{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Public+schools+--+Virginia","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Public+schools+--+Virginia\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":2,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_repositories_2_resources_721","type":"collection","attributes":{"title":"Edwin W. 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Lynch panoramic photographs","title_ssm":["Edwin W. Lynch panoramic photographs"],"title_tesim":["Edwin W. Lynch panoramic photographs"],"unitdate_ssm":["February 14, 1931, January 24, 1950, January 30, 1952"],"unitdate_inclusive_ssm":["February 14, 1931, January 24, 1950, January 30, 1952"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0520","/repositories/2/resources/721"],"text":["C0520","/repositories/2/resources/721","Edwin W. Lynch panoramic photographs","Virginia, Northern","Virginia -- Politics and government","Virginia -- Politics and government -- 20th century","Virginia, Northern -- Politics and government","Legislators -- United States","Public schools -- Virginia","Photographs","Panoramic photographs","There are no access restrictions.","This is a single folder collection.","\"Edwin Lynch's Contributions to George Mason University.\" n.d. Mason's Legacies. Accessed July 31, 2024. https://www.masonslegacies.org/exhibits/show/edwin-lynch-influence/george-mason-university.","\"Edwin Williams Lynch (1913-2004).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441764/edwin_williams-lynch.","\"Helen Mae Webb Lynch (1916-2006).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441775/helen_mae-lynch.","\"Out of the Attic | Lee-Jackson School.\" 2010.  Alexandria Times  (blog). April 22, 2010. https://alextimes.com/2010/04/out-of-the-attic-lee-jackson-school/.","Edwin Williams Lynch was born in Annandale, Virginia on January 11, 1913. In 1936 he married Helen Mae Webb (born on November 16, 1916) and served as Fairfax County delegate to the Virginia General Assembly from 1945-1947 and again from 1949-1954. Edwin also served as a George Mason University Foundation trustee and helped found the Institute for Conflict Analysis and Resolution (ICAR), now known as the Jimmy and Rosalynn Carter School for Peace and Conflict Resolution. Edwin passed away on March 17, 2004 at the age of 91. Helen passed away at the age of 89 on June 18, 2006. They are both buried in Fairfax County's Annandale United Methodist Church Cemetery.","Located on the corner of Duke Street and South Quaker Lane in Fairfax County, Virginia, Lee-Jackson High School was built in 1925 and opened for the 1926-1927 school year. At the time it was one of only five high schools in the county, and the only one in the southeastern portion. In 1939, Lee-Jackson ceased operations as a high school, folowing construction and opening of Mount Vernon High School, and was turned into an elementary school. In the 1950s, the name was changed to Stonewall Jackson Elementary School and in 1961 a new school building was constructed on Quaker Lane behind the original building, which closed entirely by the end of the 1960s and was later demolished.","Processing and finding aid completed by Meghan Glasbrenner in July 2024.","The Special Collections Research Center also holds the  Edwin W. Lynch Vietnam War protest collection , as well as other  panoramic photographs  and other collections related to  Virginia politics and government .","Three panoramic photographs, two of Edwin Lynch and members of the Virginia House of Delegates and one of Helen Lynch and other students in front of Lee-Jackson High School in Fairfax County, Virginia.","The two Virginia House of Delegates photographs feature members posing together in the House of Delegates Chamber inside the Virginia State Capitol in Richmond, Virginia on January 24, 1950 and January 30, 1952 and are attributed to Foster Studio. The photograph of students in front of Lee-Jackson High School has a handwritten inscription on the back that reads \"Taken February 14, 1931\" and a stamp in the bottom right corner reading \"Rideout, 525 11th Street, Washington, D.C.,\" possibly indicating the photograph was taken by H.H. Rideout.","Edwin and Helen Lynch are not clearly labeled in their respective photographs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Three panoramic photographs, two of members of the Virginia House of Delegates and one of students in front of Lee-Jackson High School in Fairfax County, Virginia.","Map Case 16.1","George Mason University. Libraries. Special Collections Research Center","Lee-Jackson High School (Alexandria, Va.)","Virginia. General Assembly. House of Delegates","Lynch, Edwin Williams, 1913-2004","Lynch, Helen Mae, 1916-2006","English \n.    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Mason's Legacies. Accessed July 31, 2024. https://www.masonslegacies.org/exhibits/show/edwin-lynch-influence/george-mason-university.\u003c/p\u003e\n","\u003cp\u003e\"Edwin Williams Lynch (1913-2004).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441764/edwin_williams-lynch.\u003c/p\u003e\n","\u003cp\u003e\"Helen Mae Webb Lynch (1916-2006).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441775/helen_mae-lynch.\u003c/p\u003e\n","\u003cp\u003e\"Out of the Attic | Lee-Jackson School.\" 2010. \u003ctitle\u003eAlexandria Times\u003c/title\u003e (blog). April 22, 2010. https://alextimes.com/2010/04/out-of-the-attic-lee-jackson-school/.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Edwin Lynch's Contributions to George Mason University.\" n.d. Mason's Legacies. Accessed July 31, 2024. https://www.masonslegacies.org/exhibits/show/edwin-lynch-influence/george-mason-university.","\"Edwin Williams Lynch (1913-2004).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441764/edwin_williams-lynch.","\"Helen Mae Webb Lynch (1916-2006).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441775/helen_mae-lynch.","\"Out of the Attic | Lee-Jackson School.\" 2010.  Alexandria Times  (blog). April 22, 2010. https://alextimes.com/2010/04/out-of-the-attic-lee-jackson-school/."],"bioghist_html_tesm":["\u003cp\u003eEdwin Williams Lynch was born in Annandale, Virginia on January 11, 1913. In 1936 he married Helen Mae Webb (born on November 16, 1916) and served as Fairfax County delegate to the Virginia General Assembly from 1945-1947 and again from 1949-1954. Edwin also served as a George Mason University Foundation trustee and helped found the Institute for Conflict Analysis and Resolution (ICAR), now known as the Jimmy and Rosalynn Carter School for Peace and Conflict Resolution. Edwin passed away on March 17, 2004 at the age of 91. Helen passed away at the age of 89 on June 18, 2006. They are both buried in Fairfax County's Annandale United Methodist Church Cemetery.\u003c/p\u003e\n","\u003cp\u003eLocated on the corner of Duke Street and South Quaker Lane in Fairfax County, Virginia, Lee-Jackson High School was built in 1925 and opened for the 1926-1927 school year. At the time it was one of only five high schools in the county, and the only one in the southeastern portion. In 1939, Lee-Jackson ceased operations as a high school, folowing construction and opening of Mount Vernon High School, and was turned into an elementary school. In the 1950s, the name was changed to Stonewall Jackson Elementary School and in 1961 a new school building was constructed on Quaker Lane behind the original building, which closed entirely by the end of the 1960s and was later demolished.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Edwin Williams Lynch was born in Annandale, Virginia on January 11, 1913. In 1936 he married Helen Mae Webb (born on November 16, 1916) and served as Fairfax County delegate to the Virginia General Assembly from 1945-1947 and again from 1949-1954. Edwin also served as a George Mason University Foundation trustee and helped found the Institute for Conflict Analysis and Resolution (ICAR), now known as the Jimmy and Rosalynn Carter School for Peace and Conflict Resolution. Edwin passed away on March 17, 2004 at the age of 91. Helen passed away at the age of 89 on June 18, 2006. They are both buried in Fairfax County's Annandale United Methodist Church Cemetery.","Located on the corner of Duke Street and South Quaker Lane in Fairfax County, Virginia, Lee-Jackson High School was built in 1925 and opened for the 1926-1927 school year. At the time it was one of only five high schools in the county, and the only one in the southeastern portion. In 1939, Lee-Jackson ceased operations as a high school, folowing construction and opening of Mount Vernon High School, and was turned into an elementary school. In the 1950s, the name was changed to Stonewall Jackson Elementary School and in 1961 a new school building was constructed on Quaker Lane behind the original building, which closed entirely by the end of the 1960s and was later demolished."],"prefercite_html_tesm":["\u003cp\u003eEdwin W. Lynch panoramic photographs, C0520, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["Edwin W. Lynch panoramic photographs, C0520, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Meghan Glasbrenner in July 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Meghan Glasbrenner in July 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003ca href=\"https://aspace.gmu.edu/resources/c0080\"\u003eEdwin W. Lynch Vietnam War protest collection\u003c/a\u003e, as well as other \u003ca href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=panoramic\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003epanoramic photographs\u003c/a\u003e and other collections related to \u003ca href=\"https://aspace.gmu.edu/subjects/sh85143772\"\u003eVirginia politics and government\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  Edwin W. Lynch Vietnam War protest collection , as well as other  panoramic photographs  and other collections related to  Virginia politics and government ."],"scopecontent_html_tesm":["\u003cp\u003eThree panoramic photographs, two of Edwin Lynch and members of the Virginia House of Delegates and one of Helen Lynch and other students in front of Lee-Jackson High School in Fairfax County, Virginia.\u003c/p\u003e\n","\u003cp\u003eThe two Virginia House of Delegates photographs feature members posing together in the House of Delegates Chamber inside the Virginia State Capitol in Richmond, Virginia on January 24, 1950 and January 30, 1952 and are attributed to Foster Studio. The photograph of students in front of Lee-Jackson High School has a handwritten inscription on the back that reads \"Taken February 14, 1931\" and a stamp in the bottom right corner reading \"Rideout, 525 11th Street, Washington, D.C.,\" possibly indicating the photograph was taken by H.H. Rideout.\u003c/p\u003e\n","\u003cp\u003eEdwin and Helen Lynch are not clearly labeled in their respective photographs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Three panoramic photographs, two of Edwin Lynch and members of the Virginia House of Delegates and one of Helen Lynch and other students in front of Lee-Jackson High School in Fairfax County, Virginia.","The two Virginia House of Delegates photographs feature members posing together in the House of Delegates Chamber inside the Virginia State Capitol in Richmond, Virginia on January 24, 1950 and January 30, 1952 and are attributed to Foster Studio. The photograph of students in front of Lee-Jackson High School has a handwritten inscription on the back that reads \"Taken February 14, 1931\" and a stamp in the bottom right corner reading \"Rideout, 525 11th Street, Washington, D.C.,\" possibly indicating the photograph was taken by H.H. Rideout.","Edwin and Helen Lynch are not clearly labeled in their respective photographs."],"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_cff0c7a3541fe920abb542b60c42a2ea\"\u003eThree panoramic photographs, two of members of the Virginia House of Delegates and one of students in front of Lee-Jackson High School in Fairfax County, Virginia.\u003c/abstract\u003e"],"abstract_tesim":["Three panoramic photographs, two of members of the Virginia House of Delegates and one of students in front of Lee-Jackson High School in Fairfax County, Virginia."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4e7999337f0046810929f7d0cc6fe4f4\"\u003eMap Case 16.1\u003c/physloc\u003e"],"physloc_tesim":["Map Case 16.1"],"names_coll_ssim":["Lee-Jackson High School (Alexandria, Va.)","Virginia. General Assembly. House of Delegates","Lynch, Helen Mae, 1916-2006"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Lee-Jackson High School (Alexandria, Va.)","Virginia. General Assembly. House of Delegates","Lynch, Edwin Williams, 1913-2004","Lynch, Helen Mae, 1916-2006"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Lee-Jackson High School (Alexandria, Va.)","Virginia. General Assembly. House of Delegates"],"persname_ssim":["Lynch, Edwin Williams, 1913-2004","Lynch, Helen Mae, 1916-2006"],"language_ssim":["English \n.    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Accessed July 31, 2024. https://www.findagrave.com/memorial/31441764/edwin_williams-lynch.","\"Helen Mae Webb Lynch (1916-2006).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441775/helen_mae-lynch.","\"Out of the Attic | Lee-Jackson School.\" 2010.  Alexandria Times  (blog). April 22, 2010. https://alextimes.com/2010/04/out-of-the-attic-lee-jackson-school/.","Edwin Williams Lynch was born in Annandale, Virginia on January 11, 1913. In 1936 he married Helen Mae Webb (born on November 16, 1916) and served as Fairfax County delegate to the Virginia General Assembly from 1945-1947 and again from 1949-1954. Edwin also served as a George Mason University Foundation trustee and helped found the Institute for Conflict Analysis and Resolution (ICAR), now known as the Jimmy and Rosalynn Carter School for Peace and Conflict Resolution. Edwin passed away on March 17, 2004 at the age of 91. Helen passed away at the age of 89 on June 18, 2006. They are both buried in Fairfax County's Annandale United Methodist Church Cemetery.","Located on the corner of Duke Street and South Quaker Lane in Fairfax County, Virginia, Lee-Jackson High School was built in 1925 and opened for the 1926-1927 school year. At the time it was one of only five high schools in the county, and the only one in the southeastern portion. In 1939, Lee-Jackson ceased operations as a high school, folowing construction and opening of Mount Vernon High School, and was turned into an elementary school. In the 1950s, the name was changed to Stonewall Jackson Elementary School and in 1961 a new school building was constructed on Quaker Lane behind the original building, which closed entirely by the end of the 1960s and was later demolished.","Processing and finding aid completed by Meghan Glasbrenner in July 2024.","The Special Collections Research Center also holds the  Edwin W. 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Rideout.","Edwin and Helen Lynch are not clearly labeled in their respective photographs.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Three panoramic photographs, two of members of the Virginia House of Delegates and one of students in front of Lee-Jackson High School in Fairfax County, Virginia.","Map Case 16.1","George Mason University. Libraries. Special Collections Research Center","Lee-Jackson High School (Alexandria, Va.)","Virginia. General Assembly. House of Delegates","Lynch, Edwin Williams, 1913-2004","Lynch, Helen Mae, 1916-2006","English \n.    "],"unitid_tesim":["C0520","/repositories/2/resources/721"],"normalized_title_ssm":["Edwin W. Lynch panoramic photographs"],"collection_title_tesim":["Edwin W. Lynch panoramic photographs"],"collection_ssim":["Edwin W. 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Mason's Legacies. Accessed July 31, 2024. https://www.masonslegacies.org/exhibits/show/edwin-lynch-influence/george-mason-university.\u003c/p\u003e\n","\u003cp\u003e\"Edwin Williams Lynch (1913-2004).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441764/edwin_williams-lynch.\u003c/p\u003e\n","\u003cp\u003e\"Helen Mae Webb Lynch (1916-2006).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441775/helen_mae-lynch.\u003c/p\u003e\n","\u003cp\u003e\"Out of the Attic | Lee-Jackson School.\" 2010. \u003ctitle\u003eAlexandria Times\u003c/title\u003e (blog). April 22, 2010. https://alextimes.com/2010/04/out-of-the-attic-lee-jackson-school/.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Edwin Lynch's Contributions to George Mason University.\" n.d. Mason's Legacies. Accessed July 31, 2024. https://www.masonslegacies.org/exhibits/show/edwin-lynch-influence/george-mason-university.","\"Edwin Williams Lynch (1913-2004).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441764/edwin_williams-lynch.","\"Helen Mae Webb Lynch (1916-2006).\" n.d. Find a Grave. Accessed July 31, 2024. https://www.findagrave.com/memorial/31441775/helen_mae-lynch.","\"Out of the Attic | Lee-Jackson School.\" 2010.  Alexandria Times  (blog). April 22, 2010. https://alextimes.com/2010/04/out-of-the-attic-lee-jackson-school/."],"bioghist_html_tesm":["\u003cp\u003eEdwin Williams Lynch was born in Annandale, Virginia on January 11, 1913. In 1936 he married Helen Mae Webb (born on November 16, 1916) and served as Fairfax County delegate to the Virginia General Assembly from 1945-1947 and again from 1949-1954. Edwin also served as a George Mason University Foundation trustee and helped found the Institute for Conflict Analysis and Resolution (ICAR), now known as the Jimmy and Rosalynn Carter School for Peace and Conflict Resolution. Edwin passed away on March 17, 2004 at the age of 91. Helen passed away at the age of 89 on June 18, 2006. They are both buried in Fairfax County's Annandale United Methodist Church Cemetery.\u003c/p\u003e\n","\u003cp\u003eLocated on the corner of Duke Street and South Quaker Lane in Fairfax County, Virginia, Lee-Jackson High School was built in 1925 and opened for the 1926-1927 school year. At the time it was one of only five high schools in the county, and the only one in the southeastern portion. In 1939, Lee-Jackson ceased operations as a high school, folowing construction and opening of Mount Vernon High School, and was turned into an elementary school. In the 1950s, the name was changed to Stonewall Jackson Elementary School and in 1961 a new school building was constructed on Quaker Lane behind the original building, which closed entirely by the end of the 1960s and was later demolished.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Edwin Williams Lynch was born in Annandale, Virginia on January 11, 1913. In 1936 he married Helen Mae Webb (born on November 16, 1916) and served as Fairfax County delegate to the Virginia General Assembly from 1945-1947 and again from 1949-1954. Edwin also served as a George Mason University Foundation trustee and helped found the Institute for Conflict Analysis and Resolution (ICAR), now known as the Jimmy and Rosalynn Carter School for Peace and Conflict Resolution. Edwin passed away on March 17, 2004 at the age of 91. Helen passed away at the age of 89 on June 18, 2006. They are both buried in Fairfax County's Annandale United Methodist Church Cemetery.","Located on the corner of Duke Street and South Quaker Lane in Fairfax County, Virginia, Lee-Jackson High School was built in 1925 and opened for the 1926-1927 school year. At the time it was one of only five high schools in the county, and the only one in the southeastern portion. In 1939, Lee-Jackson ceased operations as a high school, folowing construction and opening of Mount Vernon High School, and was turned into an elementary school. In the 1950s, the name was changed to Stonewall Jackson Elementary School and in 1961 a new school building was constructed on Quaker Lane behind the original building, which closed entirely by the end of the 1960s and was later demolished."],"prefercite_html_tesm":["\u003cp\u003eEdwin W. Lynch panoramic photographs, C0520, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["Edwin W. Lynch panoramic photographs, C0520, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Meghan Glasbrenner in July 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Meghan Glasbrenner in July 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003ca href=\"https://aspace.gmu.edu/resources/c0080\"\u003eEdwin W. Lynch Vietnam War protest collection\u003c/a\u003e, as well as other \u003ca href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=panoramic\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003epanoramic photographs\u003c/a\u003e and other collections related to \u003ca href=\"https://aspace.gmu.edu/subjects/sh85143772\"\u003eVirginia politics and government\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  Edwin W. Lynch Vietnam War protest collection , as well as other  panoramic photographs  and other collections related to  Virginia politics and government ."],"scopecontent_html_tesm":["\u003cp\u003eThree panoramic photographs, two of Edwin Lynch and members of the Virginia House of Delegates and one of Helen Lynch and other students in front of Lee-Jackson High School in Fairfax County, Virginia.\u003c/p\u003e\n","\u003cp\u003eThe two Virginia House of Delegates photographs feature members posing together in the House of Delegates Chamber inside the Virginia State Capitol in Richmond, Virginia on January 24, 1950 and January 30, 1952 and are attributed to Foster Studio. The photograph of students in front of Lee-Jackson High School has a handwritten inscription on the back that reads \"Taken February 14, 1931\" and a stamp in the bottom right corner reading \"Rideout, 525 11th Street, Washington, D.C.,\" possibly indicating the photograph was taken by H.H. Rideout.\u003c/p\u003e\n","\u003cp\u003eEdwin and Helen Lynch are not clearly labeled in their respective photographs.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Three panoramic photographs, two of Edwin Lynch and members of the Virginia House of Delegates and one of Helen Lynch and other students in front of Lee-Jackson High School in Fairfax County, Virginia.","The two Virginia House of Delegates photographs feature members posing together in the House of Delegates Chamber inside the Virginia State Capitol in Richmond, Virginia on January 24, 1950 and January 30, 1952 and are attributed to Foster Studio. The photograph of students in front of Lee-Jackson High School has a handwritten inscription on the back that reads \"Taken February 14, 1931\" and a stamp in the bottom right corner reading \"Rideout, 525 11th Street, Washington, D.C.,\" possibly indicating the photograph was taken by H.H. Rideout.","Edwin and Helen Lynch are not clearly labeled in their respective photographs."],"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_cff0c7a3541fe920abb542b60c42a2ea\"\u003eThree panoramic photographs, two of members of the Virginia House of Delegates and one of students in front of Lee-Jackson High School in Fairfax County, Virginia.\u003c/abstract\u003e"],"abstract_tesim":["Three panoramic photographs, two of members of the Virginia House of Delegates and one of students in front of Lee-Jackson High School in Fairfax County, Virginia."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_4e7999337f0046810929f7d0cc6fe4f4\"\u003eMap Case 16.1\u003c/physloc\u003e"],"physloc_tesim":["Map Case 16.1"],"names_coll_ssim":["Lee-Jackson High School (Alexandria, Va.)","Virginia. General Assembly. House of Delegates","Lynch, Helen Mae, 1916-2006"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Lee-Jackson High School (Alexandria, Va.)","Virginia. General Assembly. House of Delegates","Lynch, Edwin Williams, 1913-2004","Lynch, Helen Mae, 1916-2006"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Lee-Jackson High School (Alexandria, Va.)","Virginia. General Assembly. House of Delegates"],"persname_ssim":["Lynch, Edwin Williams, 1913-2004","Lynch, Helen Mae, 1916-2006"],"language_ssim":["English \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":"2026-05-01T00:38:19.956Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_721"}},{"id":"vifgm_repositories_2_resources_602","type":"collection","attributes":{"title":"Living Stage records","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602#abstract_or_scope","type":"document_value","attributes":{"value":"The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_602#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"text":["C0277","/repositories/2/resources/602","Living Stage records","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"normalized_title_ssm":["Living Stage records"],"collection_title_tesim":["Living Stage records"],"collection_ssim":["Living Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["Washington (D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e\n","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e\n","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e\n","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Living Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e"],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e"],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1502,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:33:57.755Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_602","ead_ssi":"vifgm_repositories_2_resources_602","_root_":"vifgm_repositories_2_resources_602","_nest_parent_":"vifgm_repositories_2_resources_602","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_602.xml","title_filing_ssi":"Living Stage records","title_ssm":["Living Stage records"],"title_tesim":["Living Stage records"],"unitdate_ssm":["1965-2001"],"unitdate_inclusive_ssm":["1965-2001"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0277","/repositories/2/resources/602"],"text":["C0277","/repositories/2/resources/602","Living Stage records","Washington (D.C.)","Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript","There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.","The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)","The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.","The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.","Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.","The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.","The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.","R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2","George Mason University. Libraries. Special Collections Research Center","English"],"unitid_tesim":["C0277","/repositories/2/resources/602"],"normalized_title_ssm":["Living Stage records"],"collection_title_tesim":["Living Stage records"],"collection_ssim":["Living Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Washington (D.C.)"],"geogname_ssim":["Washington (D.C.)"],"places_ssim":["Washington (D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000."],"access_subjects_ssim":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"access_subjects_ssm":["Acting","People with mental disabilities -- Services for -- United States","Performance art -- Photographs","Public schools -- Virginia","Radicalism -- United States -- History -- 20th century","Students -- Photographs","Theater -- United States -- History -- 20th century","Theater -- Washington (D.C.)","Theater programs","Playscript"],"has_online_content_ssim":["false"],"extent_ssm":["48.0 Linear Feet 106 boxes"],"extent_tesim":["48.0 Linear Feet 106 boxes"],"genreform_ssim":["Playscript"],"date_range_isim":[1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions on Series 1 and 2. Please see the Physical Characteristics and Technical Requirements note for access information on Series 3."],"arrangement_html_tesm":["\u003cp\u003eThe collection is divided into three series, each of which is divided into subseries.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is divided into three series, each of which is divided into subseries.","Series Series 1: Administrative and Financial Files, 1965-2000 (Boxes 1-56) Series 2: Artistic and Workshop Files, 1966-2001 (Boxes 57-85) Series 3: Audiovisual and Photographic Materials, 1967-1999 (Boxes 86-106)"],"bioghist_html_tesm":["\u003cp\u003eThe Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. \u003c/p\u003e\n","\u003cp\u003eThe Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. \u003c/p\u003e\n","\u003cp\u003eThe projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"\u003c/p\u003e\n","\u003cp\u003eThe organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Living Stage Theatre Company began in 1966 as a venture of Arena Stage and Robert Alexander. Known from 1966-1968 as The Children's Theatre, the Living Stage from the beginning dedicated itself to programming with a social consciousness and a desire to effect societal change through performance. Robert Alexander was the theatre's founder and until 1995 its director. Alexander brought an adapted street and guerilla theater style to the D.C. area after becoming disenchanted with traditional theatre's \"middle-class\" audience. The Living Stage provided training to actors in the art of improvisational theater through tuition free schooling during the summers, as well as through weekend long workshop training for social workers, teachers, and other professionals throughout their 9 month season. While most of the Stage's workshops were held on site at schools, museums, and prisons, the Living Stage did have its own formal space in Washington, D.C. on 14th and T Streets NW. The Living Stage put on productions across Northern Virginia in schools, youth homes, and even prisons like the Lorton Penitentiary. Senior members of the company, like Jennifer Nelson and Oran Sandel helped to send the Living Stage across the country as well. Their efforts were largely funded through vigorous campaigning for grants and fund raising through the National Endowment for the Arts (NEA) and other private foundations. The Living Stage also received substantial financial assistance from its parent company, the Washington Drama Society, Inc. ","The Living Stage performance style consisted of \"The Jam,\" \"The Performance,\" and \"The Workshop,\" a three part study that was used at most of their venues. The first part, or \"Jam,\" consisted of actors working with their audience to \"rap,\" make music, and \"jam\" through spoken or sung words accompanied by instrumentals typically provided by audience members. The actors then moved into the \"performance\" itself. During the performance the actors put on an improvised theater production directed by a senior member of the cast and assisted by one or two audience members. The \"Workshop\" began from there; during the workshop, the audience took over the scene, while still directed by the actors, and was encouraged to make it their own. Audiences gave their opinions and thoughts on each performance in the form of production reports that were collected by the Living Stage. ","The projects that the Living Stage put on typically dealt with controversial and sensitive topics like race, economic inequality, the dangers of an overzealous American foreign policy, the atom bomb, violence, and freedom. The \"Baltimore Incident\" of 1971 is an excellent example of how controversial these productions could be. No matter how mixed opinions were, the Living Stage always elicited a reaction with their improvisational performances. During the 1980s the Living Stage began to reach out extensively to local initiatives like The District's Alcohol and Drug Abuse Services Administration and created their own Community Services Project in order to continue to bring theater and creativity to underserved sections of society. The Living Stage championed New Left ideals like equality and social justice throughout the Reagan years, despite some criticisms about their message being \"anachronistic.\"","The organization began to sunset in the first half of the 1990s as many of its founding and senior members took their skills elsewhere. Robert Alexander himself left in 1995 to start educating people in the art of improvisational theater full time. Jennifer Nelson, David Matthew Proctor, Ezra Knight, and others began to filter away in the 1990s to pursue their own acting goals and the Living Stage would officially close its doors in 2002."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch or listen to all audiovisual material in Series 3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eLiving Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Living Stage records, C0277, Special Collections Reserch Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Nick Welsh and Elizabeth Beckman in 2016. EAD markup completed by Nick Welsh in June 2016. Finding aid updated by Amanda Menjivar in March 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds several collections of personal papers of individuals involved with the Living Stage Theater Company, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, and the Ken Kitch papers. It also holds the Arena Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Living Stage records consists of material spanning the length of the organization's history from 1965, when the Living Stage was known as the Children's Theatre, to 2001. Included in the records are administrative files, financial papers, grant requests and applications, correspondence, workshop reports and scripts, as well as audiovisual and photographic materials.","Series 1: Administrative and Financial Files (1965-2000) includes documents relating to the day to day running of the Living Stage Theatre Company as well as programming, project planning, financials, budgets, grants, press releases and printed documents. It is divided further into 4 subseries. Subseries 1.1 Policies, Planning, and Development includes the administrative files of the Living Stage including season summaries by date, long range plans, meeting minutes, and Community Service Project information. Subseries 1.2 Grants and Foundations contains all materials related to grant requests, endowments (including the National Endowment for the Arts), and donations made by both large charitable organizations and private donors. Subseries 1.3 Financials and Correspondence includes budget materials, expense reports, and benefit information, as well as correspondence between members of the LSTC, memos, and fan mail (called \"love letters\") from schools and other workshop sites. Subseries 1.4 Public Relations and Printed Pieces consist of various publications made by the Living Stage such as their newsletters and advertisements, as well as transcripts of speeches made by LSTC executives and press releases promoting the Living Stage.","Series 2: Artistic and Workshop Files (1966-2001), which is split into 3 subseries, contains the creative aspects of the Living Stage, including details about residencies and the personnel of the Company, as well as workshop reports, scripts, and \"Jams.\" Subseries 2.1 Residency and Personnel Files contains all documents related to the people of the Living Stage, including casting information and details about out of state residencies (including those in Stockholm, Boston, Pittsburgh, New York and others). Subseries 2.2 Production Reports and Workshops encompasses the output of the Living Stage Theatre Company in the form of workshops, which are series of performances put on at schools, museums, and communities, and the production reports which sought to analyze audience reception of and reaction to these performances. Look to the \"Baltimore Incident\" for an excellent example of how contentious and revolutionary the Living Stage's performances were. Subseries 2.3 Production Files and Scripts, while small, contains items related to the Living Stage's \"Jams\" including scripts, research, and other assorted play files. ","Series 3: Audiovisual and Photographic Materials (1967-1999) includes all photos, negatives, and film of the Living Stage or their productions. It is divided into three subseries. Subseries 3.1 Photographic Materials includes various photos and negatives showing the cast of the Living Stage at various times, as well as production stills. Unfortunately, the majority of these are undated or have little in the way of description. Subseries 3.2 Audio and film reels includes tapings of various workshops and productions mostly from the 1970s and 1980s. Subseries 3.3 Audio and video tapes contains cassette, VHS, Betamax, and U-matic tapes either used by the Living Stage for performances or made by/about the Living Stage."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001.\u003c/abstract\u003e"],"abstract_tesim":["The Living Stage records documents the Living Stage Theatre Company, founded by Robert Alexander as an offshoot of Arena Stage in Washington, D.C. The records were created from 1965-2001."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e176c0c8972614dd614b2ea45cfacaaf\"\u003eR 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2\u003c/physloc\u003e"],"physloc_tesim":["R 52, C 6, S 3 - R 53, C 2, S 6\n\nMap Case 8.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. 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