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The Vanderbilt Divinity School is one of only four university-based interdenominational institutions in the United States, and the only one in the South. As such, its history provides a distinct vantage point for viewing what has occurred in theological education since the latter part of the nineteenth century. In this book, the contributors explore the school's history in terms of four main themes:

Engagement with southern culture, present from the beginnings of the university but taking on special significance in the mid-twentieth century around the issue of race;

The transition from an institution of the church (Methodist) to an independent and interdenominational school with a liberal Protestant orientation;

The development of the modern research university, evident in the establishment of a graduate program in religion in addition to its program for the profession of ministry;

From the 1950s, a growing concern with diversity and inclusivity, in keeping with national and international issues and developments both religious and cultural, which has broadened the school's sense of ecumenism and deepened its commitments to social justice.

Conflict has played an important part in shaping the history of the Vanderbilt Divinity School, from struggles over initial visions to questions of financial support and institutional control, from local debates over academic freedom to national issues of social justice. Especially noteworthy are the transformations the school has undergone since 1960: the "James Lawson affair," where the divinity school faculty resigned over the expulsion of an African American graduate student who was organizing local lunch counter sit-ins; the impact of social change on the school since the late 1960s; and the contributions of women and African Americans, including their appointment to the faculty.

The aim of this anthology is to present a selection of plays that are representative of a fresh spirit and of societal pressures and changes in Spanish American culture. The plays shun the earlier realistic, sentimental, and melodramatic conventions of Spanish American theater. Instead, they reflect the tenor of the dramatic imagination of the mid-to-late twentieth century—an imagination that sought new forms and ways of expressing a new awareness of the Spanish American dilemma.

In selecting these plays, William I. Oliver looked for more than mere illustrations of these changes. As a practicing director and playwright, he sought works that are effective on the stage as well as on the page. As an editor and translator, he sought works “that could be translated culturally as well as linguistically.” The six plays in this varied and vigorous anthology are the measure of his success.

The plays included are The Day They Let the Lions Loose, by Emilio Carballido (Mexico); The Camp, by Griselda Gambaro (Argentina); The Library, by Carlos Maggi (Uruguay); In the Right Hand of God the Father, by Enrique Buenaventura (Colombia); The Mulatto’s Orgy, by Luisa Josefina Hernández (Mexico); and Viña: Three Beach Plays, by Sergio Vodánovic (Chile).