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<DIV><FONT color=#000000 size=2>Following is the English translation of the
concluding paragraph of Kalina Stefanova's review of <EM>Establishing Our
Boundaries: English-Canadian Theatre Criticism </EM>which appeared in the
Bulgarian magazine <EM>Theatre</EM>:</FONT></DIV>
<DIV><FONT color=#000000 size=2></FONT> </DIV>
<DIV><FONT color=#000000 size=2>
<DIV><FONT size=2>"Shutting the book <EM>Establishing Our Boundaries,
</EM>one feels like one has lived for two centuries in the Northern part of
North America and has witnessed the different stages, nuances and faces of the
very painful, difficult and extremely adamant search for a feeling of belonging,
or in other words, for a national consciousness of the people who have really
lived there throughout all that time. It's exciting that this process could be
followed exactly through the development of the theatre and
criticism."</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>The full text of Kalina Stefanova's seven-page long review can
be found in the issue No. 3/4 (2000) of <EM>Theatre</EM>. </FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>Stefanova </FONT>received the 1999 Award of the Union of
Bulgarian Artists for Best Critic for her book <EM>Contemporary British Theatre
Criticism: Models and Characteristics </EM>and <FONT color=#000000 size=2>has
published three books with Harwood Academic Publishers, an imprint of G+B Arts
International: WHO CALLS THE SHOTS ON THE NEW YORK STAGES?: The New York
Critics. Contemporary Theatre Studies, Vol. 4, 1994. WHO KEEPS THE SCORE ON THE
LONDON STAGES? Contemporary Theatre Studies, Vol. 36, 2000 and EASTERN EUROPEAN
THEATER AFTER THE IRON CURTAIN. Contemporary Theatre Studies, Vol. 30, 2000.
</FONT></DIV>
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<DIV><FONT color=#000000 size=2>For where to purchase copies of these
titles, check with the publisher's Canadian sales representative, Rhona
Kellington at <A
href="mailto:r.kellington@sympatico.ca">r.kellington@sympatico.ca</A></FONT></DIV></BLOCKQUOTE></FONT></DIV></BODY></HTML>