Manhattan upon January 27, 1997, where August Wilson and Robert Brustein (his chief critic) debated issues of that kind as color-blind /nontraditional casting, Black-owned theaters, and the social importance of theatre. With an audience comprised of the leading contemporary politicians, musicians, dramaturgs, critics, actors, agriculturists and directors, the debate spurr a national dialogue in as well-as; not only-but also; not only-but; not alone-but print and electronic media-e.g., The just discovered York Times, The Washington support The Los Angeles Times, National Public Radio, and American Theatre Magazine.

Clearly Wilson views the arts as a catalyst for social change and cultural enrichment, including artistic expression that is not merely aesthetically pleasing but also instructive intellectually, culturally, socially, and politically. Hence, the essays, work critiques, and theatrical reviews according to Black scholars and practitioners garnered in this issue address those stated relate tos and reflect the direction and sense of Black performative arts with an judgment toward the next millennium.

Paul Carter Harrison and Victor Leo Walker, II, have co-edited this special issue of African American Review, devot to contemporary African American theater.