{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Performing+arts\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=3","prev":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Performing+arts\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=2","next":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Performing+arts\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=4","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Performing+arts\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=6"},"meta":{"pages":{"current_page":3,"next_page":4,"prev_page":2,"total_pages":6,"limit_value":10,"offset_value":20,"total_count":58,"first_page?":false,"last_page?":false}},"data":[{"id":"vifgm_repositories_2_resources_334","type":"collection","attributes":{"title":"George Mason University \"Frankly Speaking\" radio show records","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_334#creator","type":"document_value","attributes":{"value":"George Mason University","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_334#abstract_or_scope","type":"document_value","attributes":{"value":"The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_334#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_334","ead_ssi":"vifgm_repositories_2_resources_334","_root_":"vifgm_repositories_2_resources_334","_nest_parent_":"vifgm_repositories_2_resources_334","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_334.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/gmufranklyspeaking.html","title_ssm":["George Mason University \"Frankly Speaking\" radio show records"],"title_tesim":["George Mason University \"Frankly Speaking\" radio show records"],"unitdate_ssm":["1980-1984"],"unitdate_inclusive_ssm":["1980-1984"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0131","/repositories/2/resources/334"],"text":["R0131","/repositories/2/resources/334","George Mason University \"Frankly Speaking\" radio show records","United States -- Politics and government -- 1945-1989","Transportation -- United States -- Planning","Health","Mental health services","Performing arts","Sound recordings","Collection is open to research.","Digital versions of the radio shows are available online through the  ","This collection is arranged into three series based on material type. The first series consists of paper materials created for each broadcast that outline show topics and guest appearances. This series is arranged chronologically. The second series consists of open reel tapes with original recordings from the radio show broadcasts. This series is arranged alphabetically by show title. The third series is digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio was saved as MP3s and is stored on nine compact discs and an external hard drive. Broadcasts are arranged chronologically on the compact discs.","This collection is arranged into three series based on material type. Series one and three are arranged chronologically. The second series is arranged alphabetically by show title.","Missing Title Series 1: Production papers, 1980-1984 (Boxes 1-3) Series 2: Open reel recordings, 1980-1984 (Boxes 3-17) Series 3: Audiotape cassettes, 1982-1983 (Box 17) Series 4: Digital duplicates, 2012 (Box 18)","The \"Frankly Speaking\" radio show was produced and aired at George Mason University from 1980 to 1984. Most shows were approximately 15 minutes in length, featured a guest speaker, and highlighted local or contemporary issues.","Processed by Special Collections and Archives staff. EAD markup completed in September 2012 by Greta Kuriger Suiter.","Special Collections \u0026 Archives also holds the archives of George Mason University.","The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes. This collection is divided into four series based on material type. ","The first series consists of the paper documents. These paper files contain scheduling, show topic, and guest appearance information for each broadcast.  The files are arranged chronologically by broadcast date. ","The second series consists of open reel tapes with original recordings from the radio show broadcasts. The files are arranged alphabetically by show title.","The third series consists of three audiotape cassettes with copies of three separate programs.  ","The fourth series consists of digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio is stored on nine compact discs and an external hard drive. The files are arranged chronologically by broadcast date. ","There are no restrictions.","The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes.","George Mason University. Libraries. Special Collections Research Center","George Mason University","English"],"unitid_tesim":["R0131","/repositories/2/resources/334"],"normalized_title_ssm":["George Mason University \"Frankly Speaking\" radio show records"],"collection_title_tesim":["George Mason University \"Frankly Speaking\" radio show records"],"collection_ssim":["George Mason University \"Frankly Speaking\" radio show records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["United States -- Politics and government -- 1945-1989"],"geogname_ssim":["United States -- Politics and government -- 1945-1989"],"creator_ssm":["George Mason University"],"creator_ssim":["George Mason University"],"creator_corpname_ssim":["George Mason University"],"creators_ssim":["George Mason University"],"places_ssim":["United States -- Politics and government -- 1945-1989"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by University Relations to Special Collections and Archives."],"access_subjects_ssim":["Transportation -- United States -- Planning","Health","Mental health services","Performing arts","Sound recordings"],"access_subjects_ssm":["Transportation -- United States -- Planning","Health","Mental health services","Performing arts","Sound recordings"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet (18 boxes)"],"extent_tesim":["9 Linear Feet (18 boxes)"],"genreform_ssim":["Sound recordings"],"date_range_isim":[1980,1981,1982,1983,1984],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"altformavail_html_tesm":["\u003cp\u003eDigital versions of the radio shows are available online through the  \u003cextptr href=\"https://mars.gmu.edu/handle/1920/8392\" title=\"George Mason University 'Frankly Speaking' radio show  collection.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"altformavail_heading_ssm":["Alternate Format Available"],"altformavail_tesim":["Digital versions of the radio shows are available online through the  "],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into three series based on material type. The first series consists of paper materials created for each broadcast that outline show topics and guest appearances. This series is arranged chronologically. The second series consists of open reel tapes with original recordings from the radio show broadcasts. This series is arranged alphabetically by show title. The third series is digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio was saved as MP3s and is stored on nine compact discs and an external hard drive. Broadcasts are arranged chronologically on the compact discs.\u003c/p\u003e\n","\u003cp\u003eThis collection is arranged into three series based on material type. Series one and three are arranged chronologically. The second series is arranged alphabetically by show title.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eMissing Title\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production papers, 1980-1984 (Boxes 1-3)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Open reel recordings, 1980-1984 (Boxes 3-17)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiotape cassettes, 1982-1983 (Box 17)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Digital duplicates, 2012 (Box 18)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into three series based on material type. The first series consists of paper materials created for each broadcast that outline show topics and guest appearances. This series is arranged chronologically. The second series consists of open reel tapes with original recordings from the radio show broadcasts. This series is arranged alphabetically by show title. The third series is digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio was saved as MP3s and is stored on nine compact discs and an external hard drive. Broadcasts are arranged chronologically on the compact discs.","This collection is arranged into three series based on material type. Series one and three are arranged chronologically. The second series is arranged alphabetically by show title.","Missing Title Series 1: Production papers, 1980-1984 (Boxes 1-3) Series 2: Open reel recordings, 1980-1984 (Boxes 3-17) Series 3: Audiotape cassettes, 1982-1983 (Box 17) Series 4: Digital duplicates, 2012 (Box 18)"],"bioghist_html_tesm":["\u003cp\u003eThe \"Frankly Speaking\" radio show was produced and aired at George Mason University from 1980 to 1984. Most shows were approximately 15 minutes in length, featured a guest speaker, and highlighted local or contemporary issues.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The \"Frankly Speaking\" radio show was produced and aired at George Mason University from 1980 to 1984. Most shows were approximately 15 minutes in length, featured a guest speaker, and highlighted local or contemporary issues."],"prefercite_html_tesm":["\u003cp\u003eGeorge Mason University \"Frankly Speaking\" radio show records, Collection #R0131, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["George Mason University \"Frankly Speaking\" radio show records, Collection #R0131, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff. EAD markup completed in September 2012 by Greta Kuriger Suiter.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff. EAD markup completed in September 2012 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections \u0026amp; Archives also holds the archives of George Mason University.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections \u0026 Archives also holds the archives of George Mason University."],"scopecontent_html_tesm":["\u003cp\u003eThe \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes. This collection is divided into four series based on material type. \u003c/p\u003e\n","\u003cp\u003eThe first series consists of the paper documents. These paper files contain scheduling, show topic, and guest appearance information for each broadcast.  The files are arranged chronologically by broadcast date. \u003c/p\u003e\n","\u003cp\u003eThe second series consists of open reel tapes with original recordings from the radio show broadcasts. The files are arranged alphabetically by show title.\u003c/p\u003e\n","\u003cp\u003eThe third series consists of three audiotape cassettes with copies of three separate programs.  \u003c/p\u003e\n","\u003cp\u003eThe fourth series consists of digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio is stored on nine compact discs and an external hard drive. The files are arranged chronologically by broadcast date. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes. This collection is divided into four series based on material type. ","The first series consists of the paper documents. These paper files contain scheduling, show topic, and guest appearance information for each broadcast.  The files are arranged chronologically by broadcast date. ","The second series consists of open reel tapes with original recordings from the radio show broadcasts. The files are arranged alphabetically by show title.","The third series consists of three audiotape cassettes with copies of three separate programs.  ","The fourth series consists of digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio is stored on nine compact discs and an external hard drive. The files are arranged chronologically by broadcast date. "],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_3b0332b2ad23b6c94584e94c3b8d05de\" label=\"Abstract\"\u003eThe \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes.\u003c/abstract\u003e"],"abstract_tesim":["The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes."],"names_coll_ssim":["George Mason University"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":340,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:36:35.016Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_334","ead_ssi":"vifgm_repositories_2_resources_334","_root_":"vifgm_repositories_2_resources_334","_nest_parent_":"vifgm_repositories_2_resources_334","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_334.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/gmufranklyspeaking.html","title_ssm":["George Mason University \"Frankly Speaking\" radio show records"],"title_tesim":["George Mason University \"Frankly Speaking\" radio show records"],"unitdate_ssm":["1980-1984"],"unitdate_inclusive_ssm":["1980-1984"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0131","/repositories/2/resources/334"],"text":["R0131","/repositories/2/resources/334","George Mason University \"Frankly Speaking\" radio show records","United States -- Politics and government -- 1945-1989","Transportation -- United States -- Planning","Health","Mental health services","Performing arts","Sound recordings","Collection is open to research.","Digital versions of the radio shows are available online through the  ","This collection is arranged into three series based on material type. The first series consists of paper materials created for each broadcast that outline show topics and guest appearances. This series is arranged chronologically. The second series consists of open reel tapes with original recordings from the radio show broadcasts. This series is arranged alphabetically by show title. The third series is digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio was saved as MP3s and is stored on nine compact discs and an external hard drive. Broadcasts are arranged chronologically on the compact discs.","This collection is arranged into three series based on material type. Series one and three are arranged chronologically. The second series is arranged alphabetically by show title.","Missing Title Series 1: Production papers, 1980-1984 (Boxes 1-3) Series 2: Open reel recordings, 1980-1984 (Boxes 3-17) Series 3: Audiotape cassettes, 1982-1983 (Box 17) Series 4: Digital duplicates, 2012 (Box 18)","The \"Frankly Speaking\" radio show was produced and aired at George Mason University from 1980 to 1984. Most shows were approximately 15 minutes in length, featured a guest speaker, and highlighted local or contemporary issues.","Processed by Special Collections and Archives staff. EAD markup completed in September 2012 by Greta Kuriger Suiter.","Special Collections \u0026 Archives also holds the archives of George Mason University.","The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes. This collection is divided into four series based on material type. ","The first series consists of the paper documents. These paper files contain scheduling, show topic, and guest appearance information for each broadcast.  The files are arranged chronologically by broadcast date. ","The second series consists of open reel tapes with original recordings from the radio show broadcasts. The files are arranged alphabetically by show title.","The third series consists of three audiotape cassettes with copies of three separate programs.  ","The fourth series consists of digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio is stored on nine compact discs and an external hard drive. The files are arranged chronologically by broadcast date. ","There are no restrictions.","The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes.","George Mason University. Libraries. Special Collections Research Center","George Mason University","English"],"unitid_tesim":["R0131","/repositories/2/resources/334"],"normalized_title_ssm":["George Mason University \"Frankly Speaking\" radio show records"],"collection_title_tesim":["George Mason University \"Frankly Speaking\" radio show records"],"collection_ssim":["George Mason University \"Frankly Speaking\" radio show records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["United States -- Politics and government -- 1945-1989"],"geogname_ssim":["United States -- Politics and government -- 1945-1989"],"creator_ssm":["George Mason University"],"creator_ssim":["George Mason University"],"creator_corpname_ssim":["George Mason University"],"creators_ssim":["George Mason University"],"places_ssim":["United States -- Politics and government -- 1945-1989"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by University Relations to Special Collections and Archives."],"access_subjects_ssim":["Transportation -- United States -- Planning","Health","Mental health services","Performing arts","Sound recordings"],"access_subjects_ssm":["Transportation -- United States -- Planning","Health","Mental health services","Performing arts","Sound recordings"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet (18 boxes)"],"extent_tesim":["9 Linear Feet (18 boxes)"],"genreform_ssim":["Sound recordings"],"date_range_isim":[1980,1981,1982,1983,1984],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"altformavail_html_tesm":["\u003cp\u003eDigital versions of the radio shows are available online through the  \u003cextptr href=\"https://mars.gmu.edu/handle/1920/8392\" title=\"George Mason University 'Frankly Speaking' radio show  collection.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"altformavail_heading_ssm":["Alternate Format Available"],"altformavail_tesim":["Digital versions of the radio shows are available online through the  "],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into three series based on material type. The first series consists of paper materials created for each broadcast that outline show topics and guest appearances. This series is arranged chronologically. The second series consists of open reel tapes with original recordings from the radio show broadcasts. This series is arranged alphabetically by show title. The third series is digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio was saved as MP3s and is stored on nine compact discs and an external hard drive. Broadcasts are arranged chronologically on the compact discs.\u003c/p\u003e\n","\u003cp\u003eThis collection is arranged into three series based on material type. Series one and three are arranged chronologically. The second series is arranged alphabetically by show title.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eMissing Title\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production papers, 1980-1984 (Boxes 1-3)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Open reel recordings, 1980-1984 (Boxes 3-17)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiotape cassettes, 1982-1983 (Box 17)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Digital duplicates, 2012 (Box 18)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into three series based on material type. The first series consists of paper materials created for each broadcast that outline show topics and guest appearances. This series is arranged chronologically. The second series consists of open reel tapes with original recordings from the radio show broadcasts. This series is arranged alphabetically by show title. The third series is digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio was saved as MP3s and is stored on nine compact discs and an external hard drive. Broadcasts are arranged chronologically on the compact discs.","This collection is arranged into three series based on material type. Series one and three are arranged chronologically. The second series is arranged alphabetically by show title.","Missing Title Series 1: Production papers, 1980-1984 (Boxes 1-3) Series 2: Open reel recordings, 1980-1984 (Boxes 3-17) Series 3: Audiotape cassettes, 1982-1983 (Box 17) Series 4: Digital duplicates, 2012 (Box 18)"],"bioghist_html_tesm":["\u003cp\u003eThe \"Frankly Speaking\" radio show was produced and aired at George Mason University from 1980 to 1984. Most shows were approximately 15 minutes in length, featured a guest speaker, and highlighted local or contemporary issues.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The \"Frankly Speaking\" radio show was produced and aired at George Mason University from 1980 to 1984. Most shows were approximately 15 minutes in length, featured a guest speaker, and highlighted local or contemporary issues."],"prefercite_html_tesm":["\u003cp\u003eGeorge Mason University \"Frankly Speaking\" radio show records, Collection #R0131, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["George Mason University \"Frankly Speaking\" radio show records, Collection #R0131, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff. EAD markup completed in September 2012 by Greta Kuriger Suiter.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff. EAD markup completed in September 2012 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections \u0026amp; Archives also holds the archives of George Mason University.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections \u0026 Archives also holds the archives of George Mason University."],"scopecontent_html_tesm":["\u003cp\u003eThe \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes. This collection is divided into four series based on material type. \u003c/p\u003e\n","\u003cp\u003eThe first series consists of the paper documents. These paper files contain scheduling, show topic, and guest appearance information for each broadcast.  The files are arranged chronologically by broadcast date. \u003c/p\u003e\n","\u003cp\u003eThe second series consists of open reel tapes with original recordings from the radio show broadcasts. The files are arranged alphabetically by show title.\u003c/p\u003e\n","\u003cp\u003eThe third series consists of three audiotape cassettes with copies of three separate programs.  \u003c/p\u003e\n","\u003cp\u003eThe fourth series consists of digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio is stored on nine compact discs and an external hard drive. The files are arranged chronologically by broadcast date. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes. This collection is divided into four series based on material type. ","The first series consists of the paper documents. These paper files contain scheduling, show topic, and guest appearance information for each broadcast.  The files are arranged chronologically by broadcast date. ","The second series consists of open reel tapes with original recordings from the radio show broadcasts. The files are arranged alphabetically by show title.","The third series consists of three audiotape cassettes with copies of three separate programs.  ","The fourth series consists of digital duplicates created in 2012 from the open reel tapes of the original broadcast. The open reel audio is stored on nine compact discs and an external hard drive. The files are arranged chronologically by broadcast date. "],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_3b0332b2ad23b6c94584e94c3b8d05de\" label=\"Abstract\"\u003eThe \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes.\u003c/abstract\u003e"],"abstract_tesim":["The \"Frankly Speaking\" radio show collection consists of production files, open reel recordings of the shows, digital copies on both DVD and a hard drive, and a small number of show recordings on cassette tapes."],"names_coll_ssim":["George Mason University"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":340,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:36:35.016Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_334"}},{"id":"vifgm_repositories_2_resources_361","type":"collection","attributes":{"title":"Hedley Gordon Graham papers","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_361#creator","type":"document_value","attributes":{"value":"Graham, Hedley Gordon","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_361#abstract_or_scope","type":"document_value","attributes":{"value":"The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_361#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_361","ead_ssi":"vifgm_repositories_2_resources_361","_root_":"vifgm_repositories_2_resources_361","_nest_parent_":"vifgm_repositories_2_resources_361","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_361.xml","title_ssm":["Hedley Gordon Graham papers"],"title_tesim":["Hedley Gordon Graham papers"],"unitdate_ssm":["1925-1983"],"unitdate_inclusive_ssm":["1925-1983"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0240","/repositories/2/resources/361"],"text":["C0240","/repositories/2/resources/361","Hedley Gordon Graham papers","Theater -- United States","Performing arts","New Deal, 1933-1939","There are no access restrictions.","Organized alphabetically by folder title.","Missing Title Series 1: Documents and Photographs, 1920s-1983 (Boxes 1-3) Series 2: Oversize, 1920s-1930s (Box 4)","Gordon Hedley Graham was a drama major at Columbia University and graduated from the American Academy of Dramatic Arts in 1925, he also spent a year at the Royal Academy of London and a year at the Max Rheinhardt School of Drama in Salzburg, Austria.","Professional experience includes working for the Theatre Guild in New York City as an Actor, Stage Manager, and Director of Understudies; work in Hollywood for MGM and Warner Brothers, as well as work in New Orleans. For the Federal Theatre Project he worked as the Assistant Executive Director of the I6 states and directed The Living Newspaper Theatre in Chicago for two years. He also taught at a variety of institutions including the American Academy of Dramatic Arts, Adelphi College, Columbia University, Warner Brothers, Easthampton School of Rythmics (which he also owned), and the Theatre School of Drama at Carnegie Hall.","Processing completed by Greta Kuriger Suiter in September 2013. EAD markup completed by Greta Kuriger Suiter in September 2013.","The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.","The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","The collection is divided into two series.","Series one consists of documents and photographs and is organized alphabetically. ","Series two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Permission to publish material from the Hedley Gordon Graham papers must be obtained from Special Collections and Archives, George Mason University Libraries.","The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","George Mason University. Libraries. 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For the Federal Theatre Project he worked as the Assistant Executive Director of the I6 states and directed The Living Newspaper Theatre in Chicago for two years. He also taught at a variety of institutions including the American Academy of Dramatic Arts, Adelphi College, Columbia University, Warner Brothers, Easthampton School of Rythmics (which he also owned), and the Theatre School of Drama at Carnegie Hall.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical note"],"bioghist_tesim":["Gordon Hedley Graham was a drama major at Columbia University and graduated from the American Academy of Dramatic Arts in 1925, he also spent a year at the Royal Academy of London and a year at the Max Rheinhardt School of Drama in Salzburg, Austria.","Professional experience includes working for the Theatre Guild in New York City as an Actor, Stage Manager, and Director of Understudies; work in Hollywood for MGM and Warner Brothers, as well as work in New Orleans. For the Federal Theatre Project he worked as the Assistant Executive Director of the I6 states and directed The Living Newspaper Theatre in Chicago for two years. He also taught at a variety of institutions including the American Academy of Dramatic Arts, Adelphi College, Columbia University, Warner Brothers, Easthampton School of Rythmics (which he also owned), and the Theatre School of Drama at Carnegie Hall."],"prefercite_html_tesm":["\u003cp\u003eThe Hedley Gordon Graham papers, C0240, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["The Hedley Gordon Graham papers, C0240, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Greta Kuriger Suiter in September 2013. EAD markup completed by Greta Kuriger Suiter in September 2013.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Greta Kuriger Suiter in September 2013. EAD markup completed by Greta Kuriger Suiter in September 2013."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.\u003c/p\u003e\n","\u003cp\u003eThe collection is divided into two series.\u003c/p\u003e\n","\u003cp\u003eSeries one consists of documents and photographs and is organized alphabetically. \u003c/p\u003e\n","\u003cp\u003eSeries two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. 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","Series two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook."],"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\n","\u003cp\u003ePermission to publish material from the Hedley Gordon Graham papers must be obtained from Special Collections and Archives, George Mason University Libraries.\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/)","Permission to publish material from the Hedley Gordon Graham papers must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_b1ba4d4ad20f3518d1769d1c3b1f07ad\" label=\"Summary\"\u003eThe Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.\u003c/abstract\u003e"],"abstract_tesim":["The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago."],"names_coll_ssim":["Federal Theatre Project (U.S.)","Graham, Hedley Gordon"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Graham, Hedley Gordon"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"persname_ssim":["Graham, Hedley Gordon"],"language_ssim":["English \n.    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EAD markup completed by Greta Kuriger Suiter in September 2013.","The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.","The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","The collection is divided into two series.","Series one consists of documents and photographs and is organized alphabetically. ","Series two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Permission to publish material from the Hedley Gordon Graham papers must be obtained from Special Collections and Archives, George Mason University Libraries.","The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","George Mason University. Libraries. 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EAD markup completed by Greta Kuriger Suiter in September 2013.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Greta Kuriger Suiter in September 2013. EAD markup completed by Greta Kuriger Suiter in September 2013."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Works Progress Administration oral histories collection, the Federal Theatre Project collection, the Federal Theatre Project photograph collection, as well as numerous other personal papers."],"scopecontent_html_tesm":["\u003cp\u003eThe Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.\u003c/p\u003e\n","\u003cp\u003eThe collection is divided into two series.\u003c/p\u003e\n","\u003cp\u003eSeries one consists of documents and photographs and is organized alphabetically. \u003c/p\u003e\n","\u003cp\u003eSeries two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.","The collection is divided into two series.","Series one consists of documents and photographs and is organized alphabetically. ","Series two consists of oversize materials including three portrait photographs, a diploma, and a scrapbook."],"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\n","\u003cp\u003ePermission to publish material from the Hedley Gordon Graham papers must be obtained from Special Collections and Archives, George Mason University Libraries.\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/)","Permission to publish material from the Hedley Gordon Graham papers must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_b1ba4d4ad20f3518d1769d1c3b1f07ad\" label=\"Summary\"\u003eThe Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago.\u003c/abstract\u003e"],"abstract_tesim":["The Hedley Gordon Graham papers contains a scrapbook, acting classes grade books, family photographs and photographs of Federal Theatre Project productions, correspondence, playbills, cards (possibly used for a treasure hunt game), scripts, and magazine and newspaper articles. Federal Theatre material includes photographs, newspaper clippings, and scripts for productions of O Say Can You Sing, Triple A Plowed Under, Altars of Steel, and Living Newspaper productions in Chicago."],"names_coll_ssim":["Federal Theatre Project (U.S.)","Graham, Hedley Gordon"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","Graham, Hedley Gordon"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"persname_ssim":["Graham, Hedley Gordon"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":32,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:38:19.956Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_361"}},{"id":"vifgm_repositories_2_resources_599","type":"collection","attributes":{"title":"Illustrated scroll of samples of Noh masks and a record of props, in Japanese \"Noh-men hinagata emono hikae\" のうめん ひながた えもの ひかえ","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_599#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_599#abstract_or_scope","type":"document_value","attributes":{"value":"An illustrated scroll - or emakimono - of samples of masks and a record of props used in Noh theater, created circa late 19th century or early 20th century. The scroll measures nearly 30 feet in length when unrolled and is constructed of individual illustrated leaves that have been adhered together to create the scroll. When rolled, the scroll is housed in a wooden box.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_599#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_599","ead_ssi":"vifgm_repositories_2_resources_599","_root_":"vifgm_repositories_2_resources_599","_nest_parent_":"vifgm_repositories_2_resources_599","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_599.xml","title_ssm":["Illustrated scroll of samples of Noh masks and a record of props, in Japanese \"Noh-men hinagata emono hikae\" のうめん ひながた えもの ひかえ"],"title_tesim":["Illustrated scroll of samples of Noh masks and a record of props, in Japanese \"Noh-men hinagata emono hikae\" のうめん ひながた えもの ひかえ"],"unitdate_ssm":["circa late 19th century or early 20th century\n"],"unitdate_inclusive_ssm":["circa late 19th century or early 20th century\n"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0495","/repositories/2/resources/599"],"text":["C0495","/repositories/2/resources/599","Illustrated scroll of samples of Noh masks and a record of props, in Japanese \"Noh-men hinagata emono hikae\" のうめん ひながた えもの ひかえ","Japan","Nō","Performing arts","Theater","There are no access restrictions.","This is a single item collection.","\"Masks[.]\" The-Noh.com, accessed November 19, 2021. https://www.the-noh.com/en/world/mask.html.","\"Noh Drama[.]\" Asia for Educators, Columbia University, accessed November 19, 2021. http://afe.easia.columbia.edu/special/japan_1000ce_noh.htm.","\"Noh Masks: The Spirit of Noh Theatre[.]\" Youtube video, September 29, 2018. https://www.youtube.com/watch?v=qsMnyrxqe6w.","\"Noh Theater[.]\" Japan-guide.com, June 13, 2021. https://www.japan-guide.com/e/e2091.html.","Noh theatre is a traditional Japanese style of theatre created in the 14th century, and is the oldest continuously performed theatrical tradition in the world. Noh plays, which combine drama, music, and dance, are very structured with specific characters, emotions, words, and costumes. In Noh there are always designated roles (played by men), which in turn determine the masks worn. These masks inform the audience which character is which. Traditionally, Noh masks are carved from Japanese cypress. There are more than 200 Noh masks in use today.","Processing completed by Amanda Brent in November 2021. EAD markup completed by Amanda Brent in November 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.","Primary Japanese translation and research credit goes to Yoko Ferguson, Metadata and Cataloging Librarian at George Mason University Libraries. Additional translation and research credit goes to Reiko Yoshimura at the Freer Gallery of Art/Arthur M. 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There are no known restrictions.","An illustrated scroll - or emakimono -  of samples of masks and a record of props used in Noh theater, created circa late 19th century or early 20th century. The scroll measures nearly 30 feet in length when unrolled and is constructed of individual illustrated leaves that have been adhered together to create the scroll. When rolled, the scroll is housed in a wooden box.","R 72, C 3, S 5","George Mason University. Libraries. Special Collections Research Center","Japanese \n.    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The scroll measures nearly 30 feet in length when unrolled and is constructed of individual illustrated leaves that have been adhered together to create the scroll. When rolled, the scroll is housed in a wooden box. The scroll features illustrations of masks and props from traditional Japanese Noh theatre, including masks of characters from a variety of plays, such as Yama-uba, Hannya, Atsumori, Shunkan, and Ikkaku Sennin.\u003c/p\u003e\n","\u003cp\u003eThe scroll was likely used as a visual catalogue of items by a collector of Noh masks and props. It is possible this scroll is a copy of an original scroll, based off of the title's translation.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["An illustrated scroll - or emakimono -  of samples of masks and a record of props used in Noh theater. 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There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_348e528c7ba4521c64ab457aa9e4f618\" label=\"Abstract\"\u003eAn illustrated scroll - or emakimono -  of samples of masks and a record of props used in Noh theater, created circa late 19th century or early 20th century. The scroll measures nearly 30 feet in length when unrolled and is constructed of individual illustrated leaves that have been adhered together to create the scroll. When rolled, the scroll is housed in a wooden box.\u003c/abstract\u003e"],"abstract_tesim":["An illustrated scroll - or emakimono -  of samples of masks and a record of props used in Noh theater, created circa late 19th century or early 20th century. The scroll measures nearly 30 feet in length when unrolled and is constructed of individual illustrated leaves that have been adhered together to create the scroll. 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There are no known restrictions.","An illustrated scroll - or emakimono -  of samples of masks and a record of props used in Noh theater, created circa late 19th century or early 20th century. The scroll measures nearly 30 feet in length when unrolled and is constructed of individual illustrated leaves that have been adhered together to create the scroll. When rolled, the scroll is housed in a wooden box.","R 72, C 3, S 5","George Mason University. Libraries. Special Collections Research Center","Japanese \n.    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There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_348e528c7ba4521c64ab457aa9e4f618\" label=\"Abstract\"\u003eAn illustrated scroll - or emakimono -  of samples of masks and a record of props used in Noh theater, created circa late 19th century or early 20th century. The scroll measures nearly 30 feet in length when unrolled and is constructed of individual illustrated leaves that have been adhered together to create the scroll. When rolled, the scroll is housed in a wooden box.\u003c/abstract\u003e"],"abstract_tesim":["An illustrated scroll - or emakimono -  of samples of masks and a record of props used in Noh theater, created circa late 19th century or early 20th century. The scroll measures nearly 30 feet in length when unrolled and is constructed of individual illustrated leaves that have been adhered together to create the scroll. When rolled, the scroll is housed in a wooden box."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_997fc37c716a845999c80f17edf6cf28\"\u003eR 72, C 3, S 5\u003c/physloc\u003e"],"physloc_tesim":["R 72, C 3, S 5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["Japanese \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:21:05.743Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_599"}},{"id":"vifgm_repositories_2_resources_131","type":"collection","attributes":{"title":"J. 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Burke Knapp's work with Arena Stage in Washington, D.C.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_131#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_131","ead_ssi":"vifgm_repositories_2_resources_131","_root_":"vifgm_repositories_2_resources_131","_nest_parent_":"vifgm_repositories_2_resources_131","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_131.xml","title_filing_ssi":"J. Burke Knapp papers","title_ssm":["J. Burke Knapp papers"],"title_tesim":["J. Burke Knapp papers"],"unitdate_ssm":["circa 1950s-1960s"],"unitdate_inclusive_ssm":["circa 1950s-1960s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0199","/repositories/2/resources/131"],"text":["C0199","/repositories/2/resources/131","J. Burke Knapp papers","Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States","Correspondence","There are no access restrictions.","Collection is organized roughly by subject at the folder level only.","Bernstein, Adam. 2009. \"World Bank Executive Also Led Arena Stage Theater.\"  The Washington Post , December 9, 2009. https://www.washingtonpost.com/archive/local/2009/12/10/world-bank-executive-also-led-arena-stage-theater/e1e8f564-2644-4ebd-9225-6ba528b65d08/.","\"J. Burke Knapp.\" n.d. The Association of American Rhodes Scholars. Accessed May 15, 2024. https://www.americanrhodes.org/news-obituaries-245.html.","\"J. Knapp Obituary (2009) - San Francisco, CA - San Francisco Chronicle.\" n.d. Legacy.Com. Accessed May 15, 2024. https://www.legacy.com/us/obituaries/sfgate/name/j-knapp-obituary?id=22168108.","J. Burke Knapp was born in Portland, Oregon in 1913. After graduating from Stanford University in 1933 he was selected as a Rhodes Scholar and attended Oxford University from 1933-1936, after which he served four years working as an investment banker in London, England before returning to the United States to continue his career in international finance. Knapp served in various positions in the U.S. government until 1952, including senior roles with the Federal Reserve Board and the Department of State, as well as attending the Bretton Woods Conference in 1944 which created the International Monetary Fund and World Bank, and serving as a member of the Inter-Departmental Committee to prepare the Marshall Plan. In December 1952, he joined the World Bank as the Director of Latin American operations and was appointed Senior Vice-President and Chairman of the Loan Committee in 1956, serving in this position until his retirement in 1978. In 1939 he married first wife, British actress Hilary Eaves, who served as one of his first connections to the performing arts. From 1959-1968 he served as President of the board of Washington, D.C.'s Arena Stage, assisting with raising money and expanding and restructuring the organization into a non-profit. He would remain on the board as a member until his death on November 22, 2009 at the age of 96.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.","Processed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in May 2024.","The Special Collections Research Center also holds the  Arena Stage records , the  Living Stage records , and the  Ken Kitch papers , as well as the papers of Arena Stage founders Zelda and Thomas Fichandler.","This collection contains reports, correspondence, contracts, and general materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C. The majority of the materials relate to the Washington Drama Society, Arena Stage II, stockholders, the organization's tax exemption status and non-profit application, and general personal materials related to Arena Stage.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains materials related primarily to financial matters generated during J. 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Burke (Joseph Burke), 1913-2009"],"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":["Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States","Correspondence"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["3.45 Linear Feet 8 boxes"],"extent_tesim":["3.45 Linear Feet 8 boxes"],"genreform_ssim":["Correspondence"],"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\u003eCollection is organized roughly by subject at the folder level only.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection is organized roughly by subject at the folder level only."],"bibliography_html_tesm":["\u003cp\u003eBernstein, Adam. 2009. \"World Bank Executive Also Led Arena Stage Theater.\" \u003ctitle\u003eThe Washington Post\u003c/title\u003e, December 9, 2009. https://www.washingtonpost.com/archive/local/2009/12/10/world-bank-executive-also-led-arena-stage-theater/e1e8f564-2644-4ebd-9225-6ba528b65d08/.\u003c/p\u003e\n","\u003cp\u003e\"J. Burke Knapp.\" n.d. The Association of American Rhodes Scholars. Accessed May 15, 2024. https://www.americanrhodes.org/news-obituaries-245.html.\u003c/p\u003e\n","\u003cp\u003e\"J. Knapp Obituary (2009) - San Francisco, CA - San Francisco Chronicle.\" n.d. Legacy.Com. Accessed May 15, 2024. https://www.legacy.com/us/obituaries/sfgate/name/j-knapp-obituary?id=22168108.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Bernstein, Adam. 2009. \"World Bank Executive Also Led Arena Stage Theater.\"  The Washington Post , December 9, 2009. https://www.washingtonpost.com/archive/local/2009/12/10/world-bank-executive-also-led-arena-stage-theater/e1e8f564-2644-4ebd-9225-6ba528b65d08/.","\"J. Burke Knapp.\" n.d. The Association of American Rhodes Scholars. Accessed May 15, 2024. https://www.americanrhodes.org/news-obituaries-245.html.","\"J. Knapp Obituary (2009) - San Francisco, CA - San Francisco Chronicle.\" n.d. Legacy.Com. Accessed May 15, 2024. https://www.legacy.com/us/obituaries/sfgate/name/j-knapp-obituary?id=22168108."],"bioghist_html_tesm":["\u003cp\u003eJ. Burke Knapp was born in Portland, Oregon in 1913. After graduating from Stanford University in 1933 he was selected as a Rhodes Scholar and attended Oxford University from 1933-1936, after which he served four years working as an investment banker in London, England before returning to the United States to continue his career in international finance. Knapp served in various positions in the U.S. government until 1952, including senior roles with the Federal Reserve Board and the Department of State, as well as attending the Bretton Woods Conference in 1944 which created the International Monetary Fund and World Bank, and serving as a member of the Inter-Departmental Committee to prepare the Marshall Plan. In December 1952, he joined the World Bank as the Director of Latin American operations and was appointed Senior Vice-President and Chairman of the Loan Committee in 1956, serving in this position until his retirement in 1978. In 1939 he married first wife, British actress Hilary Eaves, who served as one of his first connections to the performing arts. From 1959-1968 he served as President of the board of Washington, D.C.'s Arena Stage, assisting with raising money and expanding and restructuring the organization into a non-profit. He would remain on the board as a member until his death on November 22, 2009 at the age of 96.\u003c/p\u003e\n","\u003cp\u003eOne of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (\u003citalic\u003eThe Great White Hope\u003c/italic\u003e, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["J. Burke Knapp was born in Portland, Oregon in 1913. After graduating from Stanford University in 1933 he was selected as a Rhodes Scholar and attended Oxford University from 1933-1936, after which he served four years working as an investment banker in London, England before returning to the United States to continue his career in international finance. Knapp served in various positions in the U.S. government until 1952, including senior roles with the Federal Reserve Board and the Department of State, as well as attending the Bretton Woods Conference in 1944 which created the International Monetary Fund and World Bank, and serving as a member of the Inter-Departmental Committee to prepare the Marshall Plan. In December 1952, he joined the World Bank as the Director of Latin American operations and was appointed Senior Vice-President and Chairman of the Loan Committee in 1956, serving in this position until his retirement in 1978. In 1939 he married first wife, British actress Hilary Eaves, who served as one of his first connections to the performing arts. From 1959-1968 he served as President of the board of Washington, D.C.'s Arena Stage, assisting with raising money and expanding and restructuring the organization into a non-profit. He would remain on the board as a member until his death on November 22, 2009 at the age of 96.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals."],"prefercite_html_tesm":["\u003cp\u003eJ. Burke Knapp papers, C0199, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["J. Burke Knapp papers, C0199, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in May 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in May 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003ca href=\"https://aspace.gmu.edu/resources/c0017\"\u003eArena Stage records\u003c/a\u003e, the \u003ca href=\"https://aspace.gmu.edu/resources/c0277\"\u003eLiving Stage records\u003c/a\u003e, and the \u003ca href=\"https://aspace.gmu.edu/resources/c0198\"\u003eKen Kitch papers\u003c/a\u003e, as well as the papers of Arena Stage founders Zelda and Thomas Fichandler.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  Arena Stage records , the  Living Stage records , and the  Ken Kitch papers , as well as the papers of Arena Stage founders Zelda and Thomas Fichandler."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains reports, correspondence, contracts, and general materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C. The majority of the materials relate to the Washington Drama Society, Arena Stage II, stockholders, the organization's tax exemption status and non-profit application, and general personal materials related to Arena Stage.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains reports, correspondence, contracts, and general materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C. The majority of the materials relate to the Washington Drama Society, Arena Stage II, stockholders, the organization's tax exemption status and non-profit application, and general personal materials related to Arena 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_9c0eae297e99b05a5103d642af4f7d96\"\u003eThis collection contains materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_efcbd04c294f057904a6556310b240e2\"\u003eR 45, C 1, S 1, 4-5\u003c/physloc\u003e"],"physloc_tesim":["R 45, C 1, S 1, 4-5"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Knapp, J. Burke (Joseph Burke), 1913-2009"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Knapp, J. Burke (Joseph Burke), 1913-2009"],"language_ssim":["English \n.    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Burke Knapp papers","Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States","Correspondence","There are no access restrictions.","Collection is organized roughly by subject at the folder level only.","Bernstein, Adam. 2009. \"World Bank Executive Also Led Arena Stage Theater.\"  The Washington Post , December 9, 2009. https://www.washingtonpost.com/archive/local/2009/12/10/world-bank-executive-also-led-arena-stage-theater/e1e8f564-2644-4ebd-9225-6ba528b65d08/.","\"J. Burke Knapp.\" n.d. The Association of American Rhodes Scholars. Accessed May 15, 2024. https://www.americanrhodes.org/news-obituaries-245.html.","\"J. Knapp Obituary (2009) - San Francisco, CA - San Francisco Chronicle.\" n.d. Legacy.Com. Accessed May 15, 2024. https://www.legacy.com/us/obituaries/sfgate/name/j-knapp-obituary?id=22168108.","J. Burke Knapp was born in Portland, Oregon in 1913. After graduating from Stanford University in 1933 he was selected as a Rhodes Scholar and attended Oxford University from 1933-1936, after which he served four years working as an investment banker in London, England before returning to the United States to continue his career in international finance. Knapp served in various positions in the U.S. government until 1952, including senior roles with the Federal Reserve Board and the Department of State, as well as attending the Bretton Woods Conference in 1944 which created the International Monetary Fund and World Bank, and serving as a member of the Inter-Departmental Committee to prepare the Marshall Plan. In December 1952, he joined the World Bank as the Director of Latin American operations and was appointed Senior Vice-President and Chairman of the Loan Committee in 1956, serving in this position until his retirement in 1978. In 1939 he married first wife, British actress Hilary Eaves, who served as one of his first connections to the performing arts. From 1959-1968 he served as President of the board of Washington, D.C.'s Arena Stage, assisting with raising money and expanding and restructuring the organization into a non-profit. He would remain on the board as a member until his death on November 22, 2009 at the age of 96.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.","Processed by Special Collections Research Center staff. 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Burke Knapp.\" n.d. The Association of American Rhodes Scholars. Accessed May 15, 2024. https://www.americanrhodes.org/news-obituaries-245.html.\u003c/p\u003e\n","\u003cp\u003e\"J. Knapp Obituary (2009) - San Francisco, CA - San Francisco Chronicle.\" n.d. Legacy.Com. Accessed May 15, 2024. https://www.legacy.com/us/obituaries/sfgate/name/j-knapp-obituary?id=22168108.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Bernstein, Adam. 2009. \"World Bank Executive Also Led Arena Stage Theater.\"  The Washington Post , December 9, 2009. https://www.washingtonpost.com/archive/local/2009/12/10/world-bank-executive-also-led-arena-stage-theater/e1e8f564-2644-4ebd-9225-6ba528b65d08/.","\"J. Burke Knapp.\" n.d. The Association of American Rhodes Scholars. Accessed May 15, 2024. https://www.americanrhodes.org/news-obituaries-245.html.","\"J. Knapp Obituary (2009) - San Francisco, CA - San Francisco Chronicle.\" n.d. Legacy.Com. Accessed May 15, 2024. https://www.legacy.com/us/obituaries/sfgate/name/j-knapp-obituary?id=22168108."],"bioghist_html_tesm":["\u003cp\u003eJ. Burke Knapp was born in Portland, Oregon in 1913. After graduating from Stanford University in 1933 he was selected as a Rhodes Scholar and attended Oxford University from 1933-1936, after which he served four years working as an investment banker in London, England before returning to the United States to continue his career in international finance. Knapp served in various positions in the U.S. government until 1952, including senior roles with the Federal Reserve Board and the Department of State, as well as attending the Bretton Woods Conference in 1944 which created the International Monetary Fund and World Bank, and serving as a member of the Inter-Departmental Committee to prepare the Marshall Plan. In December 1952, he joined the World Bank as the Director of Latin American operations and was appointed Senior Vice-President and Chairman of the Loan Committee in 1956, serving in this position until his retirement in 1978. In 1939 he married first wife, British actress Hilary Eaves, who served as one of his first connections to the performing arts. From 1959-1968 he served as President of the board of Washington, D.C.'s Arena Stage, assisting with raising money and expanding and restructuring the organization into a non-profit. He would remain on the board as a member until his death on November 22, 2009 at the age of 96.\u003c/p\u003e\n","\u003cp\u003eOne of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (\u003citalic\u003eThe Great White Hope\u003c/italic\u003e, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["J. Burke Knapp was born in Portland, Oregon in 1913. After graduating from Stanford University in 1933 he was selected as a Rhodes Scholar and attended Oxford University from 1933-1936, after which he served four years working as an investment banker in London, England before returning to the United States to continue his career in international finance. Knapp served in various positions in the U.S. government until 1952, including senior roles with the Federal Reserve Board and the Department of State, as well as attending the Bretton Woods Conference in 1944 which created the International Monetary Fund and World Bank, and serving as a member of the Inter-Departmental Committee to prepare the Marshall Plan. In December 1952, he joined the World Bank as the Director of Latin American operations and was appointed Senior Vice-President and Chairman of the Loan Committee in 1956, serving in this position until his retirement in 1978. In 1939 he married first wife, British actress Hilary Eaves, who served as one of his first connections to the performing arts. From 1959-1968 he served as President of the board of Washington, D.C.'s Arena Stage, assisting with raising money and expanding and restructuring the organization into a non-profit. He would remain on the board as a member until his death on November 22, 2009 at the age of 96.","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals."],"prefercite_html_tesm":["\u003cp\u003eJ. Burke Knapp papers, C0199, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["J. Burke Knapp papers, C0199, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in May 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in May 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003ca href=\"https://aspace.gmu.edu/resources/c0017\"\u003eArena Stage records\u003c/a\u003e, the \u003ca href=\"https://aspace.gmu.edu/resources/c0277\"\u003eLiving Stage records\u003c/a\u003e, and the \u003ca href=\"https://aspace.gmu.edu/resources/c0198\"\u003eKen Kitch papers\u003c/a\u003e, as well as the papers of Arena Stage founders Zelda and Thomas Fichandler.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  Arena Stage records , the  Living Stage records , and the  Ken Kitch papers , as well as the papers of Arena Stage founders Zelda and Thomas Fichandler."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains reports, correspondence, contracts, and general materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C. The majority of the materials relate to the Washington Drama Society, Arena Stage II, stockholders, the organization's tax exemption status and non-profit application, and general personal materials related to Arena Stage.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains reports, correspondence, contracts, and general materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C. The majority of the materials relate to the Washington Drama Society, Arena Stage II, stockholders, the organization's tax exemption status and non-profit application, and general personal materials related to Arena 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_9c0eae297e99b05a5103d642af4f7d96\"\u003eThis collection contains materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials related primarily to financial matters generated during J. Burke Knapp's work with Arena Stage in Washington, D.C."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_efcbd04c294f057904a6556310b240e2\"\u003eR 45, C 1, S 1, 4-5\u003c/physloc\u003e"],"physloc_tesim":["R 45, C 1, S 1, 4-5"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Knapp, J. Burke (Joseph Burke), 1913-2009"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Knapp, J. Burke (Joseph Burke), 1913-2009"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":47,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:27:54.262Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_131"}},{"id":"vifgm_repositories_2_resources_187","type":"collection","attributes":{"title":"Jean-Louis Barrault photograph collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_187#creator","type":"document_value","attributes":{"value":"Jenkins, Paul, 1923-2012","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_187#abstract_or_scope","type":"document_value","attributes":{"value":"Contains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_187#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_187","ead_ssi":"vifgm_repositories_2_resources_187","_root_":"vifgm_repositories_2_resources_187","_nest_parent_":"vifgm_repositories_2_resources_187","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_187.xml","title_ssm":["Jean-Louis Barrault photograph collection"],"title_tesim":["Jean-Louis Barrault photograph collection"],"unitdate_ssm":["1947-1979"],"unitdate_inclusive_ssm":["1947-1979"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0019","/repositories/2/resources/187"],"text":["C0019","/repositories/2/resources/187","Jean-Louis Barrault photograph collection","France","Theater and society","Theater","Theater -- Europe","Theater -- France","Performing arts","Photographic prints","Photographs","There are no access restrictions.","The collection is arranged in two series:","Series Series 1: Production Photographs, 1947-1979 (Boxes 1-2) Series 2: Non-Production Photographs, 1947-1976 (Box 2)","Barrault, born in France in 1910, was an esteemed and innovative fixture in French theatre and film for five decades from the 1930s to 1980s. 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Samuel Beckett, Eugene Ionesco, and Jean Genet are among the notable theatrical figures documented.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Contains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979.","George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)","Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994","French \n.    "],"unitid_tesim":["C0019","/repositories/2/resources/187"],"normalized_title_ssm":["Jean-Louis Barrault photograph collection"],"collection_title_tesim":["Jean-Louis Barrault photograph collection"],"collection_ssim":["Jean-Louis Barrault photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["France"],"geogname_ssim":["France"],"creator_ssm":["Jenkins, Paul, 1923-2012"],"creator_ssim":["Jenkins, Paul, 1923-2012"],"creator_persname_ssim":["Jenkins, Paul, 1923-2012"],"creators_ssim":["Jenkins, Paul, 1923-2012"],"places_ssim":["France"],"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":["Gift of Suzanne Donnelly Jenkins and Paul Jenkins, 2007."],"access_subjects_ssim":["Theater and society","Theater","Theater -- Europe","Theater -- France","Performing arts","Photographic prints","Photographs"],"access_subjects_ssm":["Theater and society","Theater","Theater -- Europe","Theater -- France","Performing arts","Photographic prints","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet 2 boxes"],"extent_tesim":["1 Linear Feet 2 boxes"],"genreform_ssim":["Photographic prints","Photographs"],"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 arranged in two series:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production Photographs, 1947-1979 (Boxes 1-2)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Non-Production Photographs, 1947-1976 (Box 2)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in two series:","Series Series 1: Production Photographs, 1947-1979 (Boxes 1-2) Series 2: Non-Production Photographs, 1947-1976 (Box 2)"],"bioghist_html_tesm":["\u003cp\u003eBarrault, born in France in 1910, was an esteemed and innovative fixture in French theatre and film for five decades from the 1930s to 1980s. 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Barrault later directed the Théâtre d'Orsay and the Théâtre des Nations."],"prefercite_html_tesm":["\u003cp\u003eJean-Louis Barrault photograph collection, C0019, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Jean-Louis Barrault photograph collection, C0019, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sean Tennant. EAD markup completed in 2008 by Sean Tennant.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sean Tennant. EAD markup completed in 2008 by Sean Tennant."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds records on the Arena Stage and the Federal Theatre Project as well as many personal collections of theater papers and photographs.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds records on the Arena Stage and the Federal Theatre Project as well as many personal collections of theater papers and photographs."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains photographs documenting Barrault and Renaud's career in the theatre in France between 1947 and 1979. Most images are production stills of performances at the Théâtre d'Orsay, Théâtre de France Odéon, and other venues, but the collection also includes images of Barrault and his contemporaries off-stage. Madeleine Renaud is, after himself, the most frequently photographed. 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Samuel Beckett, Eugene Ionesco, and Jean Genet are among the notable theatrical figures documented."],"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_539e75258dcc485f7e2321f9691f47c2\" label=\"Abstract\"\u003eContains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979.\u003c/abstract\u003e"],"abstract_tesim":["Contains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979."],"names_coll_ssim":["Agence de Presse Bernand","Odéon (Theater : Paris, France)","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"names_ssim":["George Mason University. 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"],"total_component_count_is":78,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:30:39.946Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_187","ead_ssi":"vifgm_repositories_2_resources_187","_root_":"vifgm_repositories_2_resources_187","_nest_parent_":"vifgm_repositories_2_resources_187","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_187.xml","title_ssm":["Jean-Louis Barrault photograph collection"],"title_tesim":["Jean-Louis Barrault photograph collection"],"unitdate_ssm":["1947-1979"],"unitdate_inclusive_ssm":["1947-1979"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0019","/repositories/2/resources/187"],"text":["C0019","/repositories/2/resources/187","Jean-Louis Barrault photograph collection","France","Theater and society","Theater","Theater -- Europe","Theater -- France","Performing arts","Photographic prints","Photographs","There are no access restrictions.","The collection is arranged in two series:","Series Series 1: Production Photographs, 1947-1979 (Boxes 1-2) Series 2: Non-Production Photographs, 1947-1976 (Box 2)","Barrault, born in France in 1910, was an esteemed and innovative fixture in French theatre and film for five decades from the 1930s to 1980s. 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Barrault later directed the Théâtre d'Orsay and the Théâtre des Nations."],"prefercite_html_tesm":["\u003cp\u003eJean-Louis Barrault photograph collection, C0019, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Jean-Louis Barrault photograph collection, C0019, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sean Tennant. EAD markup completed in 2008 by Sean Tennant.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sean Tennant. EAD markup completed in 2008 by Sean Tennant."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds records on the Arena Stage and the Federal Theatre Project as well as many personal collections of theater papers and photographs.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds records on the Arena Stage and the Federal Theatre Project as well as many personal collections of theater papers and photographs."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains photographs documenting Barrault and Renaud's career in the theatre in France between 1947 and 1979. Most images are production stills of performances at the Théâtre d'Orsay, Théâtre de France Odéon, and other venues, but the collection also includes images of Barrault and his contemporaries off-stage. Madeleine Renaud is, after himself, the most frequently photographed. Samuel Beckett, Eugene Ionesco, and Jean Genet are among the notable theatrical figures documented.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection contains photographs documenting Barrault and Renaud's career in the theatre in France between 1947 and 1979. Most images are production stills of performances at the Théâtre d'Orsay, Théâtre de France Odéon, and other venues, but the collection also includes images of Barrault and his contemporaries off-stage. Madeleine Renaud is, after himself, the most frequently photographed. Samuel Beckett, Eugene Ionesco, and Jean Genet are among the notable theatrical figures documented."],"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_539e75258dcc485f7e2321f9691f47c2\" label=\"Abstract\"\u003eContains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979.\u003c/abstract\u003e"],"abstract_tesim":["Contains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979."],"names_coll_ssim":["Agence de Presse Bernand","Odéon (Theater : Paris, France)","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)","Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)"],"persname_ssim":["Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"language_ssim":["French \n.    "],"total_component_count_is":78,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:30:39.946Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_187"}},{"id":"vifgm_repositories_2_resources_46","type":"collection","attributes":{"title":"John C. Becher Soldier Show collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_46#creator","type":"document_value","attributes":{"value":"Becher, John C.","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_46#abstract_or_scope","type":"document_value","attributes":{"value":"The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_46#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_46","ead_ssi":"vifgm_repositories_2_resources_46","_root_":"vifgm_repositories_2_resources_46","_nest_parent_":"vifgm_repositories_2_resources_46","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_46.xml","title_filing_ssi":"John C. Becher Soldier Show collection","title_ssm":["John C. Becher Soldier Show collection"],"title_tesim":["John C. Becher Soldier Show collection"],"unitdate_ssm":["1940-1953"],"unitdate_inclusive_ssm":["1940-1953"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0090","/repositories/2/resources/46"],"text":["C0090","/repositories/2/resources/46","John C. Becher Soldier Show collection","United States -- Armed Forces -- Military life","World War, 1939-1945 -- Theater and the war","Soldiers -- Recreation","World War, 1939-1945","Performing arts","Theater","Theater and society","There are no access restrictions.","This collection is arranged by item group, such as Soldier Shows, scripts, theatrical manuals, and pocket guides.","Keeping morale high was important during the war. This was recognized at the highest military levels. General George C. Marshall, Chief of Staff, for example, stressed the importance of maintaining high morale: \"Napoleon evaluated morale over material as three to one. I believe that recent experiences indicate a re-estimate of this value - the odds being near five to one, or probably even ten to one in some instances in favor of the psychological factor\" (Morale Program, box 7 folder 2 page 7). Programs and services that maintained or heightened morale covered a wide range - athletics, libraries, religion, education - and none was more important than entertainment, which is well-represented by the materials in the Becher Collection.","Entertaining troops during World War II was an enormous enterprise. The celebrated USO-Camp Shows was a civilian-based organization that provided professional entertainment for the Armed Forces. The U.S. Army Motion Picture Service was a non-profit organization that sponsored movie theaters to ease the transition from civilian to military life. A related group, the U.S.O. Mobile Motion Picture Service, showed films to overseas troops. Whereas these organizations provided passive forms of entertainment, the Entertainment Section of the Army Special Services Division took a different approach. They actually included the soldiers in creating their own entertainment. These were called Soldier Shows.","Soldier Shows were made by soldiers for soldiers. The principal objective was to achieve mass participation. A wide range of talent was employed in creating Soldier Shows - including singers, dancers, actors, orators, trivia buffs, costume and scenery makers, artists, and carpenters. Because mass participation by military personnel was encouraged, the program had a virtually unlimited field to draw on.","Soldiers participating in Soldier Shows acted in skits and plays, sang musical numbers, performed comedy routines, quizzed other soldiers, and made arts and crafts. Such activities forged common bonds among the troops and provided emotional links to their homeland. Soldier Shows were particularly effective in boosting the morale of hospitalized soldiers. The therapeutic value of Soldier Shows played an important role in the physical and mental rehabilitation of injured soldiers.","Soldier Shows were remarkably effective in boosting morale. In fact, reports have shown that the program was one of the easiest and most effective ways to combat low morale. (Morale Program, box 1 folder 2 page 7). General Dwight D. Eisenhower, in a back-stage visit to the cast who put on a Soldier Show in North Africa, praised their usefulness in the war effort: \"You are entertaining soldiers. You are not fighting with guns - but your job is just as important. As long as you are doing your job well . . . you will be rendering a service, and a great one, to your fellow soldiers and your country\" (Morale Program, box 1 folder 2 page 7). ","Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty.","The Special Collections Research Center also holds the  , which contains documents, photographs, and memorabilia from his time in the Air Force during World War II.","The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes. The six cubic feet (nine linear feet) cover the years 1940 through 1953.","Most of the items in the collection are Soldier Shows, entertainments written to amuse overseas troops and to boost morale. Produced by the Army Special Services Division, the scripts were written by professional and amateur playwrights. Many were created by military personnel attending the Special Services School in Lexington, Virginia (1943-1946). The collection also includes: newspaper and magazine clippings, war humor, poems, blackouts, quizzes, crafts manuals, original songs, song parodies, sheet music, flyers, pamphlets, theatrical manuals and guides, lesson plans and lectures, production ideas, and comedy routines. There are also several military-issued Pocket Guides to foreign lands, including guides to Burma, Germany, Greece, West Africa, Italy, and Great Britain. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes.","George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division","Becher, John C.","English"],"unitid_tesim":["C0090","/repositories/2/resources/46"],"normalized_title_ssm":["John C. Becher Soldier Show collection"],"collection_title_tesim":["John C. Becher Soldier Show collection"],"collection_ssim":["John C. Becher Soldier Show collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["United States -- Armed Forces -- Military life"],"geogname_ssim":["United States -- Armed Forces -- Military life"],"creator_ssm":["Becher, John C."],"creator_ssim":["Becher, John C."],"creator_persname_ssim":["Becher, John C."],"creators_ssim":["Becher, John C."],"places_ssim":["United States -- Armed Forces -- Military life"],"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":["Collection donated by John C. Becher in 1979 through Harold Arburg, Director of Arts and Humanities, U.S. Office of Education."],"access_subjects_ssim":["World War, 1939-1945 -- Theater and the war","Soldiers -- Recreation","World War, 1939-1945","Performing arts","Theater","Theater and society"],"access_subjects_ssm":["World War, 1939-1945 -- Theater and the war","Soldiers -- Recreation","World War, 1939-1945","Performing arts","Theater","Theater and society"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet 17 boxes"],"extent_tesim":["9 Linear Feet 17 boxes"],"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\u003eThis collection is arranged by item group, such as Soldier Shows, scripts, theatrical manuals, and pocket guides.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by item group, such as Soldier Shows, scripts, theatrical manuals, and pocket guides."],"bioghist_html_tesm":["\u003cp\u003eKeeping morale high was important during the war. This was recognized at the highest military levels. General George C. Marshall, Chief of Staff, for example, stressed the importance of maintaining high morale: \"Napoleon evaluated morale over material as three to one. I believe that recent experiences indicate a re-estimate of this value - the odds being near five to one, or probably even ten to one in some instances in favor of the psychological factor\" (Morale Program, box 7 folder 2 page 7). Programs and services that maintained or heightened morale covered a wide range - athletics, libraries, religion, education - and none was more important than entertainment, which is well-represented by the materials in the Becher Collection.\u003c/p\u003e\n","\u003cp\u003eEntertaining troops during World War II was an enormous enterprise. The celebrated USO-Camp Shows was a civilian-based organization that provided professional entertainment for the Armed Forces. The U.S. Army Motion Picture Service was a non-profit organization that sponsored movie theaters to ease the transition from civilian to military life. A related group, the U.S.O. Mobile Motion Picture Service, showed films to overseas troops. Whereas these organizations provided passive forms of entertainment, the Entertainment Section of the Army Special Services Division took a different approach. They actually included the soldiers in creating their own entertainment. These were called Soldier Shows.\u003c/p\u003e\n","\u003cp\u003eSoldier Shows were made by soldiers for soldiers. The principal objective was to achieve mass participation. A wide range of talent was employed in creating Soldier Shows - including singers, dancers, actors, orators, trivia buffs, costume and scenery makers, artists, and carpenters. Because mass participation by military personnel was encouraged, the program had a virtually unlimited field to draw on.\u003c/p\u003e\n","\u003cp\u003eSoldiers participating in Soldier Shows acted in skits and plays, sang musical numbers, performed comedy routines, quizzed other soldiers, and made arts and crafts. Such activities forged common bonds among the troops and provided emotional links to their homeland. Soldier Shows were particularly effective in boosting the morale of hospitalized soldiers. The therapeutic value of Soldier Shows played an important role in the physical and mental rehabilitation of injured soldiers.\u003c/p\u003e\n","\u003cp\u003eSoldier Shows were remarkably effective in boosting morale. In fact, reports have shown that the program was one of the easiest and most effective ways to combat low morale. (Morale Program, box 1 folder 2 page 7). General Dwight D. Eisenhower, in a back-stage visit to the cast who put on a Soldier Show in North Africa, praised their usefulness in the war effort: \"You are entertaining soldiers. You are not fighting with guns - but your job is just as important. As long as you are doing your job well . . . you will be rendering a service, and a great one, to your fellow soldiers and your country\" (Morale Program, box 1 folder 2 page 7). \u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Keeping morale high was important during the war. This was recognized at the highest military levels. General George C. Marshall, Chief of Staff, for example, stressed the importance of maintaining high morale: \"Napoleon evaluated morale over material as three to one. I believe that recent experiences indicate a re-estimate of this value - the odds being near five to one, or probably even ten to one in some instances in favor of the psychological factor\" (Morale Program, box 7 folder 2 page 7). Programs and services that maintained or heightened morale covered a wide range - athletics, libraries, religion, education - and none was more important than entertainment, which is well-represented by the materials in the Becher Collection.","Entertaining troops during World War II was an enormous enterprise. The celebrated USO-Camp Shows was a civilian-based organization that provided professional entertainment for the Armed Forces. The U.S. Army Motion Picture Service was a non-profit organization that sponsored movie theaters to ease the transition from civilian to military life. A related group, the U.S.O. Mobile Motion Picture Service, showed films to overseas troops. Whereas these organizations provided passive forms of entertainment, the Entertainment Section of the Army Special Services Division took a different approach. They actually included the soldiers in creating their own entertainment. These were called Soldier Shows.","Soldier Shows were made by soldiers for soldiers. The principal objective was to achieve mass participation. A wide range of talent was employed in creating Soldier Shows - including singers, dancers, actors, orators, trivia buffs, costume and scenery makers, artists, and carpenters. Because mass participation by military personnel was encouraged, the program had a virtually unlimited field to draw on.","Soldiers participating in Soldier Shows acted in skits and plays, sang musical numbers, performed comedy routines, quizzed other soldiers, and made arts and crafts. Such activities forged common bonds among the troops and provided emotional links to their homeland. Soldier Shows were particularly effective in boosting the morale of hospitalized soldiers. The therapeutic value of Soldier Shows played an important role in the physical and mental rehabilitation of injured soldiers.","Soldier Shows were remarkably effective in boosting morale. In fact, reports have shown that the program was one of the easiest and most effective ways to combat low morale. (Morale Program, box 1 folder 2 page 7). General Dwight D. Eisenhower, in a back-stage visit to the cast who put on a Soldier Show in North Africa, praised their usefulness in the war effort: \"You are entertaining soldiers. You are not fighting with guns - but your job is just as important. As long as you are doing your job well . . . you will be rendering a service, and a great one, to your fellow soldiers and your country\" (Morale Program, box 1 folder 2 page 7). "],"prefercite_html_tesm":["\u003cp\u003eJohn C. Becher Soldier Show collection, C0090, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["John C. Becher Soldier Show collection, C0090, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Leonard H. Clark collection\" href=\"https://aspace.gmu.edu/resources/c0060\"\u003e\u003c/extptr\u003e, which contains documents, photographs, and memorabilia from his time in the Air Force during World War II.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  , which contains documents, photographs, and memorabilia from his time in the Air Force during World War II."],"scopecontent_html_tesm":["\u003cp\u003eThe John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes. The six cubic feet (nine linear feet) cover the years 1940 through 1953.\u003c/p\u003e\n","\u003cp\u003eMost of the items in the collection are Soldier Shows, entertainments written to amuse overseas troops and to boost morale. Produced by the Army Special Services Division, the scripts were written by professional and amateur playwrights. Many were created by military personnel attending the Special Services School in Lexington, Virginia (1943-1946). The collection also includes: newspaper and magazine clippings, war humor, poems, blackouts, quizzes, crafts manuals, original songs, song parodies, sheet music, flyers, pamphlets, theatrical manuals and guides, lesson plans and lectures, production ideas, and comedy routines. There are also several military-issued Pocket Guides to foreign lands, including guides to Burma, Germany, Greece, West Africa, Italy, and Great Britain. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes. The six cubic feet (nine linear feet) cover the years 1940 through 1953.","Most of the items in the collection are Soldier Shows, entertainments written to amuse overseas troops and to boost morale. Produced by the Army Special Services Division, the scripts were written by professional and amateur playwrights. Many were created by military personnel attending the Special Services School in Lexington, Virginia (1943-1946). The collection also includes: newspaper and magazine clippings, war humor, poems, blackouts, quizzes, crafts manuals, original songs, song parodies, sheet music, flyers, pamphlets, theatrical manuals and guides, lesson plans and lectures, production ideas, and comedy routines. There are also several military-issued Pocket Guides to foreign lands, including guides to Burma, Germany, Greece, West Africa, Italy, and Great Britain. "],"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_292a18e68bd4561eedd206dc674a70fc\" label=\"Abstract\"\u003eThe John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes.\u003c/abstract\u003e"],"abstract_tesim":["The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes."],"names_coll_ssim":["United States. Army Service Forces. Special Service Division"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division","Becher, John C."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division"],"persname_ssim":["Becher, John C."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":363,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:36:35.016Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_46","ead_ssi":"vifgm_repositories_2_resources_46","_root_":"vifgm_repositories_2_resources_46","_nest_parent_":"vifgm_repositories_2_resources_46","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_46.xml","title_filing_ssi":"John C. Becher Soldier Show collection","title_ssm":["John C. Becher Soldier Show collection"],"title_tesim":["John C. Becher Soldier Show collection"],"unitdate_ssm":["1940-1953"],"unitdate_inclusive_ssm":["1940-1953"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0090","/repositories/2/resources/46"],"text":["C0090","/repositories/2/resources/46","John C. Becher Soldier Show collection","United States -- Armed Forces -- Military life","World War, 1939-1945 -- Theater and the war","Soldiers -- Recreation","World War, 1939-1945","Performing arts","Theater","Theater and society","There are no access restrictions.","This collection is arranged by item group, such as Soldier Shows, scripts, theatrical manuals, and pocket guides.","Keeping morale high was important during the war. This was recognized at the highest military levels. General George C. Marshall, Chief of Staff, for example, stressed the importance of maintaining high morale: \"Napoleon evaluated morale over material as three to one. I believe that recent experiences indicate a re-estimate of this value - the odds being near five to one, or probably even ten to one in some instances in favor of the psychological factor\" (Morale Program, box 7 folder 2 page 7). Programs and services that maintained or heightened morale covered a wide range - athletics, libraries, religion, education - and none was more important than entertainment, which is well-represented by the materials in the Becher Collection.","Entertaining troops during World War II was an enormous enterprise. The celebrated USO-Camp Shows was a civilian-based organization that provided professional entertainment for the Armed Forces. The U.S. Army Motion Picture Service was a non-profit organization that sponsored movie theaters to ease the transition from civilian to military life. A related group, the U.S.O. Mobile Motion Picture Service, showed films to overseas troops. Whereas these organizations provided passive forms of entertainment, the Entertainment Section of the Army Special Services Division took a different approach. They actually included the soldiers in creating their own entertainment. These were called Soldier Shows.","Soldier Shows were made by soldiers for soldiers. The principal objective was to achieve mass participation. A wide range of talent was employed in creating Soldier Shows - including singers, dancers, actors, orators, trivia buffs, costume and scenery makers, artists, and carpenters. Because mass participation by military personnel was encouraged, the program had a virtually unlimited field to draw on.","Soldiers participating in Soldier Shows acted in skits and plays, sang musical numbers, performed comedy routines, quizzed other soldiers, and made arts and crafts. Such activities forged common bonds among the troops and provided emotional links to their homeland. Soldier Shows were particularly effective in boosting the morale of hospitalized soldiers. The therapeutic value of Soldier Shows played an important role in the physical and mental rehabilitation of injured soldiers.","Soldier Shows were remarkably effective in boosting morale. In fact, reports have shown that the program was one of the easiest and most effective ways to combat low morale. (Morale Program, box 1 folder 2 page 7). General Dwight D. Eisenhower, in a back-stage visit to the cast who put on a Soldier Show in North Africa, praised their usefulness in the war effort: \"You are entertaining soldiers. You are not fighting with guns - but your job is just as important. As long as you are doing your job well . . . you will be rendering a service, and a great one, to your fellow soldiers and your country\" (Morale Program, box 1 folder 2 page 7). ","Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty.","The Special Collections Research Center also holds the  , which contains documents, photographs, and memorabilia from his time in the Air Force during World War II.","The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes. The six cubic feet (nine linear feet) cover the years 1940 through 1953.","Most of the items in the collection are Soldier Shows, entertainments written to amuse overseas troops and to boost morale. Produced by the Army Special Services Division, the scripts were written by professional and amateur playwrights. Many were created by military personnel attending the Special Services School in Lexington, Virginia (1943-1946). The collection also includes: newspaper and magazine clippings, war humor, poems, blackouts, quizzes, crafts manuals, original songs, song parodies, sheet music, flyers, pamphlets, theatrical manuals and guides, lesson plans and lectures, production ideas, and comedy routines. There are also several military-issued Pocket Guides to foreign lands, including guides to Burma, Germany, Greece, West Africa, Italy, and Great Britain. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes.","George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. 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Becher in 1979 through Harold Arburg, Director of Arts and Humanities, U.S. Office of Education."],"access_subjects_ssim":["World War, 1939-1945 -- Theater and the war","Soldiers -- Recreation","World War, 1939-1945","Performing arts","Theater","Theater and society"],"access_subjects_ssm":["World War, 1939-1945 -- Theater and the war","Soldiers -- Recreation","World War, 1939-1945","Performing arts","Theater","Theater and society"],"has_online_content_ssim":["false"],"extent_ssm":["9 Linear Feet 17 boxes"],"extent_tesim":["9 Linear Feet 17 boxes"],"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\u003eThis collection is arranged by item group, such as Soldier Shows, scripts, theatrical manuals, and pocket guides.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by item group, such as Soldier Shows, scripts, theatrical manuals, and pocket guides."],"bioghist_html_tesm":["\u003cp\u003eKeeping morale high was important during the war. This was recognized at the highest military levels. General George C. Marshall, Chief of Staff, for example, stressed the importance of maintaining high morale: \"Napoleon evaluated morale over material as three to one. I believe that recent experiences indicate a re-estimate of this value - the odds being near five to one, or probably even ten to one in some instances in favor of the psychological factor\" (Morale Program, box 7 folder 2 page 7). Programs and services that maintained or heightened morale covered a wide range - athletics, libraries, religion, education - and none was more important than entertainment, which is well-represented by the materials in the Becher Collection.\u003c/p\u003e\n","\u003cp\u003eEntertaining troops during World War II was an enormous enterprise. The celebrated USO-Camp Shows was a civilian-based organization that provided professional entertainment for the Armed Forces. The U.S. Army Motion Picture Service was a non-profit organization that sponsored movie theaters to ease the transition from civilian to military life. A related group, the U.S.O. Mobile Motion Picture Service, showed films to overseas troops. Whereas these organizations provided passive forms of entertainment, the Entertainment Section of the Army Special Services Division took a different approach. They actually included the soldiers in creating their own entertainment. These were called Soldier Shows.\u003c/p\u003e\n","\u003cp\u003eSoldier Shows were made by soldiers for soldiers. The principal objective was to achieve mass participation. A wide range of talent was employed in creating Soldier Shows - including singers, dancers, actors, orators, trivia buffs, costume and scenery makers, artists, and carpenters. Because mass participation by military personnel was encouraged, the program had a virtually unlimited field to draw on.\u003c/p\u003e\n","\u003cp\u003eSoldiers participating in Soldier Shows acted in skits and plays, sang musical numbers, performed comedy routines, quizzed other soldiers, and made arts and crafts. Such activities forged common bonds among the troops and provided emotional links to their homeland. Soldier Shows were particularly effective in boosting the morale of hospitalized soldiers. The therapeutic value of Soldier Shows played an important role in the physical and mental rehabilitation of injured soldiers.\u003c/p\u003e\n","\u003cp\u003eSoldier Shows were remarkably effective in boosting morale. In fact, reports have shown that the program was one of the easiest and most effective ways to combat low morale. (Morale Program, box 1 folder 2 page 7). General Dwight D. Eisenhower, in a back-stage visit to the cast who put on a Soldier Show in North Africa, praised their usefulness in the war effort: \"You are entertaining soldiers. You are not fighting with guns - but your job is just as important. As long as you are doing your job well . . . you will be rendering a service, and a great one, to your fellow soldiers and your country\" (Morale Program, box 1 folder 2 page 7). \u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Keeping morale high was important during the war. This was recognized at the highest military levels. General George C. Marshall, Chief of Staff, for example, stressed the importance of maintaining high morale: \"Napoleon evaluated morale over material as three to one. I believe that recent experiences indicate a re-estimate of this value - the odds being near five to one, or probably even ten to one in some instances in favor of the psychological factor\" (Morale Program, box 7 folder 2 page 7). Programs and services that maintained or heightened morale covered a wide range - athletics, libraries, religion, education - and none was more important than entertainment, which is well-represented by the materials in the Becher Collection.","Entertaining troops during World War II was an enormous enterprise. The celebrated USO-Camp Shows was a civilian-based organization that provided professional entertainment for the Armed Forces. The U.S. Army Motion Picture Service was a non-profit organization that sponsored movie theaters to ease the transition from civilian to military life. A related group, the U.S.O. Mobile Motion Picture Service, showed films to overseas troops. Whereas these organizations provided passive forms of entertainment, the Entertainment Section of the Army Special Services Division took a different approach. They actually included the soldiers in creating their own entertainment. These were called Soldier Shows.","Soldier Shows were made by soldiers for soldiers. The principal objective was to achieve mass participation. A wide range of talent was employed in creating Soldier Shows - including singers, dancers, actors, orators, trivia buffs, costume and scenery makers, artists, and carpenters. Because mass participation by military personnel was encouraged, the program had a virtually unlimited field to draw on.","Soldiers participating in Soldier Shows acted in skits and plays, sang musical numbers, performed comedy routines, quizzed other soldiers, and made arts and crafts. Such activities forged common bonds among the troops and provided emotional links to their homeland. Soldier Shows were particularly effective in boosting the morale of hospitalized soldiers. The therapeutic value of Soldier Shows played an important role in the physical and mental rehabilitation of injured soldiers.","Soldier Shows were remarkably effective in boosting morale. In fact, reports have shown that the program was one of the easiest and most effective ways to combat low morale. (Morale Program, box 1 folder 2 page 7). General Dwight D. Eisenhower, in a back-stage visit to the cast who put on a Soldier Show in North Africa, praised their usefulness in the war effort: \"You are entertaining soldiers. You are not fighting with guns - but your job is just as important. As long as you are doing your job well . . . you will be rendering a service, and a great one, to your fellow soldiers and your country\" (Morale Program, box 1 folder 2 page 7). "],"prefercite_html_tesm":["\u003cp\u003eJohn C. Becher Soldier Show collection, C0090, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["John C. Becher Soldier Show collection, C0090, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Leonard H. Clark collection\" href=\"https://aspace.gmu.edu/resources/c0060\"\u003e\u003c/extptr\u003e, which contains documents, photographs, and memorabilia from his time in the Air Force during World War II.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  , which contains documents, photographs, and memorabilia from his time in the Air Force during World War II."],"scopecontent_html_tesm":["\u003cp\u003eThe John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes. The six cubic feet (nine linear feet) cover the years 1940 through 1953.\u003c/p\u003e\n","\u003cp\u003eMost of the items in the collection are Soldier Shows, entertainments written to amuse overseas troops and to boost morale. Produced by the Army Special Services Division, the scripts were written by professional and amateur playwrights. Many were created by military personnel attending the Special Services School in Lexington, Virginia (1943-1946). The collection also includes: newspaper and magazine clippings, war humor, poems, blackouts, quizzes, crafts manuals, original songs, song parodies, sheet music, flyers, pamphlets, theatrical manuals and guides, lesson plans and lectures, production ideas, and comedy routines. There are also several military-issued Pocket Guides to foreign lands, including guides to Burma, Germany, Greece, West Africa, Italy, and Great Britain. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes. The six cubic feet (nine linear feet) cover the years 1940 through 1953.","Most of the items in the collection are Soldier Shows, entertainments written to amuse overseas troops and to boost morale. Produced by the Army Special Services Division, the scripts were written by professional and amateur playwrights. Many were created by military personnel attending the Special Services School in Lexington, Virginia (1943-1946). The collection also includes: newspaper and magazine clippings, war humor, poems, blackouts, quizzes, crafts manuals, original songs, song parodies, sheet music, flyers, pamphlets, theatrical manuals and guides, lesson plans and lectures, production ideas, and comedy routines. There are also several military-issued Pocket Guides to foreign lands, including guides to Burma, Germany, Greece, West Africa, Italy, and Great Britain. "],"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_292a18e68bd4561eedd206dc674a70fc\" label=\"Abstract\"\u003eThe John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes.\u003c/abstract\u003e"],"abstract_tesim":["The John C. Becher Soldier Show collection contains entertainment materials written by and for the United States military during and immediately following World War II. The collection is arranged by material type and entertainment themes."],"names_coll_ssim":["United States. Army Service Forces. Special Service Division"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division","Becher, John C."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division"],"persname_ssim":["Becher, John C."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":363,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:36:35.016Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_46"}},{"id":"vifgm_repositories_2_resources_130","type":"collection","attributes":{"title":"Ken Kitch papers","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_130#creator","type":"document_value","attributes":{"value":"Kitch, Kenneth","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_130#abstract_or_scope","type":"document_value","attributes":{"value":"This collection contains materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_130#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_130","ead_ssi":"vifgm_repositories_2_resources_130","_root_":"vifgm_repositories_2_resources_130","_nest_parent_":"vifgm_repositories_2_resources_130","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_130.xml","title_ssm":["Ken Kitch papers"],"title_tesim":["Ken Kitch papers"],"unitdate_ssm":["1950-2000"],"unitdate_inclusive_ssm":["1950-2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0198","/repositories/2/resources/130"],"text":["C0198","/repositories/2/resources/130","Ken Kitch papers","Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States","There are no access restrictions.","Collection is organized roughly into three subjects: Kreeger Theatre, Arena II, and Steering Committee Development.","Kenneth \"Ken\" K. Kitch attended the University of California, Berkeley and San Francisco Stage College, earning degrees in English Literature and Drama. He began his work in professional, regional theatre as an actor in 1960 for the San Francisco Actor's Workshop where he would later serve as Technical Director, Administrator, and Director, before being named Managing Director in 1965. At the same time he was appointed Associate Professor of World Literature at San Francisco State College, teaching modern continental drama, and coordinator and advisor to San Quentin Prison's all-convict Drama Workshop where he conducted directing workshops and served as Acting Coach. In 1966, he joined John Hancock at the Pittsburgh Playhouse as Production Manager and Director, and later assumed the role of Associate Director of the Circle in the Square production of  A Midsummer Night's Dream . He joined Arena Stage in 1967 as Associate Director, where his initial responsibility was serving as administrative coordinator of the capital funds campaign for planning and construction of the Arena II, later Kreeger, theatre. During this time he also served as a theatre consultant for the Central Atlantic Regional Education Laboratory, served on the District of Columbia Committee for the Performing Arts, and taught drama workshops at Lorton Prison. Kitch worked with Arena Stage from August 1967-circa 1970. ","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Genorosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.","Processed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in January 2024.","The Special Collections Research Center also holds the  , the  , and the  , as well as the papers of Arena Stage founders Zelda and Thomas C. Fichandler.","This collection contains correspondence, memos, reports, and other materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C. The majority of the materials relate to Arena II fund raising and donations, construction and opening of the Kreeger Theatre, and Steering Committee Development notes.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C.","R 45, C 1, S 3","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Kitch, Kenneth","English \n.    "],"unitid_tesim":["C0198","/repositories/2/resources/130"],"normalized_title_ssm":["Ken Kitch papers"],"collection_title_tesim":["Ken Kitch papers"],"collection_ssim":["Ken Kitch papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Kitch, Kenneth"],"creator_ssim":["Kitch, Kenneth"],"creator_persname_ssim":["Kitch, Kenneth"],"creators_ssim":["Kitch, Kenneth"],"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":["Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 3 boxes"],"extent_tesim":["1.5 Linear Feet 3 boxes"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"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\u003eCollection is organized roughly into three subjects: Kreeger Theatre, Arena II, and Steering Committee Development.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection is organized roughly into three subjects: Kreeger Theatre, Arena II, and Steering Committee Development."],"bioghist_html_tesm":["\u003cp\u003eKenneth \"Ken\" K. Kitch attended the University of California, Berkeley and San Francisco Stage College, earning degrees in English Literature and Drama. He began his work in professional, regional theatre as an actor in 1960 for the San Francisco Actor's Workshop where he would later serve as Technical Director, Administrator, and Director, before being named Managing Director in 1965. At the same time he was appointed Associate Professor of World Literature at San Francisco State College, teaching modern continental drama, and coordinator and advisor to San Quentin Prison's all-convict Drama Workshop where he conducted directing workshops and served as Acting Coach. In 1966, he joined John Hancock at the Pittsburgh Playhouse as Production Manager and Director, and later assumed the role of Associate Director of the Circle in the Square production of \u003citalic\u003eA Midsummer Night's Dream\u003c/italic\u003e. He joined Arena Stage in 1967 as Associate Director, where his initial responsibility was serving as administrative coordinator of the capital funds campaign for planning and construction of the Arena II, later Kreeger, theatre. During this time he also served as a theatre consultant for the Central Atlantic Regional Education Laboratory, served on the District of Columbia Committee for the Performing Arts, and taught drama workshops at Lorton Prison. Kitch worked with Arena Stage from August 1967-circa 1970. \u003c/p\u003e\n","\u003cp\u003eOne of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (\u003citalic\u003eThe Great White Hope\u003c/italic\u003e, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Genorosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Kenneth \"Ken\" K. Kitch attended the University of California, Berkeley and San Francisco Stage College, earning degrees in English Literature and Drama. He began his work in professional, regional theatre as an actor in 1960 for the San Francisco Actor's Workshop where he would later serve as Technical Director, Administrator, and Director, before being named Managing Director in 1965. At the same time he was appointed Associate Professor of World Literature at San Francisco State College, teaching modern continental drama, and coordinator and advisor to San Quentin Prison's all-convict Drama Workshop where he conducted directing workshops and served as Acting Coach. In 1966, he joined John Hancock at the Pittsburgh Playhouse as Production Manager and Director, and later assumed the role of Associate Director of the Circle in the Square production of  A Midsummer Night's Dream . He joined Arena Stage in 1967 as Associate Director, where his initial responsibility was serving as administrative coordinator of the capital funds campaign for planning and construction of the Arena II, later Kreeger, theatre. During this time he also served as a theatre consultant for the Central Atlantic Regional Education Laboratory, served on the District of Columbia Committee for the Performing Arts, and taught drama workshops at Lorton Prison. Kitch worked with Arena Stage from August 1967-circa 1970. ","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Genorosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals."],"prefercite_html_tesm":["\u003cp\u003eKen Kitch papers, C0198, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["Ken Kitch papers, C0198, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in January 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in January 2024."],"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, the \u003cextptr show=\"new\" title=\"Living Stage records\" href=\"https://aspace.gmu.edu/resources/c0277\"\u003e\u003c/extptr\u003e, and the \u003cextptr show=\"new\" title=\"J. Burke Knapp papers\" href=\"https://aspace.gmu.edu/resources/c0199\"\u003e\u003c/extptr\u003e, as well as the papers of Arena Stage founders Zelda and Thomas C. Fichandler.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  , the  , and the  , as well as the papers of Arena Stage founders Zelda and Thomas C. Fichandler."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains correspondence, memos, reports, and other materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C. The majority of the materials relate to Arena II fund raising and donations, construction and opening of the Kreeger Theatre, and Steering Committee Development notes.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains correspondence, memos, reports, and other materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C. The majority of the materials relate to Arena II fund raising and donations, construction and opening of the Kreeger Theatre, and Steering Committee Development notes."],"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_f48fbace47eb3626e3fcadeb4a669696\"\u003eThis collection contains materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d8829c875631e84f6e30ac32b40c44ce\"\u003eR 45, C 1, S 3\u003c/physloc\u003e"],"physloc_tesim":["R 45, C 1, S 3"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Kitch, Kenneth"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Kitch, Kenneth"],"language_ssim":["English \n.    "],"total_component_count_is":39,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:35:02.663Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_130","ead_ssi":"vifgm_repositories_2_resources_130","_root_":"vifgm_repositories_2_resources_130","_nest_parent_":"vifgm_repositories_2_resources_130","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_130.xml","title_ssm":["Ken Kitch papers"],"title_tesim":["Ken Kitch papers"],"unitdate_ssm":["1950-2000"],"unitdate_inclusive_ssm":["1950-2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0198","/repositories/2/resources/130"],"text":["C0198","/repositories/2/resources/130","Ken Kitch papers","Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States","There are no access restrictions.","Collection is organized roughly into three subjects: Kreeger Theatre, Arena II, and Steering Committee Development.","Kenneth \"Ken\" K. Kitch attended the University of California, Berkeley and San Francisco Stage College, earning degrees in English Literature and Drama. He began his work in professional, regional theatre as an actor in 1960 for the San Francisco Actor's Workshop where he would later serve as Technical Director, Administrator, and Director, before being named Managing Director in 1965. At the same time he was appointed Associate Professor of World Literature at San Francisco State College, teaching modern continental drama, and coordinator and advisor to San Quentin Prison's all-convict Drama Workshop where he conducted directing workshops and served as Acting Coach. In 1966, he joined John Hancock at the Pittsburgh Playhouse as Production Manager and Director, and later assumed the role of Associate Director of the Circle in the Square production of  A Midsummer Night's Dream . He joined Arena Stage in 1967 as Associate Director, where his initial responsibility was serving as administrative coordinator of the capital funds campaign for planning and construction of the Arena II, later Kreeger, theatre. During this time he also served as a theatre consultant for the Central Atlantic Regional Education Laboratory, served on the District of Columbia Committee for the Performing Arts, and taught drama workshops at Lorton Prison. Kitch worked with Arena Stage from August 1967-circa 1970. ","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Genorosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.","Processed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in January 2024.","The Special Collections Research Center also holds the  , the  , and the  , as well as the papers of Arena Stage founders Zelda and Thomas C. Fichandler.","This collection contains correspondence, memos, reports, and other materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C. The majority of the materials relate to Arena II fund raising and donations, construction and opening of the Kreeger Theatre, and Steering Committee Development notes.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C.","R 45, C 1, S 3","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Kitch, Kenneth","English \n.    "],"unitid_tesim":["C0198","/repositories/2/resources/130"],"normalized_title_ssm":["Ken Kitch papers"],"collection_title_tesim":["Ken Kitch papers"],"collection_ssim":["Ken Kitch papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Kitch, Kenneth"],"creator_ssim":["Kitch, Kenneth"],"creator_persname_ssim":["Kitch, Kenneth"],"creators_ssim":["Kitch, Kenneth"],"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":["Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Performing arts","Theater","Theater -- United States"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 3 boxes"],"extent_tesim":["1.5 Linear Feet 3 boxes"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"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\u003eCollection is organized roughly into three subjects: Kreeger Theatre, Arena II, and Steering Committee Development.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection is organized roughly into three subjects: Kreeger Theatre, Arena II, and Steering Committee Development."],"bioghist_html_tesm":["\u003cp\u003eKenneth \"Ken\" K. Kitch attended the University of California, Berkeley and San Francisco Stage College, earning degrees in English Literature and Drama. He began his work in professional, regional theatre as an actor in 1960 for the San Francisco Actor's Workshop where he would later serve as Technical Director, Administrator, and Director, before being named Managing Director in 1965. At the same time he was appointed Associate Professor of World Literature at San Francisco State College, teaching modern continental drama, and coordinator and advisor to San Quentin Prison's all-convict Drama Workshop where he conducted directing workshops and served as Acting Coach. In 1966, he joined John Hancock at the Pittsburgh Playhouse as Production Manager and Director, and later assumed the role of Associate Director of the Circle in the Square production of \u003citalic\u003eA Midsummer Night's Dream\u003c/italic\u003e. He joined Arena Stage in 1967 as Associate Director, where his initial responsibility was serving as administrative coordinator of the capital funds campaign for planning and construction of the Arena II, later Kreeger, theatre. During this time he also served as a theatre consultant for the Central Atlantic Regional Education Laboratory, served on the District of Columbia Committee for the Performing Arts, and taught drama workshops at Lorton Prison. Kitch worked with Arena Stage from August 1967-circa 1970. \u003c/p\u003e\n","\u003cp\u003eOne of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway (\u003citalic\u003eThe Great White Hope\u003c/italic\u003e, 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Genorosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Kenneth \"Ken\" K. Kitch attended the University of California, Berkeley and San Francisco Stage College, earning degrees in English Literature and Drama. He began his work in professional, regional theatre as an actor in 1960 for the San Francisco Actor's Workshop where he would later serve as Technical Director, Administrator, and Director, before being named Managing Director in 1965. At the same time he was appointed Associate Professor of World Literature at San Francisco State College, teaching modern continental drama, and coordinator and advisor to San Quentin Prison's all-convict Drama Workshop where he conducted directing workshops and served as Acting Coach. In 1966, he joined John Hancock at the Pittsburgh Playhouse as Production Manager and Director, and later assumed the role of Associate Director of the Circle in the Square production of  A Midsummer Night's Dream . He joined Arena Stage in 1967 as Associate Director, where his initial responsibility was serving as administrative coordinator of the capital funds campaign for planning and construction of the Arena II, later Kreeger, theatre. During this time he also served as a theatre consultant for the Central Atlantic Regional Education Laboratory, served on the District of Columbia Committee for the Performing Arts, and taught drama workshops at Lorton Prison. Kitch worked with Arena Stage from August 1967-circa 1970. ","One of the first not-for-profit theatres in the United States, as well as a pioneer of the regional theatre movement, Arena Stage was the first regional theatre to transfer a production to Broadway ( The Great White Hope , 1967), the first invited by the U.S. State Department to tour the Soviet Union, and the first to receive a Tony Award. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, in 1950, Arena Stage was opened in Washington, D.C. to fill the void left by the closing of the National Theater in 1948. Deriving its name from the idea of \"theater in the round,\" Arena Stage became one of the first resident theatres in the United States, beginning with a company of only eight actors. During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington, D.C. since 1895. Genorosity on the part of David Lloyd Kreeger, and others, led to the construction of the new \"Kreeger Theatre,\" which opened formally on January 15, 1971. Today, Arena Stage performs to over 250,000 patrons during a September to June season and employs nearly 200 theatre professionals."],"prefercite_html_tesm":["\u003cp\u003eKen Kitch papers, C0198, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["Ken Kitch papers, C0198, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in January 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. Finding aid updated by Meghan Glasbrenner in January 2024."],"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, the \u003cextptr show=\"new\" title=\"Living Stage records\" href=\"https://aspace.gmu.edu/resources/c0277\"\u003e\u003c/extptr\u003e, and the \u003cextptr show=\"new\" title=\"J. Burke Knapp papers\" href=\"https://aspace.gmu.edu/resources/c0199\"\u003e\u003c/extptr\u003e, as well as the papers of Arena Stage founders Zelda and Thomas C. Fichandler.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  , the  , and the  , as well as the papers of Arena Stage founders Zelda and Thomas C. Fichandler."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains correspondence, memos, reports, and other materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C. The majority of the materials relate to Arena II fund raising and donations, construction and opening of the Kreeger Theatre, and Steering Committee Development notes.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains correspondence, memos, reports, and other materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C. The majority of the materials relate to Arena II fund raising and donations, construction and opening of the Kreeger Theatre, and Steering Committee Development notes."],"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_f48fbace47eb3626e3fcadeb4a669696\"\u003eThis collection contains materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials generated during Ken Kitch's time serving as Associate Director of Arena Stage in Washington, D.C."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d8829c875631e84f6e30ac32b40c44ce\"\u003eR 45, C 1, S 3\u003c/physloc\u003e"],"physloc_tesim":["R 45, C 1, S 3"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Kitch, Kenneth"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"persname_ssim":["Kitch, Kenneth"],"language_ssim":["English \n.    "],"total_component_count_is":39,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:35:02.663Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_130"}},{"id":"vifgm_repositories_2_resources_13","type":"collection","attributes":{"title":"L. Claire Kincannon theatre collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_13#creator","type":"document_value","attributes":{"value":"Kincannon, Lois Claire","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_13#abstract_or_scope","type":"document_value","attributes":{"value":"The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show Behind the Scenes.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_13#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_13","ead_ssi":"vifgm_repositories_2_resources_13","_root_":"vifgm_repositories_2_resources_13","_nest_parent_":"vifgm_repositories_2_resources_13","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_13.xml","title_ssm":["L. Claire Kincannon theatre collection"],"title_tesim":["L. Claire Kincannon theatre collection"],"unitdate_ssm":["1941-2015"],"unitdate_inclusive_ssm":["1941-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0018","/repositories/2/resources/13"],"text":["C0018","/repositories/2/resources/13","L. Claire Kincannon theatre collection","Ohio","Broadway (New York, N.Y.)","Washington (D.C.)","Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting","There are no access restrictions.","Most of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information.","This collection is arranged into two series and then alphabetically by title.","Series Series 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65) Series 2:  Behind the Scenes  production materials, 1971-1990s (Boxes 32-34; 42-88) Series 3: Digitized  Behind the Scenes  reels, circa 1980s-1992","Lois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled  Behind the Scenes,  in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including  Paeonian to Paris ,  Sheets for Men Only, Sheets to the Wind,  and  Rockin' with Porch Memories.  After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.","Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Reprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. ","Additional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024.","The Special Collections Research Center also holds many other collections on  . ","The University of Maryland holds multiple ","The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.  This collection consists of two series.","Series 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. ","Series 2:  Behind The Scenes  production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her  Bydin' my Time  segment in the  Blue Ridge Leader  newspaper and her radio show  Behind the Scenes.  Materials include audio and visual materials from  Behind the Scenes,  as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.","R 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)","Kincannon, Lois Claire","English"],"unitid_tesim":["C0018","/repositories/2/resources/13"],"normalized_title_ssm":["L. Claire Kincannon theatre collection"],"collection_title_tesim":["L. Claire Kincannon theatre collection"],"collection_ssim":["L. Claire Kincannon theatre collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Ohio","Broadway (New York, N.Y.)","Washington (D.C.)"],"geogname_ssim":["Ohio","Broadway (New York, N.Y.)","Washington (D.C.)"],"creator_ssm":["Kincannon, Lois Claire"],"creator_ssim":["Kincannon, Lois Claire"],"creator_persname_ssim":["Kincannon, Lois Claire"],"creators_ssim":["Kincannon, Lois Claire"],"places_ssim":["Ohio","Broadway (New York, N.Y.)","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":["Collection donated by L. Claire Kincannon from 2007-2015."],"access_subjects_ssim":["Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting"],"access_subjects_ssm":["Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting"],"has_online_content_ssim":["false"],"extent_ssm":["20 Linear Feet 88 boxes"],"extent_tesim":["20 Linear Feet 88 boxes"],"date_range_isim":[1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"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 audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Most of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into two series and then alphabetically by title.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65)\u003c/item\u003e\n      \u003citem\u003eSeries 2: \u003citalic\u003eBehind the Scenes\u003c/italic\u003e production materials, 1971-1990s (Boxes 32-34; 42-88)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Digitized \u003citalic\u003eBehind the Scenes\u003c/italic\u003e reels, circa 1980s-1992\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into two series and then alphabetically by title.","Series Series 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65) Series 2:  Behind the Scenes  production materials, 1971-1990s (Boxes 32-34; 42-88) Series 3: Digitized  Behind the Scenes  reels, circa 1980s-1992"],"bioghist_html_tesm":["\u003cp\u003eLois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled \u003citalic\u003eBehind the Scenes,\u003c/italic\u003e in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including \u003citalic\u003ePaeonian to Paris\u003c/italic\u003e, \u003citalic\u003eSheets for Men Only,\u003c/italic\u003e \u003citalic\u003eSheets to the Wind,\u003c/italic\u003e and \u003citalic\u003eRockin' with Porch Memories.\u003c/italic\u003e After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Lois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled  Behind the Scenes,  in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including  Paeonian to Paris ,  Sheets for Men Only, Sheets to the Wind,  and  Rockin' with Porch Memories.  After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eL. Claire Kincannon theatre collection, C0018, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["L. Claire Kincannon theatre collection, C0018, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.\u003c/p\u003e","\u003cp\u003eReprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. \u003c/p\u003e","\u003cp\u003eAdditional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Reprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. ","Additional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds many other collections on \u003cextptr show=\"new\" title=\"theatre and the performing arts\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=theatre\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003e\u003c/extptr\u003e. \u003c/p\u003e\n","\u003cp\u003eThe University of Maryland holds multiple \u003cextptr show=\"new\" title=\"radio and television broadcasting collections.\" href=\"https://www.lib.umd.edu/collections/special/broadcasting\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds many other collections on  . ","The University of Maryland holds multiple "],"scopecontent_html_tesm":["\u003cp\u003eThe L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e This collection consists of two series.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. \u003c/p\u003e\n","\u003cp\u003eSeries 2: \u003citalic\u003eBehind The Scenes\u003c/italic\u003e production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her \u003citalic\u003eBydin' my Time\u003c/italic\u003e segment in the \u003citalic\u003eBlue Ridge Leader\u003c/italic\u003e newspaper and her radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e Materials include audio and visual materials from \u003citalic\u003eBehind the Scenes,\u003c/italic\u003e as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.  This collection consists of two series.","Series 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. ","Series 2:  Behind The Scenes  production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her  Bydin' my Time  segment in the  Blue Ridge Leader  newspaper and her radio show  Behind the Scenes.  Materials include audio and visual materials from  Behind the Scenes,  as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence."],"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_16a68c93d8b3d69c2ae06c4266189f5f\"\u003eThe L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e\u003c/abstract\u003e"],"abstract_tesim":["The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e075fefd777b95903634244477006030\"\u003eR 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4\u003c/physloc\u003e"],"physloc_tesim":["R 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)","Kincannon, Lois Claire"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)"],"persname_ssim":["Kincannon, Lois Claire"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1250,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-08T07:16:03.204Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_13","ead_ssi":"vifgm_repositories_2_resources_13","_root_":"vifgm_repositories_2_resources_13","_nest_parent_":"vifgm_repositories_2_resources_13","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_13.xml","title_ssm":["L. Claire Kincannon theatre collection"],"title_tesim":["L. Claire Kincannon theatre collection"],"unitdate_ssm":["1941-2015"],"unitdate_inclusive_ssm":["1941-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0018","/repositories/2/resources/13"],"text":["C0018","/repositories/2/resources/13","L. Claire Kincannon theatre collection","Ohio","Broadway (New York, N.Y.)","Washington (D.C.)","Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting","There are no access restrictions.","Most of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information.","This collection is arranged into two series and then alphabetically by title.","Series Series 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65) Series 2:  Behind the Scenes  production materials, 1971-1990s (Boxes 32-34; 42-88) Series 3: Digitized  Behind the Scenes  reels, circa 1980s-1992","Lois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled  Behind the Scenes,  in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including  Paeonian to Paris ,  Sheets for Men Only, Sheets to the Wind,  and  Rockin' with Porch Memories.  After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.","Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Reprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. ","Additional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024.","The Special Collections Research Center also holds many other collections on  . ","The University of Maryland holds multiple ","The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.  This collection consists of two series.","Series 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. ","Series 2:  Behind The Scenes  production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her  Bydin' my Time  segment in the  Blue Ridge Leader  newspaper and her radio show  Behind the Scenes.  Materials include audio and visual materials from  Behind the Scenes,  as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.","R 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)","Kincannon, Lois Claire","English"],"unitid_tesim":["C0018","/repositories/2/resources/13"],"normalized_title_ssm":["L. Claire Kincannon theatre collection"],"collection_title_tesim":["L. Claire Kincannon theatre collection"],"collection_ssim":["L. Claire Kincannon theatre collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Ohio","Broadway (New York, N.Y.)","Washington (D.C.)"],"geogname_ssim":["Ohio","Broadway (New York, N.Y.)","Washington (D.C.)"],"creator_ssm":["Kincannon, Lois Claire"],"creator_ssim":["Kincannon, Lois Claire"],"creator_persname_ssim":["Kincannon, Lois Claire"],"creators_ssim":["Kincannon, Lois Claire"],"places_ssim":["Ohio","Broadway (New York, N.Y.)","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":["Collection donated by L. Claire Kincannon from 2007-2015."],"access_subjects_ssim":["Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting"],"access_subjects_ssm":["Motion pictures","Theater","Theater -- England -- London","Theater -- New York (State) -- New York","Theater -- Washington (D.C.)","Theater critics","Theater programs","Performing arts","Broadcasting"],"has_online_content_ssim":["false"],"extent_ssm":["20 Linear Feet 88 boxes"],"extent_tesim":["20 Linear Feet 88 boxes"],"date_range_isim":[1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"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 audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Most of the audiovisual materials in this collection have been digitized. Please contact the Special Collections Research Center for more information."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into two series and then alphabetically by title.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65)\u003c/item\u003e\n      \u003citem\u003eSeries 2: \u003citalic\u003eBehind the Scenes\u003c/italic\u003e production materials, 1971-1990s (Boxes 32-34; 42-88)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Digitized \u003citalic\u003eBehind the Scenes\u003c/italic\u003e reels, circa 1980s-1992\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into two series and then alphabetically by title.","Series Series 1: Theatre and film-related materials, 1941-2015 (Boxes 1-42; 65) Series 2:  Behind the Scenes  production materials, 1971-1990s (Boxes 32-34; 42-88) Series 3: Digitized  Behind the Scenes  reels, circa 1980s-1992"],"bioghist_html_tesm":["\u003cp\u003eLois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled \u003citalic\u003eBehind the Scenes,\u003c/italic\u003e in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including \u003citalic\u003ePaeonian to Paris\u003c/italic\u003e, \u003citalic\u003eSheets for Men Only,\u003c/italic\u003e \u003citalic\u003eSheets to the Wind,\u003c/italic\u003e and \u003citalic\u003eRockin' with Porch Memories.\u003c/italic\u003e After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Lois Claire Kincannon, known as \"Claire,\" was an author, theatre critic, and radio journalist. Born April 19, 1940, Kincannon originally graduated from the University of Michigan's College of Architecture and Design and pursued a career in Interior Architecture. In 1972, she hosted her own radio show titled  Behind the Scenes,  in which she reviewed and discussed the theatre performances that she attended in the Washington, D.C. area. In late 1992, Kincannon moved to Paris, France, with her husband, where she founded Dancing Ink Press and published several books, including  Paeonian to Paris ,  Sheets for Men Only, Sheets to the Wind,  and  Rockin' with Porch Memories.  After eight years abroad, she returned to the United States, where she lived for the rest of her life. Kincannon passed away on August 9th, 2023."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the L. Claire Kincannon theatre collection. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eL. Claire Kincannon theatre collection, C0018, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["L. Claire Kincannon theatre collection, C0018, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.\u003c/p\u003e","\u003cp\u003eReprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. \u003c/p\u003e","\u003cp\u003eAdditional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Misha Griffith in 2009. EAD markup completed by Misha Griffith and Stacey Kniatt in 2009. Updated by Greta Kuriger in 2011 and 2012.","Reprocessed and additional accessions processed by Vilma Chicas Garcia from January-May 2024. Finding aid completed by Vilma Chicas Garcia in May 2024. ","Additional processing completed by Amanda Menjivar in June 2024. Finding aid edited and published by Amanda Menjivar in May 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds many other collections on \u003cextptr show=\"new\" title=\"theatre and the performing arts\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=theatre\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003e\u003c/extptr\u003e. \u003c/p\u003e\n","\u003cp\u003eThe University of Maryland holds multiple \u003cextptr show=\"new\" title=\"radio and television broadcasting collections.\" href=\"https://www.lib.umd.edu/collections/special/broadcasting\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds many other collections on  . ","The University of Maryland holds multiple "],"scopecontent_html_tesm":["\u003cp\u003eThe L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e This collection consists of two series.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. \u003c/p\u003e\n","\u003cp\u003eSeries 2: \u003citalic\u003eBehind The Scenes\u003c/italic\u003e production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her \u003citalic\u003eBydin' my Time\u003c/italic\u003e segment in the \u003citalic\u003eBlue Ridge Leader\u003c/italic\u003e newspaper and her radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e Materials include audio and visual materials from \u003citalic\u003eBehind the Scenes,\u003c/italic\u003e as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes.  This collection consists of two series.","Series 1: Theatre and film-related materials consists of five subseries. Subseries 1: Washington, D.C. and District-Maryland-Virginia (DMV) area; Subseries 2: Ohio regional theatres; Subseries 3: New York productions; Subseries 4: Other American productions; and Subseries 5: International productions. Materials in this series include programs, playbills, stage bills, press releases, photographs, news articles, ticket stubs, invitations, and advertisements from theatre and motion picture productions across the United States and Eastern Europe, and are divided based on location. Some programs also contain Kincannon's handwritten notes. Many of these materials are from the John F. Kennedy Center for the Performing Arts, the National Theatre, Arena Stage, The Folger Theatre, Wolf Trap Farm Park, and various other theatres in the D.C. area. It also includes productions by the Kenley Players and Victory Theatre in Dayton, Ohio, among others in the area. ","Series 2:  Behind The Scenes  production materials contains materials created during Kincannon's career, including drafted, unpublished, and published articles and scripts for her  Bydin' my Time  segment in the  Blue Ridge Leader  newspaper and her radio show  Behind the Scenes.  Materials include audio and visual materials from  Behind the Scenes,  as well as outlines, radio broadcast schedules, contracts, proposals, funding, and business correspondence."],"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_16a68c93d8b3d69c2ae06c4266189f5f\"\u003eThe L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show \u003citalic\u003eBehind the Scenes.\u003c/italic\u003e\u003c/abstract\u003e"],"abstract_tesim":["The L. Claire Kincannon theatre collection contains promotional materials for theatre productions attended by theatre critic and radio journalist Lois Claire Kincannon in Washington D.C., Dayton, Ohio, New York City, London, Paris, and other areas across the United States and Europe, dating from 1941-2015. Materials include programs, playbills, photographs, press kits, newspaper articles, drafted and published reviews, and articles, as well as visual and audio materials from a project in Hungary and Kincannon's radio show  Behind the Scenes."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e075fefd777b95903634244477006030\"\u003eR 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4\u003c/physloc\u003e"],"physloc_tesim":["R 9, C 4, S 3-7\n\nR 10, C 1, S 2-4\n\nOS R 2, C 1, S 4"],"names_coll_ssim":["Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Folger Theatre","John F. Kennedy Center for the Performing Arts (U.S.)","Kincannon, Lois Claire"],"corpname_ssim":["George Mason University. Libraries. 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Accessed May 4, 2026. http://marietaglioni.orchesis-portal.org/index.php/texts/detailed-biography.","\"The Ethereal Woman.\" 2013.  Gaynor Minden , October 21, 2013. https://dancer.com/ballet-info/the-story-of-ballet/the-ethereal-woman.","Marie Taglioni was born on April 23, 1804 in Stockholm, Sweden into a family of dancers, including her brother Salvatore who was a dance master in Naples, Italy and her father Filippo, a dancer and choreographer who was also her main dance trainer. Marie made her professional debut in Vienna, Austria in 1822 and rose to fame with her role in the ballet  La Sylphide , choreographed by her father, which premiered at the Paris Opéra on March 12, 1832. A dramatic Romantic ballet,  La Sylphide  tells the story of a young Scottish man who falls in love with a sylph, the role played by Marie, not long before he is to be married. Sadly, when he is finally successful in catching the sylph, she dies, emphasizing the impossibility of love between a human and a spirit. ","In this ballet, Marie became the first ballerina to dance  en pointe  for the work's entirety, accomplished using normal ballet slippers with reinforcements in the block of the slipper, rather than specialized pointe shoes. The technique was used to create the illusion of her sylph character floating across the stage, providing a stronger visual contrast to the movement of the Scottish man pursuing her. Additionally, the fitted bodice and airy, bell-like skirt worn as part of her costume became the prototype for the traditional tutu worn by ballet dancers for over a century. Marie remained active as a dancer, instructor, and choreographer for the next 40 years before she passed away in Marseille, France in April 1884 at the age of 79.","Processing completed by Meghan Glasbrenner in April 2026. Finding aid completed by Meghan Glasbrenner in May 2026.","The Special Collections Research Center holds other collections related to  ballet , such as the  Ernst Oppler illustrations of Anna Pavlova in \"The Dying Swan\" , and  lithography , such as the  \"La Navarraise\" opera scene and costume lithographs .","Lithograph of Marie Taglioni in costume for her most famous role in the ballet  La Sylphide  based on the contempory bronze sculpture by Jean-Auguste Barre (1811–1896), printed by Bernard \u0026 Frey in 1837. The image shows Marie balancing on one foot above a base covered in a bed of flowers and her name appears in full along the front of the base. The initials \"M.A.\" appear at the bottom left of the image, and the name \"A. Barre\" along the bottom right of the base. The name \"Taglioni\" is written in pencil at the bottom.","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)","Lithograph of Marie Taglioni in costume for the ballet  La Sylphide  based on the sculpture by Jean-Auguste Barre.","R 73, C 2, S 4","George Mason University. Libraries. 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Accessed May 4, 2026. http://marietaglioni.orchesis-portal.org/index.php/texts/detailed-biography.\u003c/p\u003e\n","\u003cp\u003e\"The Ethereal Woman.\" 2013. \u003ctitle\u003eGaynor Minden\u003c/title\u003e, October 21, 2013. https://dancer.com/ballet-info/the-story-of-ballet/the-ethereal-woman.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Britannica, The Editors of Encyclopaedia. 2026. \"Marie Taglioni | Romantic Ballet, Pointe Technique, La Sylphide.\" Britannica, April 20, 2026. https://www.britannica.com/biography/Marie-Taglioni.","\"Detailed Biography - Marie Taglioni.\" n.d. Accessed May 4, 2026. http://marietaglioni.orchesis-portal.org/index.php/texts/detailed-biography.","\"The Ethereal Woman.\" 2013.  Gaynor Minden , October 21, 2013. https://dancer.com/ballet-info/the-story-of-ballet/the-ethereal-woman."],"bioghist_html_tesm":["\u003cp\u003eMarie Taglioni was born on April 23, 1804 in Stockholm, Sweden into a family of dancers, including her brother Salvatore who was a dance master in Naples, Italy and her father Filippo, a dancer and choreographer who was also her main dance trainer. Marie made her professional debut in Vienna, Austria in 1822 and rose to fame with her role in the ballet \u003ctitle\u003eLa Sylphide\u003c/title\u003e, choreographed by her father, which premiered at the Paris Opéra on March 12, 1832. A dramatic Romantic ballet, \u003ctitle\u003eLa Sylphide\u003c/title\u003e tells the story of a young Scottish man who falls in love with a sylph, the role played by Marie, not long before he is to be married. Sadly, when he is finally successful in catching the sylph, she dies, emphasizing the impossibility of love between a human and a spirit. \u003c/p\u003e\n","\u003cp\u003eIn this ballet, Marie became the first ballerina to dance \u003ctitle\u003een pointe\u003c/title\u003e for the work's entirety, accomplished using normal ballet slippers with reinforcements in the block of the slipper, rather than specialized pointe shoes. The technique was used to create the illusion of her sylph character floating across the stage, providing a stronger visual contrast to the movement of the Scottish man pursuing her. Additionally, the fitted bodice and airy, bell-like skirt worn as part of her costume became the prototype for the traditional tutu worn by ballet dancers for over a century. Marie remained active as a dancer, instructor, and choreographer for the next 40 years before she passed away in Marseille, France in April 1884 at the age of 79.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Marie Taglioni was born on April 23, 1804 in Stockholm, Sweden into a family of dancers, including her brother Salvatore who was a dance master in Naples, Italy and her father Filippo, a dancer and choreographer who was also her main dance trainer. Marie made her professional debut in Vienna, Austria in 1822 and rose to fame with her role in the ballet  La Sylphide , choreographed by her father, which premiered at the Paris Opéra on March 12, 1832. A dramatic Romantic ballet,  La Sylphide  tells the story of a young Scottish man who falls in love with a sylph, the role played by Marie, not long before he is to be married. Sadly, when he is finally successful in catching the sylph, she dies, emphasizing the impossibility of love between a human and a spirit. ","In this ballet, Marie became the first ballerina to dance  en pointe  for the work's entirety, accomplished using normal ballet slippers with reinforcements in the block of the slipper, rather than specialized pointe shoes. The technique was used to create the illusion of her sylph character floating across the stage, providing a stronger visual contrast to the movement of the Scottish man pursuing her. Additionally, the fitted bodice and airy, bell-like skirt worn as part of her costume became the prototype for the traditional tutu worn by ballet dancers for over a century. Marie remained active as a dancer, instructor, and choreographer for the next 40 years before she passed away in Marseille, France in April 1884 at the age of 79."],"prefercite_html_tesm":["\u003cp\u003eLithograph of Marie Taglioni in costume for the ballet \u003ctitle\u003eLa Sylphide\u003c/title\u003e, C0551, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["Lithograph of Marie Taglioni in costume for the ballet  La Sylphide , C0551, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in April 2026. Finding aid completed by Meghan Glasbrenner in May 2026.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in April 2026. Finding aid completed by Meghan Glasbrenner in May 2026."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections related to \u003ca href=\"https://aspace.gmu.edu/subjects/860\"\u003eballet\u003c/a\u003e, such as the \u003ca href=\"https://aspace.gmu.edu/subjects/860\"\u003eErnst Oppler illustrations of Anna Pavlova in \"The Dying Swan\"\u003c/a\u003e, and \u003ca href=\"https://aspace.gmu.edu/subjects/sh85077598\"\u003elithography\u003c/a\u003e, such as the \u003ca href=\"https://aspace.gmu.edu/resources/c0471\"\u003e\"La Navarraise\" opera scene and costume lithographs\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections related to  ballet , such as the  Ernst Oppler illustrations of Anna Pavlova in \"The Dying Swan\" , and  lithography , such as the  \"La Navarraise\" opera scene and costume lithographs ."],"scopecontent_html_tesm":["\u003cp\u003eLithograph of Marie Taglioni in costume for her most famous role in the ballet \u003ctitle\u003eLa Sylphide\u003c/title\u003e based on the contempory bronze sculpture by Jean-Auguste Barre (1811–1896), printed by Bernard \u0026amp; Frey in 1837. The image shows Marie balancing on one foot above a base covered in a bed of flowers and her name appears in full along the front of the base. The initials \"M.A.\" appear at the bottom left of the image, and the name \"A. Barre\" along the bottom right of the base. The name \"Taglioni\" is written in pencil at the bottom.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Lithograph of Marie Taglioni in costume for her most famous role in the ballet  La Sylphide  based on the contempory bronze sculpture by Jean-Auguste Barre (1811–1896), printed by Bernard \u0026 Frey in 1837. The image shows Marie balancing on one foot above a base covered in a bed of flowers and her name appears in full along the front of the base. The initials \"M.A.\" appear at the bottom left of the image, and the name \"A. Barre\" along the bottom right of the base. The name \"Taglioni\" is written in pencil at the bottom."],"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_df08b771ebf5e1e4d4ea53731b5a88cd\"\u003eLithograph of Marie Taglioni in costume for the ballet \u003ctitle\u003eLa Sylphide\u003c/title\u003e based on the sculpture by Jean-Auguste Barre.\u003c/abstract\u003e"],"abstract_tesim":["Lithograph of Marie Taglioni in costume for the ballet  La Sylphide  based on the sculpture by Jean-Auguste Barre."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_cd827906c7f7192269ce1f230f206360\"\u003eR 73, C 2, S 4\u003c/physloc\u003e"],"physloc_tesim":["R 73, C 2, S 4"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Bénard et Frey","Barre, Jean Auguste, 1811-1896","Taglioni, Marie, 1804-1884"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Bénard et Frey"],"names_coll_ssim":["Barre, Jean Auguste, 1811-1896","Taglioni, Marie, 1804-1884"],"persname_ssim":["Barre, Jean Auguste, 1811-1896","Taglioni, Marie, 1804-1884"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-07T07:19:07.641Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_776","ead_ssi":"vifgm_repositories_2_resources_776","_root_":"vifgm_repositories_2_resources_776","_nest_parent_":"vifgm_repositories_2_resources_776","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_776.xml","title_filing_ssi":"Lithograph of Marie Taglioni in costume for the ballet  La Sylphide","title_ssm":["Lithograph of Marie Taglioni in costume for the ballet  La Sylphide"],"title_tesim":["Lithograph of Marie Taglioni in costume for the ballet  La Sylphide"],"unitdate_ssm":["1837"],"unitdate_other_ssim":["1837"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0551","/repositories/2/resources/776"],"text":["C0551","/repositories/2/resources/776","Lithograph of Marie Taglioni in costume for the ballet  La Sylphide","Ballet","Performing arts","Art","Lithography","There are no access restrictions.","This is a single item collection.","Britannica, The Editors of Encyclopaedia. 2026. \"Marie Taglioni | Romantic Ballet, Pointe Technique, La Sylphide.\" Britannica, April 20, 2026. https://www.britannica.com/biography/Marie-Taglioni.","\"Detailed Biography - Marie Taglioni.\" n.d. Accessed May 4, 2026. http://marietaglioni.orchesis-portal.org/index.php/texts/detailed-biography.","\"The Ethereal Woman.\" 2013.  Gaynor Minden , October 21, 2013. https://dancer.com/ballet-info/the-story-of-ballet/the-ethereal-woman.","Marie Taglioni was born on April 23, 1804 in Stockholm, Sweden into a family of dancers, including her brother Salvatore who was a dance master in Naples, Italy and her father Filippo, a dancer and choreographer who was also her main dance trainer. Marie made her professional debut in Vienna, Austria in 1822 and rose to fame with her role in the ballet  La Sylphide , choreographed by her father, which premiered at the Paris Opéra on March 12, 1832. A dramatic Romantic ballet,  La Sylphide  tells the story of a young Scottish man who falls in love with a sylph, the role played by Marie, not long before he is to be married. Sadly, when he is finally successful in catching the sylph, she dies, emphasizing the impossibility of love between a human and a spirit. ","In this ballet, Marie became the first ballerina to dance  en pointe  for the work's entirety, accomplished using normal ballet slippers with reinforcements in the block of the slipper, rather than specialized pointe shoes. The technique was used to create the illusion of her sylph character floating across the stage, providing a stronger visual contrast to the movement of the Scottish man pursuing her. Additionally, the fitted bodice and airy, bell-like skirt worn as part of her costume became the prototype for the traditional tutu worn by ballet dancers for over a century. Marie remained active as a dancer, instructor, and choreographer for the next 40 years before she passed away in Marseille, France in April 1884 at the age of 79.","Processing completed by Meghan Glasbrenner in April 2026. Finding aid completed by Meghan Glasbrenner in May 2026.","The Special Collections Research Center holds other collections related to  ballet , such as the  Ernst Oppler illustrations of Anna Pavlova in \"The Dying Swan\" , and  lithography , such as the  \"La Navarraise\" opera scene and costume lithographs .","Lithograph of Marie Taglioni in costume for her most famous role in the ballet  La Sylphide  based on the contempory bronze sculpture by Jean-Auguste Barre (1811–1896), printed by Bernard \u0026 Frey in 1837. The image shows Marie balancing on one foot above a base covered in a bed of flowers and her name appears in full along the front of the base. The initials \"M.A.\" appear at the bottom left of the image, and the name \"A. Barre\" along the bottom right of the base. The name \"Taglioni\" is written in pencil at the bottom.","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)","Lithograph of Marie Taglioni in costume for the ballet  La Sylphide  based on the sculpture by Jean-Auguste Barre.","R 73, C 2, S 4","George Mason University. Libraries. 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(See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"acqinfo_ssim":["Purchased from Schubertiade Music by Lynn Eaton in March 2025."],"access_subjects_ssim":["Ballet","Performing arts","Art","Lithography"],"access_subjects_ssm":["Ballet","Performing arts","Art","Lithography"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 1 folder"],"extent_tesim":[".01 Linear Feet 1 folder"],"date_range_isim":[1837],"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\u003eThis is a single item collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003eBritannica, The Editors of Encyclopaedia. 2026. \"Marie Taglioni | Romantic Ballet, Pointe Technique, La Sylphide.\" Britannica, April 20, 2026. https://www.britannica.com/biography/Marie-Taglioni.\u003c/p\u003e\n","\u003cp\u003e\"Detailed Biography - Marie Taglioni.\" n.d. Accessed May 4, 2026. http://marietaglioni.orchesis-portal.org/index.php/texts/detailed-biography.\u003c/p\u003e\n","\u003cp\u003e\"The Ethereal Woman.\" 2013. \u003ctitle\u003eGaynor Minden\u003c/title\u003e, October 21, 2013. https://dancer.com/ballet-info/the-story-of-ballet/the-ethereal-woman.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Britannica, The Editors of Encyclopaedia. 2026. \"Marie Taglioni | Romantic Ballet, Pointe Technique, La Sylphide.\" Britannica, April 20, 2026. https://www.britannica.com/biography/Marie-Taglioni.","\"Detailed Biography - Marie Taglioni.\" n.d. Accessed May 4, 2026. http://marietaglioni.orchesis-portal.org/index.php/texts/detailed-biography.","\"The Ethereal Woman.\" 2013.  Gaynor Minden , October 21, 2013. https://dancer.com/ballet-info/the-story-of-ballet/the-ethereal-woman."],"bioghist_html_tesm":["\u003cp\u003eMarie Taglioni was born on April 23, 1804 in Stockholm, Sweden into a family of dancers, including her brother Salvatore who was a dance master in Naples, Italy and her father Filippo, a dancer and choreographer who was also her main dance trainer. Marie made her professional debut in Vienna, Austria in 1822 and rose to fame with her role in the ballet \u003ctitle\u003eLa Sylphide\u003c/title\u003e, choreographed by her father, which premiered at the Paris Opéra on March 12, 1832. A dramatic Romantic ballet, \u003ctitle\u003eLa Sylphide\u003c/title\u003e tells the story of a young Scottish man who falls in love with a sylph, the role played by Marie, not long before he is to be married. Sadly, when he is finally successful in catching the sylph, she dies, emphasizing the impossibility of love between a human and a spirit. \u003c/p\u003e\n","\u003cp\u003eIn this ballet, Marie became the first ballerina to dance \u003ctitle\u003een pointe\u003c/title\u003e for the work's entirety, accomplished using normal ballet slippers with reinforcements in the block of the slipper, rather than specialized pointe shoes. The technique was used to create the illusion of her sylph character floating across the stage, providing a stronger visual contrast to the movement of the Scottish man pursuing her. Additionally, the fitted bodice and airy, bell-like skirt worn as part of her costume became the prototype for the traditional tutu worn by ballet dancers for over a century. 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Sadly, when he is finally successful in catching the sylph, she dies, emphasizing the impossibility of love between a human and a spirit. ","In this ballet, Marie became the first ballerina to dance  en pointe  for the work's entirety, accomplished using normal ballet slippers with reinforcements in the block of the slipper, rather than specialized pointe shoes. The technique was used to create the illusion of her sylph character floating across the stage, providing a stronger visual contrast to the movement of the Scottish man pursuing her. Additionally, the fitted bodice and airy, bell-like skirt worn as part of her costume became the prototype for the traditional tutu worn by ballet dancers for over a century. 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Finding aid completed by Meghan Glasbrenner in May 2026."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other collections related to \u003ca href=\"https://aspace.gmu.edu/subjects/860\"\u003eballet\u003c/a\u003e, such as the \u003ca href=\"https://aspace.gmu.edu/subjects/860\"\u003eErnst Oppler illustrations of Anna Pavlova in \"The Dying Swan\"\u003c/a\u003e, and \u003ca href=\"https://aspace.gmu.edu/subjects/sh85077598\"\u003elithography\u003c/a\u003e, such as the \u003ca href=\"https://aspace.gmu.edu/resources/c0471\"\u003e\"La Navarraise\" opera scene and costume lithographs\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other collections related to  ballet , such as the  Ernst Oppler illustrations of Anna Pavlova in \"The Dying Swan\" , and  lithography , such as the  \"La Navarraise\" opera scene and costume lithographs ."],"scopecontent_html_tesm":["\u003cp\u003eLithograph of Marie Taglioni in costume for her most famous role in the ballet \u003ctitle\u003eLa Sylphide\u003c/title\u003e based on the contempory bronze sculpture by Jean-Auguste Barre (1811–1896), printed by Bernard \u0026amp; Frey in 1837. 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The name \"Taglioni\" is written in pencil at the bottom."],"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_df08b771ebf5e1e4d4ea53731b5a88cd\"\u003eLithograph of Marie Taglioni in costume for the ballet \u003ctitle\u003eLa Sylphide\u003c/title\u003e based on the sculpture by Jean-Auguste Barre.\u003c/abstract\u003e"],"abstract_tesim":["Lithograph of Marie Taglioni in costume for the ballet  La Sylphide  based on the sculpture by Jean-Auguste Barre."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_cd827906c7f7192269ce1f230f206360\"\u003eR 73, C 2, S 4\u003c/physloc\u003e"],"physloc_tesim":["R 73, C 2, S 4"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Bénard et Frey","Barre, Jean Auguste, 1811-1896","Taglioni, Marie, 1804-1884"],"corpname_ssim":["George Mason University. Libraries. 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