on Jory. the influential producing director of the influential Actors Theatre of Louisville, has called Anne Bogart “the most important acting and directing theorist since Stanislavsky and Brecht.”Wow! And there’s more. “(iritics and professionals either adore Anne’s work, or they think of her as a theatrical Antichrist.”Well, everybody knows Stanislavsky s iegaev (shorthand: the Method) and Brecht s (shorthand: alienation effect), but what about the Antichrist? A true-begotten child of our eclectic age, Bogart tosses into her cauldron a potpourri of American and international styles, an interest in choreography, a fascination with psychology. She lias vet to issue any major theoretical manifesto, show an important body of work to a wide audience, or influence am school of playwrights. Her signature is no signature at all. Still, jory stands bv his claim. I his month, for the hi st time, his theater s annual “Classics in Context” festival is organized around a director in whose work Jory glimpses the future. Bogart casts her eve on Elmer Rice’s The Adding Machine (1923), which deals with the replacement of people bv technology; die writings of Anton Chekhov; and the life and ideas of Marshall Md.uhan. For details call —A. 11.