Over the past two decades a number of attempts have been made, with varying degrees of success, to collect in a single treatise available information on the basic and applied pharmacology and biochemical mechanism of action of antineoplastic and immunosuppressive agents. The logarithmic growth of knowledge in this field has made it progressively more difficult to do justice to all aspects of this topic, and it is possible that the present handbook, more than four years in preparation, may be the last attempt to survey in a. single volume the entire field of drugs em ployed in cancer chemotherapy and immunosuppression. Even in the present instance, it has proved necessary for practical reasons to publish the material in two parts, although the plan of the work constitutes, at least in the editors' view, a single integrated treatment of this research area. A number of factors have contributed to the continuous expansion of research in the areas of cancer chemotherapy and immunosuppression. Active compounds have been emerging at ever-increasing rates from experimental tumor screening systems maintained by a variety of private and governmental laboratories through out the world. At the molecular level, knowledge of the modes of action of estab lished agents has continued to expand, and has permitted rational drug design to playa significantly greater role in a process which, in its early years, depended almost completely upon empirical and fortuitous observations."

This volume offers the first comprehensive analysis of the work of East German theatre director Fritz Bennewitz in India between 1970 and 1994. Joerg Esleben has gathered together many of Bennewitz' own writings, most published for the first time, in which he reflects on his production of plays by Bertolt Brecht, Shakespeare, Goethe, Chekhov, and Volker Braun. By translating these writings into English, the editors have provided unprecedented access to Bennewitz' thinking about intercultural work in India. This material is illuminated by explanatory annotations, contextualized commentary, and critical perspectives from Bennewitz's former colleagues in India and other leading scholars. Through its kaleidoscope of perspectives, Fritz Bennewitz in India offers a significant counter to dominant models of Western theatrical interculturalism.

Fritz Bennewitz (1926-1995) was the director-in-chief of East Germany's Weimar National Theatre. Extraordinary in his capacity for cultural and linguistic adjustment, he directed productions in twelve countries, always adapting shows to make them meaningful to local audiences. Notably, Bennewitz conducted stagings of Goethe's Faust in four different languages over a series of seven productions -- three in pre-unification Weimar, one in the reunited Germany, and one each in New York, Manila, and Mumbai.

The first comprehensive account of Bennewitz's remarkable career, Bennewitz, Goethe, Faust is also a pioneering study of intercultural interpretations of Faust. David G. John brings to light previously unknown archival materials -- including annotated playbooks, correspondence, translations, videos, and reception information --?as well as unpublished production photos from the stagings discussed in the book. Bennewitz, Goethe, Faust makes a cogent argument for this director's place alongside the twentieth century's greatest theatre innovators.