architecture are still seminal. Where are the annual bibliographies on theatre architecture, design, stagecraft, history and theory? Where are our regular abstracts on the new theses and dissertations in our disciplines? Where is the current index to our own journal, TD& 17 It was last updated through Fall, 1988. Who is charging the USIIT Commissions to define research projects, complete them and report on them? Given US1IT's extensive membership base in theatre research and education, why is this group largely silent in our journal? 6. Attract ami encourage talented yOUllg people to enter and contribute to tbe production areas ojtbeatre. Everyone knows there is an acute shortage of students entering technical graduate production programs. That means a shortage of talented leaders in the future. A lot of this has to do with the low standards of compensation and increasing use of part-time adjuncts so rampant in our educational institutions. It's time we stopped condoning these practices. Let's set about as an institute to improve standards of compensation, so that our pay scale and benefits are equal with T and film and Mr. Disney. Let's expose and report actively on the economic status of our profession and let's strive to elevate it. 7. Address racial alldgellder bias witb positive programs. I applaud the work US1IT has done with women's programs and membership. Now let's do the same with Afro-American and Hispanic membership. Do we StaI1 \\ithin our own institutions by supporting affirmative membership action? Do we target the thirty-nine member colleges of Ule nited Negro College Fund? 8. Broaden projessional illvolvemellt. We must develop progriU1ls Ulat appeal to professionals and Ulat involve professionals. SlIT must have a membership base that is far more broad Ulan sUldents and profesSOl'S. Nearly everyone feels Ulat ule involvement of professionals in SlIT is now extraordinaJiIy modes!. We need to atu&T SUMMER 20003'