appreciation which have been among the most vital factors
contributing to our growth.

So far we have produced thirty-two plays, of one-act and greater
length, and of these twenty have been American. The emphasis of
our interest has been placed on the American playwright, because
we feel that no American theatre can be really successful unless
it develops a native drama to present and interpret those
emotions, ideas, characters, and conditions with which we, as
Americans, are primarily concerned.

Of these twenty American plays the Drama League has selected four
for this volume of its series. Excluding comment on my farce --
for an author is notoriously unfit to judge his own work -- I
think it may be said that these represent a fair example of the
success the Players have met with in trying to encourage the
writing of American plays with "freshness and sincerity of theme
and development; skilful delineation of character; non-didactic
presentation of an idea; and dramatic and esthetic effectiveness
without theatricalism." They are the early products of a new
movement in the American theatre of which we are happy to be a
part, and if their publication meets with the sympathetic,
appreciative reception that has been accorded their production,
we feel and hope that not only these authors, not only the
Washington Square Players, but all of the workers in this new
movement will be encouraged and stimulated to a further effort, a
greater mastery, and a bigger achievement.

EDWARD GOODMAN,
Director of the Washington Square Players.