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There are no other access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by subject.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by subject."],"bioghist_html_tesm":["\u003cp\u003eThe American Theatre Association (ATA) was formed in 1936 as the American Educational Theatre Association by a group of privately owned theatres. Recruiting its members from the ranks of teachers, actors, students, and directors, among others, the Association acted as a theatre advocacy group, promoting theatre and theatre education in several ways. It published and disseminated materials for use in children's secondary schools, colleges and universities, and community theatres, pushed for federal funding of theatre education, promoted the touring of educational theatre groups, and worked with the armed forces installations to develop mutually beneficial theatre programs. 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Libraries. Special Collections Research Center","American Theatre Association","National Theater Players (Washington, D.C.)"],"names_coll_ssim":["National Theater Players (Washington, D.C.)","Davis, Jed H. (Jed Horace)"],"persname_ssim":["Davis, Jed H. (Jed Horace)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American Theatre Association","National Theater Players (Washington, D.C.)","Davis, Jed H. (Jed Horace)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2838,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:14.575Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_118"}},{"id":"vifgm_repositories_2_resources_164","type":"collection","attributes":{"title":"Arnold Goldman Living Newspaper collection, 1931/1973","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_164#creator","type":"document_value","attributes":{"value":"Goldman, Arnold","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_164#abstract_or_scope","type":"document_value","attributes":{"value":"Consists of research materials, mainly photocopies, of research on \"Injunction Granted\" published in Minnesota Review in 1973.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_164#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_164","ead_ssi":"vifgm_repositories_2_resources_164","_root_":"vifgm_repositories_2_resources_164","_nest_parent_":"vifgm_repositories_2_resources_164","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_164.xml","title_filing_ssi":"Arnold Goldman Living Newspaper collection","title_ssm":["Arnold Goldman Living Newspaper collection"],"title_tesim":["Arnold Goldman Living Newspaper collection"],"unitdate_ssm":["1931-1973"],"unitdate_inclusive_ssm":["1931-1973"],"normalized_date_ssm":["1931/1973"],"normalized_title_ssm":["Arnold Goldman Living Newspaper collection, 1931/1973"],"text":["Arnold Goldman Living Newspaper collection, 1931/1973","C0173","/repositories/2/resources/164","Living newspaper","Theater -- United States -- History -- 20th century","Interviews","Theater","Theater and society","Theater -- United States","Performing arts","Correspondence","There are no access restrictions.","Arranged by subject into one series.","Arnold Goldman was a writer and professor of English and American literature. 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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. 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The rights-holder is Centre de Diffusion et de Documentation du Spectacle - please contact SCRC for more information."],"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\n    "],"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."],"corpname_ssim":["George Mason University. Libraries. 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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"],"language_ssim":["French"],"total_component_count_is":78,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:24.402Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_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"],"normalized_title_ssm":["Jean-Louis Barrault photograph collection"],"text":["Jean-Louis Barrault photograph collection","C0019","/repositories/2/resources/187","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\n      Series 1: Production Photographs, 1947-1979 (Boxes 1-2)\n      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. He trained as a mime and an actor, and later directed both screen and stage productions. With Madeleine Renaud, his wife, he founded a theatrical company in Paris in 1947, after acting and directing with the Comédie Française. Barrault later directed the Théâtre d'Orsay and the Théâtre des Nations.","Processed in 2008 by Sean Tennant. EAD markup completed in 2008 by Sean Tennant.","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.","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.","This collection is protected by copyright and/or related rights. You are free to use this collection in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) (https://rightsstatements.org/page/InC/1.0/?language=en). The rights-holder is Centre de Diffusion et de Documentation du Spectacle - please contact SCRC for more information.","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"],"collection_title_tesim":["Jean-Louis Barrault photograph collection"],"collection_ssim":["Jean-Louis Barrault photograph collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0019","/repositories/2/resources/187"],"unitid_tesim":["C0019","/repositories/2/resources/187"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["France"],"geogname_ssim":["France"],"places_ssim":["France"],"creator_ssm":["Jenkins, Paul, 1923-2012"],"creator_ssim":["Jenkins, Paul, 1923-2012"],"creator_persname_ssim":["Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)"],"creators_ssim":["Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994","George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)"],"access_terms_ssm":["This collection is protected by copyright and/or related rights. You are free to use this collection in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) (https://rightsstatements.org/page/InC/1.0/?language=en). The rights-holder is Centre de Diffusion et de Documentation du Spectacle - please contact SCRC for more information."],"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\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in two series:","Series\n      Series 1: Production Photographs, 1947-1979 (Boxes 1-2)\n      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. He trained as a mime and an actor, and later directed both screen and stage productions. With Madeleine Renaud, his wife, he founded a theatrical company in Paris in 1947, after acting and directing with the Comédie Française. Barrault later directed the Théâtre d'Orsay and the Théâtre des Nations.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["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. He trained as a mime and an actor, and later directed both screen and stage productions. With Madeleine Renaud, his wife, he founded a theatrical company in Paris in 1947, after acting and directing with the Comédie Française. 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\u003eThis collection is protected by copyright and/or related rights. You are free to use this collection in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) (https://rightsstatements.org/page/InC/1.0/?language=en). The rights-holder is Centre de Diffusion et de Documentation du Spectacle - please contact SCRC for more information.\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["This collection is protected by copyright and/or related rights. You are free to use this collection in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) (https://rightsstatements.org/page/InC/1.0/?language=en). The rights-holder is Centre de Diffusion et de Documentation du Spectacle - please contact SCRC for more information."],"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\n    "],"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."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)"],"names_coll_ssim":["Agence de Presse Bernand","Odéon (Theater : Paris, France)","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"persname_ssim":["Jenkins, Paul, 1923-2012","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"],"language_ssim":["French"],"total_component_count_is":78,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:24.402Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_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"],"normalized_title_ssm":["John C. Becher Soldier Show collection"],"text":["John C. Becher Soldier Show collection","C0090","/repositories/2/resources/46","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"],"collection_title_tesim":["John C. Becher Soldier Show collection"],"collection_ssim":["John C. Becher Soldier Show collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0090","/repositories/2/resources/46"],"unitid_tesim":["C0090","/repositories/2/resources/46"],"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"],"places_ssim":["United States -- Armed Forces -- Military life"],"creator_ssm":["Becher, John C."],"creator_ssim":["Becher, John C."],"creator_persname_ssim":["Becher, John C."],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division"],"creators_ssim":["Becher, John C.","George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division"],"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","\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","\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","\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","\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","\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\n    "],"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."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division"],"names_coll_ssim":["United States. Army Service Forces. Special Service Division"],"persname_ssim":["Becher, John C."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division","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":"2026-08-14T22:34:53.150Z","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"],"normalized_title_ssm":["John C. Becher Soldier Show collection"],"text":["John C. Becher Soldier Show collection","C0090","/repositories/2/resources/46","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"],"collection_title_tesim":["John C. Becher Soldier Show collection"],"collection_ssim":["John C. Becher Soldier Show collection"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0090","/repositories/2/resources/46"],"unitid_tesim":["C0090","/repositories/2/resources/46"],"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"],"places_ssim":["United States -- Armed Forces -- Military life"],"creator_ssm":["Becher, John C."],"creator_ssim":["Becher, John C."],"creator_persname_ssim":["Becher, John C."],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division"],"creators_ssim":["Becher, John C.","George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division"],"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","\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","\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","\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","\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","\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\n    "],"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."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division"],"names_coll_ssim":["United States. Army Service Forces. Special Service Division"],"persname_ssim":["Becher, John C."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","United States. Army Service Forces. Special Service Division","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":"2026-08-14T22:34:53.150Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_46"}},{"id":"vifgm_repositories_2_resources_521","type":"collection","attributes":{"title":"Robert and Wilva Breen papers, 1831/2000","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#creator","type":"document_value","attributes":{"value":"Breen, Robert","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#abstract_or_scope","type":"document_value","attributes":{"value":"The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Many of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"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":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eMany of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Many of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"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 Robert and Wilva Breen papers. 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 play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, 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 Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"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 Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3014,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:01.774Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Many of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"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":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eMany of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Many of the audiotape reels found in this collection were converted to digital format and are available for use. Please contact SCRC for more information."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"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 Robert and Wilva Breen papers. 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 play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, 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 Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"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 Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. 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