the elderly. As Marc Kaminsky writes in the introduction to Remembered Lives: Even as this writing cites and valorizes the old people's cultural creativity, describing it in terms of cultural resistance, it represses the actual cultural history in and through which they became the people they are. (1992:47) Myerhoff's work parallels a similar trend among theatre artists working with the elderly in the 1970s and early '8os that tended to focus on the therapeutic effects of dramatic activities for older adults. In the early 1970s, the field of theatre arts began to reflect changing attitudes toward the elderly and to examine theatre's potential contribution to the fight against ageism. Practitioners, who had for decades been successfully using creative drama with children, began adapting their techniques for the elderly. In 1972, the Georgia Gerontological Society hired a professional drama teacher to lead a creative drama workshop for the elderly in Atlanta, marking what McDonough describes as one of the earliest recorded instances of utilizing creative drama with people over sixtyfive (I98I:3). According to McDonough, between 1974 and 1976 the movement of creative drama for the elderly spread in workshops across the country. During the same time, three major theatre associations also took notice of the movement: the American Community Theatre Association formed the Senior Citizen Committee; the Senior Adult Theatre Committee formed within the Children's Theatre Association of America; and in 1973, under the direction of Vera Mowry Roberts, the American Theatre Association (ATA) launched the Senior Adult Theatre Project (SATP), a committee organized to investigate the state of theatre for retirees. In 1979, SATP published Older Americans on Stage, a small handbook that charted the activities of senior theatres across the United States and called for more research in the field. A handbook of models for senior theatre programs entitled Senior Adult Theatre followed in 1981 under the editorship of Roger Cornish and C. Robert Kase, a member of the original SATP committee. Other handbooks published in the same time period were 2. The new 1994 logo of the Geritol Frolics reflected their bases in vaudeville and musical revues. (Courtesy of the Geritol Frolics)