{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Acting\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026view=compact","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Acting\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=1\u0026view=compact"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":6,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_repositories_2_resources_147","type":"collection","attributes":{"title":"Arthur Peterson papers","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_147#creator","type":"document_value","attributes":{"value":"Peterson, Arthur, 1912-1996","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_147#abstract_or_scope","type":"document_value","attributes":{"value":"Collection contains materials relating to Peterson's long acting career. 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The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_63495ad6061b0ab0cdfd83580c5031cd\" label=\"Abstract\"\u003eThis collection contains eleven hand-written letters from Jean M. Lander and others dated between the years of 1837-1896.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains eleven hand-written letters from Jean M. Lander and others dated between the years of 1837-1896."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Lander, J. M. (Jean Margaret), 1829-1903"],"names_coll_ssim":["Lander, J. M. (Jean Margaret), 1829-1903"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Lander, J. M. (Jean Margaret), 1829-1903"],"language_ssim":["English"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:17.521Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_132","ead_ssi":"vifgm_repositories_2_resources_132","_root_":"vifgm_repositories_2_resources_132","_nest_parent_":"vifgm_repositories_2_resources_132","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_132.xml","title_filing_ssi":"Jean M. Lander collection","title_ssm":["Jean M. Lander collection"],"title_tesim":["Jean M. Lander collection"],"unitdate_ssm":["1837-1896"],"unitdate_inclusive_ssm":["1837-1896"],"normalized_title_ssm":["Jean M. Lander collection"],"text":["Jean M. Lander collection","C0118","/repositories/2/resources/132","England","Theater -- Washington (D.C.)","Theater","Actors -- United States","Acting","There are no access restrictions.","Arranged chronologically.","Jean Margaret Davenport Lander was a well-known 19th century actress. Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts.","Processed by Special Collections Research Center staff. Partial transcription of letters by Leigh Norman in October 2017. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. Reprocessed and EAD markup completed by Amy Blake in September 2018.","The Special Collections Research Center holds other collections containing personal letters, as well as many other theatre-focused collections.","This collection contains eleven hand-written letters from Jean M. Lander and others, as well as a partial transcript of the letters.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","This collection contains eleven hand-written letters from Jean M. Lander and others dated between the years of 1837-1896.","George Mason University. Libraries. Special Collections Research Center","Lander, J. M. (Jean Margaret), 1829-1903","English"],"collection_title_tesim":["Jean M. Lander collection"],"collection_ssim":["Jean M. Lander collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0118","/repositories/2/resources/132"],"unitid_tesim":["C0118","/repositories/2/resources/132"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["England"],"geogname_ssim":["England"],"places_ssim":["England"],"creator_ssm":["Lander, J. M. (Jean Margaret), 1829-1903"],"creator_ssim":["Lander, J. M. (Jean Margaret), 1829-1903"],"creator_persname_ssim":["Lander, J. M. (Jean Margaret), 1829-1903"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Lander, J. M. (Jean Margaret), 1829-1903","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"acqinfo_ssim":["The donor is unknown."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Actors -- United States","Acting"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Actors -- United States","Acting"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 1 box"],"extent_tesim":["0.5 Linear Feet 1 box"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eJean Margaret Davenport Lander was a well-known 19th century actress. Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Jean Margaret Davenport Lander was a well-known 19th century actress. Born in England, she made her home in Washington, D.C., following her marriage to Fredrick W. Lander in 1860. She performed in plays in both the United States and Europe. Lander passed away on August 3, 1903 at her residence in Lynn, Massachusetts."],"prefercite_html_tesm":["\u003cp\u003eJean M. Lander collection, C0118, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Jean M. Lander collection, C0118, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Partial transcription of letters by Leigh Norman in October 2017. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. Reprocessed and EAD markup completed by Amy Blake in September 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Partial transcription of letters by Leigh Norman in October 2017. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. Reprocessed and EAD markup completed by Amy Blake in September 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections containing personal letters, as well as many other theatre-focused collections.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections containing personal letters, as well as many other theatre-focused collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains eleven hand-written letters from Jean M. Lander and others, as well as a partial transcript of the letters.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains eleven hand-written letters from Jean M. Lander and others, as well as a partial transcript of the letters."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_63495ad6061b0ab0cdfd83580c5031cd\" label=\"Abstract\"\u003eThis collection contains eleven hand-written letters from Jean M. Lander and others dated between the years of 1837-1896.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains eleven hand-written letters from Jean M. Lander and others dated between the years of 1837-1896."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Lander, J. M. (Jean Margaret), 1829-1903"],"names_coll_ssim":["Lander, J. M. (Jean Margaret), 1829-1903"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Lander, J. M. (Jean Margaret), 1829-1903"],"language_ssim":["English"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:17.521Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_132"}},{"id":"vifgm_repositories_2_resources_602","type":"collection","attributes":{"title":"Living Stage records, 1965/2001","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602#abstract_or_scope","type":"document_value","attributes":{"value":"The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"normalized_date_ssm":["1965/2001"],"normalized_title_ssm":["Living Stage records, 1965/2001"],"text":["Living Stage records, 1965/2001","C0277","/repositories/2/resources/602","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series\n      Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n      Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n      Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc.","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage.","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"collection_title_tesim":["Living Stage records, 1965/2001"],"collection_ssim":["Living Stage records, 1965/2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["Washington (D.C.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series\n      Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n      Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n      Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc.","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage.","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Living Stage records, C0277, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-09-17T13:57:31.047Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"normalized_date_ssm":["1965/2001"],"normalized_title_ssm":["Living Stage records, 1965/2001"],"text":["Living Stage records, 1965/2001","C0277","/repositories/2/resources/602","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series\n      Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n      Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n      Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc.","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage.","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"collection_title_tesim":["Living Stage records, 1965/2001"],"collection_ssim":["Living Stage records, 1965/2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["Washington (D.C.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series\n      Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\n      Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\n      Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc.","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage.","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Living Stage records, C0277, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files.","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e\n    "],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-09-17T13:57:31.047Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602"}},{"id":"vifgm_repositories_2_resources_170","type":"collection","attributes":{"title":"Music, theatre, and spoken word sound recordings collection, 1949/1986","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_170#creator","type":"document_value","attributes":{"value":"George Mason University. Libraries. Special Collections Research Center","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_170#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_170#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_170","ead_ssi":"vifgm_repositories_2_resources_170","_root_":"vifgm_repositories_2_resources_170","_nest_parent_":"vifgm_repositories_2_resources_170","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_170.xml","title_ssm":["Music, theatre, and spoken word sound recordings collection"],"title_tesim":["Music, theatre, and spoken word sound recordings collection"],"unitdate_ssm":["1949-1986"],"unitdate_inclusive_ssm":["1949-1986"],"normalized_date_ssm":["1949/1986"],"normalized_title_ssm":["Music, theatre, and spoken word sound recordings collection, 1949/1986"],"text":["Music, theatre, and spoken word sound recordings collection, 1949/1986","C0130","/repositories/2/resources/170","Music -- 20th century","Music","Acting","Depressions -- 1929","Protest songs -- United States","Folk music -- United States","Live sound recordings","Musical Theater","Theater","Drama","Speeches, addresses, etc.","Labor unions","Literature","Sound recordings","There are no access restrictions.","The collection is not arranged in any specific order.","No information of donor or history is known at the present time.","The Special Collections Research Center does not have the equipment necessary to vinyl records. Additional time and money may be required to access this material.","Processed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012.","The Special Collections Research Center also holds the Japanese Phonograph collection.","This collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.","Several of the albums focus on content related to the Great Depression, unions, American labour, and Folk Music.","The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.","George Mason University. Libraries. Special Collections Research Center","Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616","English"],"collection_title_tesim":["Music, theatre, and spoken word sound recordings collection, 1949/1986"],"collection_ssim":["Music, theatre, and spoken word sound recordings collection, 1949/1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0130","/repositories/2/resources/170"],"unitid_tesim":["C0130","/repositories/2/resources/170"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creator_persname_ssim":["Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Unknown."],"access_subjects_ssim":["Music -- 20th century","Music","Acting","Depressions -- 1929","Protest songs -- United States","Folk music -- United States","Live sound recordings","Musical Theater","Theater","Drama","Speeches, addresses, etc.","Labor unions","Literature","Sound recordings"],"access_subjects_ssm":["Music -- 20th century","Music","Acting","Depressions -- 1929","Protest songs -- United States","Folk music -- United States","Live sound recordings","Musical Theater","Theater","Drama","Speeches, addresses, etc.","Labor unions","Literature","Sound recordings"],"has_online_content_ssim":["false"],"extent_ssm":["1.25 Linear Feet (4 boxes)"],"extent_tesim":["1.25 Linear Feet (4 boxes)"],"genreform_ssim":["Sound recordings"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is not arranged in any specific order.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is not arranged in any specific order."],"bioghist_html_tesm":["\u003cp\u003eNo information of donor or history is known at the present time.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["No information of donor or history is known at the present time."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to vinyl records. Additional time and money may be required to access this material.\u003c/p\u003e  "],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to vinyl records. Additional time and money may be required to access this material."],"prefercite_html_tesm":["\u003cp\u003eMusic, Theatre, and Spoken Word Sound Recordings, Collection C0130, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Music, Theatre, and Spoken Word Sound Recordings, Collection C0130, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the Japanese Phonograph collection.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the Japanese Phonograph collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry. \u003c/p\u003e","\u003cp\u003eSeveral of the albums focus on content related to the Great Depression, unions, American labour, and Folk Music. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.","Several of the albums focus on content related to the Great Depression, unions, American labour, and Folk Music."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_39ae137ff05e56a34bc84cd9294ad3e0\"\u003eThis collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616"],"names_coll_ssim":["Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:24.402Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_170","ead_ssi":"vifgm_repositories_2_resources_170","_root_":"vifgm_repositories_2_resources_170","_nest_parent_":"vifgm_repositories_2_resources_170","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_170.xml","title_ssm":["Music, theatre, and spoken word sound recordings collection"],"title_tesim":["Music, theatre, and spoken word sound recordings collection"],"unitdate_ssm":["1949-1986"],"unitdate_inclusive_ssm":["1949-1986"],"normalized_date_ssm":["1949/1986"],"normalized_title_ssm":["Music, theatre, and spoken word sound recordings collection, 1949/1986"],"text":["Music, theatre, and spoken word sound recordings collection, 1949/1986","C0130","/repositories/2/resources/170","Music -- 20th century","Music","Acting","Depressions -- 1929","Protest songs -- United States","Folk music -- United States","Live sound recordings","Musical Theater","Theater","Drama","Speeches, addresses, etc.","Labor unions","Literature","Sound recordings","There are no access restrictions.","The collection is not arranged in any specific order.","No information of donor or history is known at the present time.","The Special Collections Research Center does not have the equipment necessary to vinyl records. Additional time and money may be required to access this material.","Processed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012.","The Special Collections Research Center also holds the Japanese Phonograph collection.","This collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.","Several of the albums focus on content related to the Great Depression, unions, American labour, and Folk Music.","The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.","George Mason University. Libraries. Special Collections Research Center","Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616","English"],"collection_title_tesim":["Music, theatre, and spoken word sound recordings collection, 1949/1986"],"collection_ssim":["Music, theatre, and spoken word sound recordings collection, 1949/1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0130","/repositories/2/resources/170"],"unitid_tesim":["C0130","/repositories/2/resources/170"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creator_persname_ssim":["Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Unknown."],"access_subjects_ssim":["Music -- 20th century","Music","Acting","Depressions -- 1929","Protest songs -- United States","Folk music -- United States","Live sound recordings","Musical Theater","Theater","Drama","Speeches, addresses, etc.","Labor unions","Literature","Sound recordings"],"access_subjects_ssm":["Music -- 20th century","Music","Acting","Depressions -- 1929","Protest songs -- United States","Folk music -- United States","Live sound recordings","Musical Theater","Theater","Drama","Speeches, addresses, etc.","Labor unions","Literature","Sound recordings"],"has_online_content_ssim":["false"],"extent_ssm":["1.25 Linear Feet (4 boxes)"],"extent_tesim":["1.25 Linear Feet (4 boxes)"],"genreform_ssim":["Sound recordings"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is not arranged in any specific order.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is not arranged in any specific order."],"bioghist_html_tesm":["\u003cp\u003eNo information of donor or history is known at the present time.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["No information of donor or history is known at the present time."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to vinyl records. Additional time and money may be required to access this material.\u003c/p\u003e  "],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to vinyl records. Additional time and money may be required to access this material."],"prefercite_html_tesm":["\u003cp\u003eMusic, Theatre, and Spoken Word Sound Recordings, Collection C0130, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Music, Theatre, and Spoken Word Sound Recordings, Collection C0130, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Kristen Korfitzen in 2012. EAD markup completed by Kristen Korfitzen in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the Japanese Phonograph collection.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the Japanese Phonograph collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry. \u003c/p\u003e","\u003cp\u003eSeveral of the albums focus on content related to the Great Depression, unions, American labour, and Folk Music. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains 31 LP phonograph albums including music, musical scores, plays, literature recordings and speech recordings. The albums span a roughly 40 year period being released between 1949 and the late 1980s. Musical albums include: A Tribute to Woodie Guthrie, Pete Seeger's Greatest Hits, Songs of the Depression, and I Will Win: Songs of the Wooblies. Albums of recorded plays feature playwrights such as William Shakespeare and Arthur Miller. The collection also features original cast recordings of musicals Winnie and Brigham!, a musical based on the life of Brigham Young and contains literary recordings of the works of T.S. Elliot, Frederick Douglass and Lorraine Hansberry.","Several of the albums focus on content related to the Great Depression, unions, American labour, and Folk Music."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated. (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_39ae137ff05e56a34bc84cd9294ad3e0\"\u003eThis collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection contains LP phonograph albums containing a variety of music, oral history, and musical scores. This box was found unlabeled and might be associated with another collection."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616"],"names_coll_ssim":["Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Hansberry, Lorraine, 1930-1965","Miller, Arthur, 1915-2005","Shakespeare, William, 1564-1616"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:24.402Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_170"}},{"id":"vifgm_repositories_2_resources_150","type":"collection","attributes":{"title":"Robert Prosky papers","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_150#creator","type":"document_value","attributes":{"value":"Prosky, Robert, 1930-2008","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_150#abstract_or_scope","type":"document_value","attributes":{"value":"Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_150#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_150","ead_ssi":"vifgm_repositories_2_resources_150","_root_":"vifgm_repositories_2_resources_150","_nest_parent_":"vifgm_repositories_2_resources_150","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_150.xml","title_filing_ssi":"Robert Prosky papers","title_ssm":["Robert Prosky papers"],"title_tesim":["Robert Prosky papers"],"unitdate_ssm":["1909-2007"],"unitdate_inclusive_ssm":["1909-2007"],"normalized_title_ssm":["Robert Prosky papers"],"text":["Robert Prosky papers","C0022","/repositories/2/resources/150","Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings","There are no access restrictions.","Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.","Arranged into six series:","Series\n      Series 1: Professional, 1954-2007 (Boxes 1-5)\n      Series 2: Personal, 1909-2007 (Boxes 5-8)\n      Series 3: Photographs, 1930s-2005 (Boxes 9-11)\n      Series 4: Audiovisual, 1960-2007 (Boxes 12-13)\n      Series 5: Oversize, 1950s-2006 (Boxes 14-15)\n      Series 6: Realia, 1998-2004 (Box 16)","Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C.","Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.","The Special Collections Research Center also holds the  and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the  and is available for access.","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series.","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks.","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks.","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008","English"],"collection_title_tesim":["Robert Prosky papers"],"collection_ssim":["Robert Prosky papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0022","/repositories/2/resources/150"],"unitid_tesim":["C0022","/repositories/2/resources/150"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Prosky, Robert, 1930-2008"],"creator_ssim":["Prosky, Robert, 1930-2008"],"creator_persname_ssim":["Prosky, Robert, 1930-2008"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Prosky, Robert, 1930-2008","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Robert Prosky in 2007-2008."],"access_subjects_ssim":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"access_subjects_ssm":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet 16 boxes"],"extent_tesim":["9 Linear Feet 16 boxes"],"genreform_ssim":["Photographs","Video recordings"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eAudiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eArranged into six series:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Professional, 1954-2007 (Boxes 1-5)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Personal, 1909-2007 (Boxes 5-8)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1930s-2005 (Boxes 9-11)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Audiovisual, 1960-2007 (Boxes 12-13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Oversize, 1950s-2006 (Boxes 14-15)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Realia, 1998-2004 (Box 16)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into six series:","Series\n      Series 1: Professional, 1954-2007 (Boxes 1-5)\n      Series 2: Personal, 1909-2007 (Boxes 5-8)\n      Series 3: Photographs, 1930s-2005 (Boxes 9-11)\n      Series 4: Audiovisual, 1960-2007 (Boxes 12-13)\n      Series 5: Oversize, 1950s-2006 (Boxes 14-15)\n      Series 6: Realia, 1998-2004 (Box 16)"],"bioghist_html_tesm":["\u003cp\u003eBorn in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.\u003c/p\u003e","\u003cp\u003eBeginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.\u003c/p\u003e","\u003cp\u003eHe received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C."],"prefercite_html_tesm":["\u003cp\u003eRobert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Arena Stage records\" href=\"https://aspace.gmu.edu/resources/c0017\"\u003e\u003c/extptr\u003e and the papers of other Washington, D.C. theatre artists.\u003c/p\u003e","\u003cp\u003eAn oral history was performed with Robert Prosky for the \u003cextptr show=\"new\" title=\"George Mason University Oral History Program collection\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e and is available for access.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the  and is available for access."],"scopecontent_html_tesm":["\u003cp\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. \u003c/p\u003e","\u003cp\u003eThe collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. \u003c/p\u003e","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. \u003c/p\u003e","\u003cp\u003eThe third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. \u003c/p\u003e","\u003cp\u003eThe fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. \u003c/p\u003e","\u003cp\u003eThe fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. \u003c/p\u003e","\u003cp\u003eThe sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series.","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks.","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks.","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_cb72825d540615d1fef3eb400e234f81\" label=\"Abstract\"\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.\u003c/abstract\u003e\n    "],"abstract_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Prosky, Robert, 1930-2008"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:21.201Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_150","ead_ssi":"vifgm_repositories_2_resources_150","_root_":"vifgm_repositories_2_resources_150","_nest_parent_":"vifgm_repositories_2_resources_150","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_150.xml","title_filing_ssi":"Robert Prosky papers","title_ssm":["Robert Prosky papers"],"title_tesim":["Robert Prosky papers"],"unitdate_ssm":["1909-2007"],"unitdate_inclusive_ssm":["1909-2007"],"normalized_title_ssm":["Robert Prosky papers"],"text":["Robert Prosky papers","C0022","/repositories/2/resources/150","Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings","There are no access restrictions.","Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.","Arranged into six series:","Series\n      Series 1: Professional, 1954-2007 (Boxes 1-5)\n      Series 2: Personal, 1909-2007 (Boxes 5-8)\n      Series 3: Photographs, 1930s-2005 (Boxes 9-11)\n      Series 4: Audiovisual, 1960-2007 (Boxes 12-13)\n      Series 5: Oversize, 1950s-2006 (Boxes 14-15)\n      Series 6: Realia, 1998-2004 (Box 16)","Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C.","Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.","The Special Collections Research Center also holds the  and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the  and is available for access.","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series.","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks.","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks.","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008","English"],"collection_title_tesim":["Robert Prosky papers"],"collection_ssim":["Robert Prosky papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0022","/repositories/2/resources/150"],"unitid_tesim":["C0022","/repositories/2/resources/150"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Prosky, Robert, 1930-2008"],"creator_ssim":["Prosky, Robert, 1930-2008"],"creator_persname_ssim":["Prosky, Robert, 1930-2008"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Prosky, Robert, 1930-2008","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Robert Prosky in 2007-2008."],"access_subjects_ssim":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"access_subjects_ssm":["Actors -- United States","Theater -- Washington (D.C.)","Theater -- United States","Television","Motion pictures -- United States","Performing arts","Theater","Acting","Photographs","Video recordings"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet 16 boxes"],"extent_tesim":["9 Linear Feet 16 boxes"],"genreform_ssim":["Photographs","Video recordings"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eAudiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Audiovisual materials in Series 4 have been digitized are available for access. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eArranged into six series:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Professional, 1954-2007 (Boxes 1-5)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Personal, 1909-2007 (Boxes 5-8)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1930s-2005 (Boxes 9-11)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Audiovisual, 1960-2007 (Boxes 12-13)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Oversize, 1950s-2006 (Boxes 14-15)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Realia, 1998-2004 (Box 16)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into six series:","Series\n      Series 1: Professional, 1954-2007 (Boxes 1-5)\n      Series 2: Personal, 1909-2007 (Boxes 5-8)\n      Series 3: Photographs, 1930s-2005 (Boxes 9-11)\n      Series 4: Audiovisual, 1960-2007 (Boxes 12-13)\n      Series 5: Oversize, 1950s-2006 (Boxes 14-15)\n      Series 6: Realia, 1998-2004 (Box 16)"],"bioghist_html_tesm":["\u003cp\u003eBorn in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.\u003c/p\u003e","\u003cp\u003eBeginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.\u003c/p\u003e","\u003cp\u003eHe received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Born in Philadelphia, Robert Prosky (1930-2008) spent much of his career as an actor in more than 200 plays at the Arena Stage in Washington, D.C., on Broadway in New York City, and in regional theatre. Prosky's association with the Arena Stage included more than 130 productions over the course of 20 years. His Broadway appearances included \"Glengarry Glenross,\" \"A Walk in the Woods,\" and \"A View from the Bridge.\" Highlights from regional theater include \"Death of a Salesman,\" \"Twelfth Night,\" and \"You Can't Take It With You.\" He also performed on stage in the Moscow Art Theatre in the then-Soviet Union, the Gate Theater in Dublin, Ireland, as well as in a Chinese theater in Hong Kong.","Beginning in the 1980s, he regularly appeared in film and television. His films include \"Christine,\" \"Mrs. Doubtfire,\" \"The Natural,\" \"The Scarlet Letter,\" and \"Dead Man Walking.\" Television credits include three years on \"Hill Street Blues,\" many television films and guest shots.","He received or was nominated for two Tony awards, two Helen Hayes awards, an Emmy, the Drama Desk award, and the American Express Tribute To An American Actor. He continued to perform on stage and present lectures on his long career at universities, film festivals, for theater benefits, business groups and on cruises. He died on December 8, 2008, in Washington, D.C."],"prefercite_html_tesm":["\u003cp\u003eRobert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert Prosky papers, C0022, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sarah Patton, Jennifer Munson, and Jordan Patty. EAD markup completed in 2008 by Jordan Patty and Jennifer Munson. Finding aid updated by Amanda Menjivar in May 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Arena Stage records\" href=\"https://aspace.gmu.edu/resources/c0017\"\u003e\u003c/extptr\u003e and the papers of other Washington, D.C. theatre artists.\u003c/p\u003e","\u003cp\u003eAn oral history was performed with Robert Prosky for the \u003cextptr show=\"new\" title=\"George Mason University Oral History Program collection\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e and is available for access.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  and the papers of other Washington, D.C. theatre artists.","An oral history was performed with Robert Prosky for the  and is available for access."],"scopecontent_html_tesm":["\u003cp\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials. \u003c/p\u003e","\u003cp\u003eThe collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series. \u003c/p\u003e","\u003cp\u003eThe second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks. \u003c/p\u003e","\u003cp\u003eThe third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks. \u003c/p\u003e","\u003cp\u003eThe fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations. \u003c/p\u003e","\u003cp\u003eThe fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life. \u003c/p\u003e","\u003cp\u003eThe sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.","The collection consists of six series. The first series contains documents from his professional career divided into three subseries and arranged alphabetically by play, film, or television title, then chronologically. Subseries 1.1 includes playbills that date from his early performances at the Quarterdeck Theatre to his most recent performances in Washington, D.C. There are also numerous reviews as well as a few scripts with Prosky's handwritten notes. Subseries 1.2 contains mostly clippings and reviews about Prosky's film career, but there are a few scripts and emphemra, such as the trading card from \"The Last Action Hero.\" Subseries 1.3 contains documents from his television career, mostly clippings from his time as a cast member on \"Hill Street Blues\" and \"Veronica's Closet.\" Note that there are additional professional documents, such as posters, in the oversize series.","The second series contains personal documents and is divided into two subseries and arranged alphabetically and chronologically. Subseries 2.1 consists of correspondence to and from Prosky. The bulk of the correspondence concerns Prosky's family and close friends. There are also many greeting cards wishing Prosky luck on opening nights as well as offering congratulations and thanks. Subseries 2.2 contains many biographical articles discussing Prosky's life as an actor. The articles also discuss Prosky's wife and sons. Also contained in the subseries are clippings, programs, and certificates from awards ceremonies that Prosky participated in as a nominee and won. Of particular interest are transcripts from an autobiography by Prosky. Note that there are additional biographical articles in the oversize series both loose and in scrapbooks.","The third series contains photographs of Prosky' professional and personal life. Many of the photographs document Prosky's theatre and film career. There are also photographs from his personal life, such as family snapshots. The photographs range in size from 3\"x5\" to 8\"x10\". Most of the theatre and professional photographs are larger and in black and white while the personal snapshots are smaller and in color. Arranged by category, then production title or other description, and then arranged chronologically. Note that there are additional photographs in the oversize series both loose and in scrapbooks.","The fourth series consists of copies of Prosky's film and television appearances, particularly \"Veronica's Closet.\" There are also copies of public service announcements and commercials. Most of the media contained on VHS cassettes and reel-to-reel audio tapes. There are also DVD copies of speaking engagements at George Mason University and other locations.","The fifth series contains items too large for the other series. Included are photographs, scrapbooks, and posters documenting Prosky's professional career and personal life.","The sixth series consists of objects from Prosky's professional career and personal life, such as opening night gifts and production souvenirs."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_cb72825d540615d1fef3eb400e234f81\" label=\"Abstract\"\u003eConsists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials.\u003c/abstract\u003e\n    "],"abstract_tesim":["Consists of materials that span actor Robert Prosky's career in theatre, film, and television. Materials include playbills, photographs, scripts, reviews, fan letters, scrapbooks, and audiovisual materials."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Prosky, Robert, 1930-2008"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Prosky, Robert, 1930-2008"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:21.201Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_150"}},{"id":"vifgm_repositories_2_resources_190","type":"collection","attributes":{"title":"Works Progress Administration oral histories collection, 1961/1984","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_190#creator","type":"document_value","attributes":{"value":"George Mason University. Institute on the Federal Theatre Project and New Deal Culture","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_190#abstract_or_scope","type":"document_value","attributes":{"value":"Collection includes transcripts and recordings of oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_190#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_190","ead_ssi":"vifgm_repositories_2_resources_190","_root_":"vifgm_repositories_2_resources_190","_nest_parent_":"vifgm_repositories_2_resources_190","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_190.xml","title_filing_ssi":"Works Progress Administration oral histories","title_ssm":["Works Progress Administration oral histories collection"],"title_tesim":["Works Progress Administration oral histories collection"],"unitdate_ssm":["1961-1984"],"unitdate_inclusive_ssm":["1961-1984"],"normalized_date_ssm":["1961/1984"],"normalized_title_ssm":["Works Progress Administration oral histories collection, 1961/1984"],"text":["Works Progress Administration oral histories collection, 1961/1984","C0153","/repositories/2/resources/190","Theater -- United States","Dance -- United States","Acting","New Deal, 1933-1939","Performing arts","Theater","Theater -- United States -- History -- 20th century","Sound recordings","Oral histories","There are no access restrictions.","Most of the oral histories from this collection were digitized through a Council on Library \u0026 Information Resources (CLIR) grant in 2019. To access the digitized recordings and learn more about the project, please visit .","This collection is arranged in two series based on format - transcripts and recordings. Series 2 is divided into two subseries by content - oral histories; plays, radio interviews, and conferences.","Organized into two series:","Series\n      Series 1: Transcripts, 1961-1984 (Boxes 1-11)\n      Series 2: Audio Recordings, 1938-1984 (Boxes 12-41)","The interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture. Cassettes of cast recordings and conferences were also created by the Institute on the Federal Theatre Project and New Deal Culture.","Processed by Special Collections Research Center staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. Series 2 added in November 2013 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in March 2022.","The Special Collections Research Center also holds the .","This collection consists of oral history interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.","Series 1: Transcripts consists of typewritten and handwritten photocopies of transcripts of oral histories created between 1961 and 1984 by the Research Center on the Federal Theatre Project. Some folders also contain correspondence and photographs of the interviewee. This series is arranged alphabetically by last name of interviewee.","Series 2: Audio Recordings consists of two subseries: Oral history interviews, and Plays, radio interviews, conferences. Subseries 2.1: Oral history interviews contains audio cassette tapes and reel-to-reel recordings. This subseries is arranged alphabetically by last name of interviewee. The oral histories were created between 1961 and 1984 by the Research Center on the Federal Theatre Project at George Mason University. Subseries 2.2: Plays, radio interviews, conferences contains audio cassette tapes and reel-to-reel recordings of various federal theatre performances, interviews, and conferences that date from 1938 to 1984 and is arranged alphabetically by title.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Collection includes transcripts and recordings of oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.","George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","Federal Art Project","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","Federal Writers' Project","United States. Works Progress Administration","English"],"collection_title_tesim":["Works Progress Administration oral histories collection, 1961/1984"],"collection_ssim":["Works Progress Administration oral histories collection, 1961/1984"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0153","/repositories/2/resources/190"],"unitid_tesim":["C0153","/repositories/2/resources/190"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture"],"creator_ssim":["George Mason University. Institute on the Federal Theatre Project and New Deal Culture"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","Federal Art Project","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","Federal Writers' Project","United States. Works Progress Administration"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Institute on the Federal Theatre Project and New Deal Culture","Federal Art Project","Federal Music Project (U.S.)","Federal Theatre Project (U.S.)","Federal Writers' Project","United States. Works Progress Administration"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by the Institute on the Federal Theatre Project and New Deal Culture."],"access_subjects_ssim":["Theater -- United States","Dance -- United States","Acting","New Deal, 1933-1939","Performing arts","Theater","Theater -- United States -- History -- 20th century","Sound recordings","Oral histories"],"access_subjects_ssm":["Theater -- United States","Dance -- United States","Acting","New Deal, 1933-1939","Performing arts","Theater","Theater -- United States -- History -- 20th century","Sound recordings","Oral histories"],"has_online_content_ssim":["false"],"extent_ssm":["16 Linear Feet 43 boxes"],"extent_tesim":["16 Linear Feet 43 boxes"],"genreform_ssim":["Sound recordings","Oral histories"],"date_range_isim":[1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eMost of the oral histories from this collection were digitized through a Council on Library \u0026amp; Information Resources (CLIR) grant in 2019. To access the digitized recordings and learn more about the project, please visit \u003cextptr show=\"new\" title=\"https://vwpa.gmu.edu/audiocollection/\" href=\"https://vwpa.gmu.edu/audiocollection/\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Most of the oral histories from this collection were digitized through a Council on Library \u0026 Information Resources (CLIR) grant in 2019. To access the digitized recordings and learn more about the project, please visit ."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged in two series based on format - transcripts and recordings. Series 2 is divided into two subseries by content - oral histories; plays, radio interviews, and conferences.\u003c/p\u003e","\u003cp\u003eOrganized into two series:\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Transcripts, 1961-1984 (Boxes 1-11)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Audio Recordings, 1938-1984 (Boxes 12-41)\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged in two series based on format - transcripts and recordings. Series 2 is divided into two subseries by content - oral histories; plays, radio interviews, and conferences.","Organized into two series:","Series\n      Series 1: Transcripts, 1961-1984 (Boxes 1-11)\n      Series 2: Audio Recordings, 1938-1984 (Boxes 12-41)"],"bioghist_html_tesm":["\u003cp\u003eThe interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture. Cassettes of cast recordings and conferences were also created by the Institute on the Federal Theatre Project and New Deal Culture.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The interviews in the WPA Oral Histories Collection were conducted from between 1961 and 1984. The majority of the interviews were done in the 1970s and 1980s by Lorraine Brown and John O'Connor as part of the Institute on the Federal Theatre Project and New Deal Culture. Cassettes of cast recordings and conferences were also created by the Institute on the Federal Theatre Project and New Deal Culture."],"prefercite_html_tesm":["\u003cp\u003eWorks Progress Administration oral histories collection, C0153, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Works Progress Administration oral histories collection, C0153, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. Series 2 added in November 2013 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in March 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. Series 2 added in November 2013 by Greta Kuriger Suiter. Finding aid updated by Amanda Brent in March 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Federal Theatre Project collection\" href=\"https://aspace.gmu.edu/resources/c0002\"\u003e\u003c/extptr\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the ."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of oral history interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project. \u003c/p\u003e","\u003cp\u003eSeries 1: Transcripts consists of typewritten and handwritten photocopies of transcripts of oral histories created between 1961 and 1984 by the Research Center on the Federal Theatre Project. Some folders also contain correspondence and photographs of the interviewee. This series is arranged alphabetically by last name of interviewee.\u003c/p\u003e","\u003cp\u003eSeries 2: Audio Recordings consists of two subseries: Oral history interviews, and Plays, radio interviews, conferences. Subseries 2.1: Oral history interviews contains audio cassette tapes and reel-to-reel recordings. This subseries is arranged alphabetically by last name of interviewee. The oral histories were created between 1961 and 1984 by the Research Center on the Federal Theatre Project at George Mason University. Subseries 2.2: Plays, radio interviews, conferences contains audio cassette tapes and reel-to-reel recordings of various federal theatre performances, interviews, and conferences that date from 1938 to 1984 and is arranged alphabetically by title.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of oral history interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. These include the Federal Art Project, Federal Music Project, and Federal Writers Project.","Series 1: Transcripts consists of typewritten and handwritten photocopies of transcripts of oral histories created between 1961 and 1984 by the Research Center on the Federal Theatre Project. Some folders also contain correspondence and photographs of the interviewee. This series is arranged alphabetically by last name of interviewee.","Series 2: Audio Recordings consists of two subseries: Oral history interviews, and Plays, radio interviews, conferences. Subseries 2.1: Oral history interviews contains audio cassette tapes and reel-to-reel recordings. This subseries is arranged alphabetically by last name of interviewee. The oral histories were created between 1961 and 1984 by the Research Center on the Federal Theatre Project at George Mason University. Subseries 2.2: Plays, radio interviews, conferences contains audio cassette tapes and reel-to-reel recordings of various federal theatre performances, interviews, and conferences that date from 1938 to 1984 and is arranged alphabetically by title."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_b566e0d872c9f59cfe34a69bcda2f059\" label=\"Abstract\"\u003eCollection includes transcripts and recordings of oral interviews with persons who were associated with various Works Progress Administration (WPA) projects in the 1930s. 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