Ken Moskowitz's careful study of American plays in Bulgarian performance provides a cross-cultural comparative perspective with an interdisciplinary approach to answer these questions: What transformation did the Bulgarian adapters--the dramaturges, directors, and translators--of Dale Wasserman's ONE FLEW OVER THE CUCKOO'S NEST, Tony Kushner's ANGELS IN AMERICA, and Edward Albee's THE GOAT, OR WHO IS SYLVIA? make in the adaptation? What if anything was 'untranslatable' and how did they handle that? What lessons or messages does the reaction of the Bulgarian theatre audience and the Bulgarian theatre critic have for the creative teams? What do these adaptations tell us about the problems of theatrical adaptation in general? How do these lessons diverge from current thinking or the literature on adaptation?