To identifY the quality of a ceria ill drallla is usualiy difficult. The maill reason is Ihat quality isrnnot measurable and basically depelldellt on personal taste or experience. Accordingly, when wernconsider the drama evaluation activity ill Ethiopian professional Theatres, we could observe lotsrnof arguments and cOlllroversies. However, in spite of its contentious nature, there is nornsignificallt study that treats the issue proper/yo Therefore, the principal objective of the study wasrnto describe and examille Ihe lIIain f eatures of the drama evaluation practice in the theatres.rnAccordingly, the sludy was lIIaillly cOllcerned with identifYing the ways alld approaches used tornselect scripts for productioll. III this regard, the study allempted to consider the availablerntheoretical concepts, which are thought to be helpful to compare and contrast the dramarnevaluation trend in Ethiopia with other approaches. Similarly, those related lileratures thatrnnudge the issue of drallla evaillalion activity in Ethiopia are included to indicate and representrnthe differences and arglllllellis Ihat have been forwarded in relation to this activity.rnThe analysis in chapter Ih ree cOllsisted the results of a survey carried out by the researcher onrnthe main traits of Ihe drallla evaluation practice in the theatres. Thus, primarily it allempted tornmake some descriptive assesslllent on the development of the drama evaluation activity to give arnpreliminary insight and backgroulld information. The next section considered the issue of thernstandards, which were being set to evaluate scripls. The issue of applying a standard isrncontroversial in such a way that one group allests the importance of specified criteria thatrnconstitute a standard to dislinguish a good play ji-om the bad ones. On the other hand, there isrnanother group that substantiales the impediment of any standard for innovative works andrndemands its rejection. Th e study Iried to show the impacts of these contradictDlY ideas on therndevelopment of theatre ill Elhiopia. The other two sections discussed the issue of evaluators andrnanalysis of the debates arolllld Ihe drama evaluatioll practice. The intention was 10 recount thernmain problems concerning Ih e evaluatioll activity. The discussions on the sample case studiesrnwere intended to prove Ihe flaws alld outcomes of the evaluation reports.rnThe results of the study indicated that drama evaluation activity in Ethiopiall professionalrntheatres faced a lot of problems. These problems are mainly due to the way the theatres arernorganized, the applied slandards, and the way evaluation COlllmillees worked. The study alsornforwarded some suggestions Ihal ill elude the reorganization of the theatres, the establishment ofrna position of a permallelll professional evaluator with defined duty and accountability, alld thernavoidance of applying a cerlain stalldard to evaluale ali types of plays. As the study is believedrnto be an incipiellt attempt ill Ihis area, the suggestiolls forwarded were intended to initiate newrnideas and approaches to Ihe mores of theatres.