{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=3","prev":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=2","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=4","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1978\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=1112"},"meta":{"pages":{"current_page":3,"next_page":4,"prev_page":2,"total_pages":1112,"limit_value":10,"offset_value":20,"total_count":11118,"first_page?":false,"last_page?":false}},"data":[{"id":"vifgm_repositories_2_resources_416_c04_c03_c44","type":"File","attributes":{"title":"1977-1978 Part III - February 1978 - July 1978","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c04_c03_c44#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_416_c04_c03_c44","ref_ssm":["vifgm_repositories_2_resources_416_c04_c03_c44"],"id":"vifgm_repositories_2_resources_416_c04_c03_c44","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416_c04_c03","parent_ssi":"vifgm_repositories_2_resources_416_c04_c03","parent_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c04","vifgm_repositories_2_resources_416_c04_c03"],"parent_ids_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c04","vifgm_repositories_2_resources_416_c04_c03"],"parent_unittitles_ssm":["Arena Stage records","Series 4: Oversize materials","Subseries 4.3: Scrapbooks"],"parent_unittitles_tesim":["Arena Stage records","Series 4: Oversize materials","Subseries 4.3: Scrapbooks"],"text":["Arena Stage records","Series 4: Oversize materials","Subseries 4.3: Scrapbooks","1977-1978 Part III - February 1978 - July 1978","box 687","folder 1"],"title_filing_ssi":"1977-1978 Part III - February 1978 - July 1978","title_ssm":["1977-1978 Part III - February 1978 - July 1978"],"title_tesim":["1977-1978 Part III - February 1978 - July 1978"],"unitdate_other_ssim":["1978"],"normalized_date_ssm":["1978"],"normalized_title_ssm":["1977-1978 Part III - February 1978 - July 1978"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":7944,"parent_access_restrict_tesm":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1978],"containers_ssim":["box 687","folder 1"],"scopecontent_heading_ssm":["Scope and Contents note"],"_nest_path_":"/components#3/components#2/components#43","timestamp":"2026-05-01T00:23:25.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"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_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c04_c03_c44"}},{"id":"vifgm_vifgm00082_c07_c07_c25","type":"File","attributes":{"title":"1977-1980,","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00082_c07_c07_c25#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_vifgm00082_c07_c07_c25","ref_ssm":["vifgm_vifgm00082_c07_c07_c25"],"id":"vifgm_vifgm00082_c07_c07_c25","ead_ssi":"vifgm_vifgm00082","_root_":"vifgm_vifgm00082","_nest_parent_":"vifgm_vifgm00082_c07_c07","parent_ssi":"vifgm_vifgm00082_c07_c07","parent_ssim":["vifgm_vifgm00082","vifgm_vifgm00082_c07","vifgm_vifgm00082_c07_c07"],"parent_ids_ssim":["vifgm_vifgm00082","vifgm_vifgm00082_c07","vifgm_vifgm00082_c07_c07"],"parent_unittitles_ssm":["George Mason University Libraries records","Series 7: Library departments and services,\n 1959-2008","Subseries 7.7: Exhibits, \n\t 1955-2007"],"parent_unittitles_tesim":["George Mason University Libraries records","Series 7: Library departments and services,\n 1959-2008","Subseries 7.7: Exhibits, \n\t 1955-2007"],"text":["George Mason University Libraries records","Series 7: Library departments and services,\n 1959-2008","Subseries 7.7: Exhibits, \n\t 1955-2007","1977-1980,","box 159","Folder 8"],"title_filing_ssi":"1977-1980, \n","title_ssm":["1977-1980, \n"],"title_tesim":["1977-1980, \n"],"unitdate_other_ssim":["1977-1980\n"],"normalized_date_ssm":["1977/1980"],"normalized_title_ssm":["1977-1980,"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["George Mason University Libraries records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":2178,"date_range_isim":[1977,1978,1979,1980],"containers_ssim":["box 159","Folder 8"],"_nest_path_":"/components#6/components#6/components#24","timestamp":"2026-05-01T00:52:17.185Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_vifgm00082","ead_ssi":"vifgm_vifgm00082","_root_":"vifgm_vifgm00082","_nest_parent_":"vifgm_vifgm00082","ead_source_url_ssi":"data/gmu/vifgm00082.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["George Mason University Libraries records\n"],"title_tesim":["George Mason University Libraries records\n"],"unitdate_ssm":["1949-2008\n"],"unitdate_inclusive_ssm":["1949-2008\n"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0095\n"],"text":["R0095\n","George Mason University Libraries records","Academic libraries--Virginia.","Organized into eleven series:","Series 1: Library Director, 1958-2001 Series 2: Correspondence and memos, 1960-1999 Series 3: Reports and publications, 1960-2007 Series 4: Committees and collaborations, 1960-2004 Series 5: Policies and procedures, 1960-2001 Series 6: Buildings, 1962-2004 Series 7: Departments and services, 1959-2008 Series 8: Administrative files, 1958-2001 Series 9: Miscellaneous, 1949-2001 Series 10: Photographs, audiovisual materials, artifacts, 1967-1999 Series 11: Oversize, 1984-2003","Fenwick Library, the main research library in the GMU Library System, houses most of the libraries' print collections in all disciplines including journals and maps. In addition to the print collections, the library offers resources in microform and electronic formats. Electronic resources include networked and stand-alone CD-ROMs, the libraries' online catalog, a number of databases available through the libraries' membership in various consortia, and Internet access. Reference librarians in Fenwick assist faculty with specific research projects, teach classes about information search strategies and resources, and work with specific academic departments to develop library collections. Fenwick staff also assist students at all levels -- graduate and undergraduate -- as they become more sophisticated library users throughout their careers at GMU.","The Special Collections and Archives Department in Fenwick Library collects, organizes and preserves books and other items of historical or special interest to the GMU Community; scans and digitizes some especially noteworthy materials for research use (available via the Libraries' Web Pages), and provides finding aids for identification and use of special and archival materials.","The Johnson Center Library (JCL) located in the George W. Johnson Center is an electronic gateway library that supports the informational and instructional needs of students, faculty and staff. The JCL provides access to library resources through the world wide web and Mason libraries local area network of resources.\nThe JCL emphasizes teaching library users to use electronic resources. A variety of drop-in instructional classes on library research skills and in using electronic resources are offered. In addition, course related instructional classes are conducted by the liaison librarians for specific subject departments. Course-integrated library instruction has been developed for special populations such as New Century College, Honors Program, and University 100.\nThe Johnson Center Library provides the following collections and services: Adaptive Technology to assist persons with disabilities, circulating Collection of undergraduate foundation materials focusing on multiculturalism, gender studies, technology, and music and education circulating collections (including graduate level). The library also features a core reference collection, curriculum collection, international newspapers, course reserves, instructional classes and media collections and equipment.","The Arlington Campus Library collects materials that support the non-law academic programs offered on the Arlington Campus of George Mason University. Resources cover a wide range of applied social science disciplinary areas, including public policy, public administration, social services, nonprofit management, business, economics and education. In addition to the core reference and circulating collections, the library serves as a depository for European Union documents and houses the University Library's collection of pre-1987 bound journals.","The Mercer Library, on the Prince William Campus, is part of the George Mason University Libraries system and provides full-access to all GMU-owned print and electronic resources. This means researchers have at their disposal, a collection of one million titles and over 250 electronic databases. The Mercer Library collection specializes in the following disciplines: Health and Fitness, Tourism, Administration of Justice, Education, Biodefense, Bioinformatics, and Computer Science.","The George Mason University Libraries records includes materials and reports on library planning and operations as well as special projects, programs and events. It is divided into eleven series and includes the Library Directors records as well as department records, planning and construction records, reports, meeting minutes, committee records, and policies and procedures. Each series is arranged alphabetically and then chronologically unless otherwise noted. Series one, three, six, seven, eight, and ten have subseries to further divide and make easily accessible the information within.","Series one, Library Director (1958-2001), consists of files created by the Library Director and is divided into six subseries;  Scheduled Reports, Library Director 1958-1981, John G. Veenstra, Louella V. Weatherbee, Charlene Hurt, and John G. Zenelis. This series includes annual reports, correspondence and memorandums, and miscellaneous files collected by the Library Director. Scheduled reports 1959-1985 contains annual and monthly reports prepared by the Library Director. The first annual report of the Librarian dates from 1959. The second subseries, Library Director (1958-1981), includes correspondence, grant and project information, and management by objectives (MBOs) for library departments. The John G. Veenstra (1966-1987), series includes correspondence and memorandums many of which are concerning Special Collections and public services. The fourth subseries, Louella V. Weatherbee (1980-1985), contains documents concerning or created by Louella Weatherbee regarding library expansion, departments, and services. The Charlene Hurt (1973-1999) subseries contains the bulk of the Library Director materials. It contains files created by, or concerning, Charlene Hurt, who served as Library Director in the 1980s and 1990s, and includes information on conferences, chronological files, budgets, correspondence, Johnson Center planning, library policies, and weekly calenders. Subseries six, John G. Zenelis (1998-2001), is a short subseries with information on the Library Director search in 1998, memorandums, and a statement by the Librarian from 2001.","Series two, Correspondence and Memos (1960-1999), consists of four boxes of correspondence and memorandums, created by and pertaining to, library employees, library policies, and library departments, from the years 1960 to 1999.","Series three, Reports (1960-2007), is divided into five subseries: Budgets, Reports, Minutes, Publications, Publicity and Research. Subseries one, Budgets (1970-2001), is arranged chronologically and contains annual budgets, requests and updates. Subseries two, Reports (1960-2001), includes annual, monthly, and quarterly reports, consultant reports, surveys, Southern Association of Colleges and Schools (SACS) accreditation reports, and self studies. Subseries three, Minutes (1972-2002), includes meeting minutes from division head meetings, faculty senate, graduate council meetings and others. Subseries four, Publications (1964-2007), includes the publications Added Entries, Federal One, Full Text, and Library Notes as well as brochures and other newletters produced by the Library staff. Subseries five, Publicity and Research (1967-1995), contains newspaper and magazine articles featuring the libraries at George Mason and especially the Federal Theatre Project. Research articles focus on library science, professional development, and public relations.","Series four, Committees and Collaborations (1960-2004), consists of records originating from library committees and records concerning collaborations within the University and with other institutions undertaken by the library. This series includes information on the Arlington Campus Library, Campus Wide Information Working group (CWIS), Committee on Committees, Consortium for Continuing Higher Education (CCHENV), Faculty Senate Library Committee, Friends of the Library, the Johnson Center, Liaison Librarian Program task force (LLPTF), Librarians council, Policy and Planning council, Research Planning council, Southern Association of Colleges and Schools (SACS), State Council of Higher Education (SCHEV), Virtual Library of Virginia (VIVA), Washington Research Library Consortium (WRLC), and many more.","Series five, Policies and Procedures (1960-2001), includes five boxes of documents on the library handbook, policies, emergency plans, computer and copier procedures and mission statements.","Series six, Buildings (1962-2004), contains building plans, correspondence, and budgets on construction and renovation projects for Fenwick library, the Johnson Center library (also referred to as University Center), Arlington Campus Library, and the Mercer Library at the Prince William Campus. This series is divided into four subseries. Subseries one, Arlington Campus Library (1978-1999), includes the proposal for the Arlington Campus Library (also known as the Metro campus) as well as blueprints featuring the Arlington building and buildings at the Fairfax campus. Subseries two, Fenwick Library (1962-2004), includes building plans, correspondence, proposals and specifications for the Fenwick Library building. Subseries three, Johnson Center (University Center) (1980-1996), includes budgets, building plans, correspondence, planning, proposals and policies relating to the Johnson Center building and library. Subseries four contains documents on the Prince William campus and Mercer Library dating from 1991-1998.","Series seven, Library departments and services (1959-2008), is divided into eight subseries each of which consists of information on a particular department of the library. Subseries one, Catalog and Databases (1979-1995), contains information on the automated library system, and the cataloging department. Subseries two, Circulation (1959-2002), includes manuals and policies for the circulation department. Subseries three, Collection Development (1964-2001) contains acquisitions information, collection development policies, and lists of audiovisual materials in the library. Subseries four, Periodicals (1963-1996), contains information on the periodicals collection. Subseries five, Reference (1976-2000), contains information on the Reference department policies and resources. Subseries six, Other Services (1969-2008), includes material relating to other services the library provides such as workshops and seminars, readings and events, library instruction, and resources. Subseries seven, Exhibits (1955-2007), contains photographs, brochures, publicity, and display materials for exhibits created by and displayed at Fenwick Library. More exhibit material can be found in Series 11 Oversize Material. Subseries eight, Special Collections and Archives (1950-2007), contains information regarding all aspects of the Special Collections and Archives including services, projects, reports, grants, forms, and collection information.","Series eight, Administrative Files (1958-2001), is divided into three subseries: Gifts, Grants, and Personnel. Subseries one, Gifts (1958-1989) contains acknowledgements of gifts received by the library. Subseries two, Grants (1966-1993), includes grant correspondence, proposals, and requests. Subseries three, Personnel (1964-1995), includes faculty information, organization charts, personnel procedures and information on volunteer programs.","Series nine, Miscellaneous (1949-2001), consists of two boxes of miscellaneous correspondence, memorandums, statistics, policies and brochures.","Series ten, Photographs, Audiovisual, Artifacts (1967-1999), includes photographs, audiovisual materials such as VHS and audio cassette tapes, and artifacts including Mason related buttons. It is divided into three subseries. Subseries one, Photographs (1967-1990) includes photographs, contacts sheets, negatives, and slides featuring library staff, as well as, the Fenwick Library and Johnson Center buildings. Subseries two, Audiovisual (1979-1999), includes VHS tapes, an audio cassette tape, a reel to reel tape and a 45rpm record featuring library related seminars and meetings, as well as, information on library technology. Subseries three, Artifacts (1990s), consists of scissors used during the Johnson Center celebration in 1993 and MasonLink buttons.","Series eleven, Oversize (1984-2003), consists of oversize exhibit related material.","The collection includes materials and reports on library planning and operations as well as special projects, programs and events.\n","George Mason University.  Special Collections and Archives.\n","George Mason University Libraries\n","George Mason University. Libraries.","English\n"],"unitid_tesim":["R0095\n"],"normalized_title_ssm":["George Mason University Libraries records"],"collection_title_tesim":["George Mason University Libraries records"],"collection_ssim":["George Mason University Libraries records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University Libraries\n"],"creator_ssim":["George Mason University Libraries\n"],"creator_corpname_ssim":["George Mason University Libraries\n"],"creators_ssim":["George Mason University Libraries\n"],"acqinfo_ssim":["Donated by the GMU Libraries.\n"],"access_subjects_ssim":["Academic libraries--Virginia."],"access_subjects_ssm":["Academic libraries--Virginia."],"has_online_content_ssim":["false"],"extent_ssm":["110 linear ft.; 214 boxes"],"extent_tesim":["110 linear ft.; 214 boxes"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008],"arrangement_html_tesm":["\u003cp\u003eOrganized into eleven series:\u003c/p\u003e","\u003clist\u003e\n        \u003citem\u003eSeries 1: Library Director, 1958-2001\u003c/item\u003e\n        \u003citem\u003eSeries 2: Correspondence and memos, 1960-1999\u003c/item\u003e\n        \u003citem\u003eSeries 3: Reports and publications, 1960-2007\u003c/item\u003e\n        \u003citem\u003eSeries 4: Committees and collaborations, 1960-2004\u003c/item\u003e\n        \u003citem\u003eSeries 5: Policies and procedures, 1960-2001\u003c/item\u003e\n        \u003citem\u003eSeries 6: Buildings, 1962-2004\u003c/item\u003e\n        \u003citem\u003eSeries 7: Departments and services, 1959-2008\u003c/item\u003e\n        \u003citem\u003eSeries 8: Administrative files, 1958-2001\u003c/item\u003e\n        \u003citem\u003eSeries 9: Miscellaneous, 1949-2001\u003c/item\u003e\n        \u003citem\u003eSeries 10: Photographs, audiovisual materials, artifacts, 1967-1999\u003c/item\u003e\n        \u003citem\u003eSeries 11: Oversize, 1984-2003\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["Organized into eleven series:","Series 1: Library Director, 1958-2001 Series 2: Correspondence and memos, 1960-1999 Series 3: Reports and publications, 1960-2007 Series 4: Committees and collaborations, 1960-2004 Series 5: Policies and procedures, 1960-2001 Series 6: Buildings, 1962-2004 Series 7: Departments and services, 1959-2008 Series 8: Administrative files, 1958-2001 Series 9: Miscellaneous, 1949-2001 Series 10: Photographs, audiovisual materials, artifacts, 1967-1999 Series 11: Oversize, 1984-2003"],"bioghist_html_tesm":["\u003cp\u003eFenwick Library, the main research library in the GMU Library System, houses most of the libraries' print collections in all disciplines including journals and maps. In addition to the print collections, the library offers resources in microform and electronic formats. Electronic resources include networked and stand-alone CD-ROMs, the libraries' online catalog, a number of databases available through the libraries' membership in various consortia, and Internet access. Reference librarians in Fenwick assist faculty with specific research projects, teach classes about information search strategies and resources, and work with specific academic departments to develop library collections. Fenwick staff also assist students at all levels -- graduate and undergraduate -- as they become more sophisticated library users throughout their careers at GMU.\u003c/p\u003e","\u003cp\u003eThe Special Collections and Archives Department in Fenwick Library collects, organizes and preserves books and other items of historical or special interest to the GMU Community; scans and digitizes some especially noteworthy materials for research use (available via the Libraries' Web Pages), and provides finding aids for identification and use of special and archival materials.\u003c/p\u003e","\u003cp\u003eThe Johnson Center Library (JCL) located in the George W. Johnson Center is an electronic gateway library that supports the informational and instructional needs of students, faculty and staff. The JCL provides access to library resources through the world wide web and Mason libraries local area network of resources.\nThe JCL emphasizes teaching library users to use electronic resources. A variety of drop-in instructional classes on library research skills and in using electronic resources are offered. In addition, course related instructional classes are conducted by the liaison librarians for specific subject departments. Course-integrated library instruction has been developed for special populations such as New Century College, Honors Program, and University 100.\nThe Johnson Center Library provides the following collections and services: Adaptive Technology to assist persons with disabilities, circulating Collection of undergraduate foundation materials focusing on multiculturalism, gender studies, technology, and music and education circulating collections (including graduate level). The library also features a core reference collection, curriculum collection, international newspapers, course reserves, instructional classes and media collections and equipment.\u003c/p\u003e","\u003cp\u003eThe Arlington Campus Library collects materials that support the non-law academic programs offered on the Arlington Campus of George Mason University. Resources cover a wide range of applied social science disciplinary areas, including public policy, public administration, social services, nonprofit management, business, economics and education. In addition to the core reference and circulating collections, the library serves as a depository for European Union documents and houses the University Library's collection of pre-1987 bound journals.\u003c/p\u003e","\u003cp\u003eThe Mercer Library, on the Prince William Campus, is part of the George Mason University Libraries system and provides full-access to all GMU-owned print and electronic resources. This means researchers have at their disposal, a collection of one million titles and over 250 electronic databases. The Mercer Library collection specializes in the following disciplines: Health and Fitness, Tourism, Administration of Justice, Education, Biodefense, Bioinformatics, and Computer Science.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["Fenwick Library, the main research library in the GMU Library System, houses most of the libraries' print collections in all disciplines including journals and maps. In addition to the print collections, the library offers resources in microform and electronic formats. Electronic resources include networked and stand-alone CD-ROMs, the libraries' online catalog, a number of databases available through the libraries' membership in various consortia, and Internet access. Reference librarians in Fenwick assist faculty with specific research projects, teach classes about information search strategies and resources, and work with specific academic departments to develop library collections. Fenwick staff also assist students at all levels -- graduate and undergraduate -- as they become more sophisticated library users throughout their careers at GMU.","The Special Collections and Archives Department in Fenwick Library collects, organizes and preserves books and other items of historical or special interest to the GMU Community; scans and digitizes some especially noteworthy materials for research use (available via the Libraries' Web Pages), and provides finding aids for identification and use of special and archival materials.","The Johnson Center Library (JCL) located in the George W. Johnson Center is an electronic gateway library that supports the informational and instructional needs of students, faculty and staff. The JCL provides access to library resources through the world wide web and Mason libraries local area network of resources.\nThe JCL emphasizes teaching library users to use electronic resources. A variety of drop-in instructional classes on library research skills and in using electronic resources are offered. In addition, course related instructional classes are conducted by the liaison librarians for specific subject departments. Course-integrated library instruction has been developed for special populations such as New Century College, Honors Program, and University 100.\nThe Johnson Center Library provides the following collections and services: Adaptive Technology to assist persons with disabilities, circulating Collection of undergraduate foundation materials focusing on multiculturalism, gender studies, technology, and music and education circulating collections (including graduate level). The library also features a core reference collection, curriculum collection, international newspapers, course reserves, instructional classes and media collections and equipment.","The Arlington Campus Library collects materials that support the non-law academic programs offered on the Arlington Campus of George Mason University. Resources cover a wide range of applied social science disciplinary areas, including public policy, public administration, social services, nonprofit management, business, economics and education. In addition to the core reference and circulating collections, the library serves as a depository for European Union documents and houses the University Library's collection of pre-1987 bound journals.","The Mercer Library, on the Prince William Campus, is part of the George Mason University Libraries system and provides full-access to all GMU-owned print and electronic resources. This means researchers have at their disposal, a collection of one million titles and over 250 electronic databases. The Mercer Library collection specializes in the following disciplines: Health and Fitness, Tourism, Administration of Justice, Education, Biodefense, Bioinformatics, and Computer Science."],"scopecontent_html_tesm":["\u003cp\u003eThe George Mason University Libraries records includes materials and reports on library planning and operations as well as special projects, programs and events. It is divided into eleven series and includes the Library Directors records as well as department records, planning and construction records, reports, meeting minutes, committee records, and policies and procedures. Each series is arranged alphabetically and then chronologically unless otherwise noted. Series one, three, six, seven, eight, and ten have subseries to further divide and make easily accessible the information within.\u003c/p\u003e","\u003cp\u003eSeries one, Library Director (1958-2001), consists of files created by the Library Director and is divided into six subseries;  Scheduled Reports, Library Director 1958-1981, John G. Veenstra, Louella V. Weatherbee, Charlene Hurt, and John G. Zenelis. This series includes annual reports, correspondence and memorandums, and miscellaneous files collected by the Library Director. Scheduled reports 1959-1985 contains annual and monthly reports prepared by the Library Director. The first annual report of the Librarian dates from 1959. The second subseries, Library Director (1958-1981), includes correspondence, grant and project information, and management by objectives (MBOs) for library departments. The John G. Veenstra (1966-1987), series includes correspondence and memorandums many of which are concerning Special Collections and public services. The fourth subseries, Louella V. Weatherbee (1980-1985), contains documents concerning or created by Louella Weatherbee regarding library expansion, departments, and services. The Charlene Hurt (1973-1999) subseries contains the bulk of the Library Director materials. It contains files created by, or concerning, Charlene Hurt, who served as Library Director in the 1980s and 1990s, and includes information on conferences, chronological files, budgets, correspondence, Johnson Center planning, library policies, and weekly calenders. Subseries six, John G. Zenelis (1998-2001), is a short subseries with information on the Library Director search in 1998, memorandums, and a statement by the Librarian from 2001.\u003c/p\u003e","\u003cp\u003eSeries two, Correspondence and Memos (1960-1999), consists of four boxes of correspondence and memorandums, created by and pertaining to, library employees, library policies, and library departments, from the years 1960 to 1999.\u003c/p\u003e","\u003cp\u003eSeries three, Reports (1960-2007), is divided into five subseries: Budgets, Reports, Minutes, Publications, Publicity and Research. Subseries one, Budgets (1970-2001), is arranged chronologically and contains annual budgets, requests and updates. Subseries two, Reports (1960-2001), includes annual, monthly, and quarterly reports, consultant reports, surveys, Southern Association of Colleges and Schools (SACS) accreditation reports, and self studies. Subseries three, Minutes (1972-2002), includes meeting minutes from division head meetings, faculty senate, graduate council meetings and others. Subseries four, Publications (1964-2007), includes the publications Added Entries, Federal One, Full Text, and Library Notes as well as brochures and other newletters produced by the Library staff. Subseries five, Publicity and Research (1967-1995), contains newspaper and magazine articles featuring the libraries at George Mason and especially the Federal Theatre Project. Research articles focus on library science, professional development, and public relations.\u003c/p\u003e","\u003cp\u003eSeries four, Committees and Collaborations (1960-2004), consists of records originating from library committees and records concerning collaborations within the University and with other institutions undertaken by the library. This series includes information on the Arlington Campus Library, Campus Wide Information Working group (CWIS), Committee on Committees, Consortium for Continuing Higher Education (CCHENV), Faculty Senate Library Committee, Friends of the Library, the Johnson Center, Liaison Librarian Program task force (LLPTF), Librarians council, Policy and Planning council, Research Planning council, Southern Association of Colleges and Schools (SACS), State Council of Higher Education (SCHEV), Virtual Library of Virginia (VIVA), Washington Research Library Consortium (WRLC), and many more.\u003c/p\u003e","\u003cp\u003eSeries five, Policies and Procedures (1960-2001), includes five boxes of documents on the library handbook, policies, emergency plans, computer and copier procedures and mission statements.\u003c/p\u003e","\u003cp\u003eSeries six, Buildings (1962-2004), contains building plans, correspondence, and budgets on construction and renovation projects for Fenwick library, the Johnson Center library (also referred to as University Center), Arlington Campus Library, and the Mercer Library at the Prince William Campus. This series is divided into four subseries. Subseries one, Arlington Campus Library (1978-1999), includes the proposal for the Arlington Campus Library (also known as the Metro campus) as well as blueprints featuring the Arlington building and buildings at the Fairfax campus. Subseries two, Fenwick Library (1962-2004), includes building plans, correspondence, proposals and specifications for the Fenwick Library building. Subseries three, Johnson Center (University Center) (1980-1996), includes budgets, building plans, correspondence, planning, proposals and policies relating to the Johnson Center building and library. Subseries four contains documents on the Prince William campus and Mercer Library dating from 1991-1998.\u003c/p\u003e","\u003cp\u003eSeries seven, Library departments and services (1959-2008), is divided into eight subseries each of which consists of information on a particular department of the library. Subseries one, Catalog and Databases (1979-1995), contains information on the automated library system, and the cataloging department. Subseries two, Circulation (1959-2002), includes manuals and policies for the circulation department. Subseries three, Collection Development (1964-2001) contains acquisitions information, collection development policies, and lists of audiovisual materials in the library. Subseries four, Periodicals (1963-1996), contains information on the periodicals collection. Subseries five, Reference (1976-2000), contains information on the Reference department policies and resources. Subseries six, Other Services (1969-2008), includes material relating to other services the library provides such as workshops and seminars, readings and events, library instruction, and resources. Subseries seven, Exhibits (1955-2007), contains photographs, brochures, publicity, and display materials for exhibits created by and displayed at Fenwick Library. More exhibit material can be found in Series 11 Oversize Material. Subseries eight, Special Collections and Archives (1950-2007), contains information regarding all aspects of the Special Collections and Archives including services, projects, reports, grants, forms, and collection information.\u003c/p\u003e","\u003cp\u003eSeries eight, Administrative Files (1958-2001), is divided into three subseries: Gifts, Grants, and Personnel. Subseries one, Gifts (1958-1989) contains acknowledgements of gifts received by the library. Subseries two, Grants (1966-1993), includes grant correspondence, proposals, and requests. Subseries three, Personnel (1964-1995), includes faculty information, organization charts, personnel procedures and information on volunteer programs.\u003c/p\u003e","\u003cp\u003eSeries nine, Miscellaneous (1949-2001), consists of two boxes of miscellaneous correspondence, memorandums, statistics, policies and brochures.\u003c/p\u003e","\u003cp\u003eSeries ten, Photographs, Audiovisual, Artifacts (1967-1999), includes photographs, audiovisual materials such as VHS and audio cassette tapes, and artifacts including Mason related buttons. It is divided into three subseries. Subseries one, Photographs (1967-1990) includes photographs, contacts sheets, negatives, and slides featuring library staff, as well as, the Fenwick Library and Johnson Center buildings. Subseries two, Audiovisual (1979-1999), includes VHS tapes, an audio cassette tape, a reel to reel tape and a 45rpm record featuring library related seminars and meetings, as well as, information on library technology. Subseries three, Artifacts (1990s), consists of scissors used during the Johnson Center celebration in 1993 and MasonLink buttons.\u003c/p\u003e","\u003cp\u003eSeries eleven, Oversize (1984-2003), consists of oversize exhibit related material.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["The George Mason University Libraries records includes materials and reports on library planning and operations as well as special projects, programs and events. It is divided into eleven series and includes the Library Directors records as well as department records, planning and construction records, reports, meeting minutes, committee records, and policies and procedures. Each series is arranged alphabetically and then chronologically unless otherwise noted. Series one, three, six, seven, eight, and ten have subseries to further divide and make easily accessible the information within.","Series one, Library Director (1958-2001), consists of files created by the Library Director and is divided into six subseries;  Scheduled Reports, Library Director 1958-1981, John G. Veenstra, Louella V. Weatherbee, Charlene Hurt, and John G. Zenelis. This series includes annual reports, correspondence and memorandums, and miscellaneous files collected by the Library Director. Scheduled reports 1959-1985 contains annual and monthly reports prepared by the Library Director. The first annual report of the Librarian dates from 1959. The second subseries, Library Director (1958-1981), includes correspondence, grant and project information, and management by objectives (MBOs) for library departments. The John G. Veenstra (1966-1987), series includes correspondence and memorandums many of which are concerning Special Collections and public services. The fourth subseries, Louella V. Weatherbee (1980-1985), contains documents concerning or created by Louella Weatherbee regarding library expansion, departments, and services. The Charlene Hurt (1973-1999) subseries contains the bulk of the Library Director materials. It contains files created by, or concerning, Charlene Hurt, who served as Library Director in the 1980s and 1990s, and includes information on conferences, chronological files, budgets, correspondence, Johnson Center planning, library policies, and weekly calenders. Subseries six, John G. Zenelis (1998-2001), is a short subseries with information on the Library Director search in 1998, memorandums, and a statement by the Librarian from 2001.","Series two, Correspondence and Memos (1960-1999), consists of four boxes of correspondence and memorandums, created by and pertaining to, library employees, library policies, and library departments, from the years 1960 to 1999.","Series three, Reports (1960-2007), is divided into five subseries: Budgets, Reports, Minutes, Publications, Publicity and Research. Subseries one, Budgets (1970-2001), is arranged chronologically and contains annual budgets, requests and updates. Subseries two, Reports (1960-2001), includes annual, monthly, and quarterly reports, consultant reports, surveys, Southern Association of Colleges and Schools (SACS) accreditation reports, and self studies. Subseries three, Minutes (1972-2002), includes meeting minutes from division head meetings, faculty senate, graduate council meetings and others. Subseries four, Publications (1964-2007), includes the publications Added Entries, Federal One, Full Text, and Library Notes as well as brochures and other newletters produced by the Library staff. Subseries five, Publicity and Research (1967-1995), contains newspaper and magazine articles featuring the libraries at George Mason and especially the Federal Theatre Project. Research articles focus on library science, professional development, and public relations.","Series four, Committees and Collaborations (1960-2004), consists of records originating from library committees and records concerning collaborations within the University and with other institutions undertaken by the library. This series includes information on the Arlington Campus Library, Campus Wide Information Working group (CWIS), Committee on Committees, Consortium for Continuing Higher Education (CCHENV), Faculty Senate Library Committee, Friends of the Library, the Johnson Center, Liaison Librarian Program task force (LLPTF), Librarians council, Policy and Planning council, Research Planning council, Southern Association of Colleges and Schools (SACS), State Council of Higher Education (SCHEV), Virtual Library of Virginia (VIVA), Washington Research Library Consortium (WRLC), and many more.","Series five, Policies and Procedures (1960-2001), includes five boxes of documents on the library handbook, policies, emergency plans, computer and copier procedures and mission statements.","Series six, Buildings (1962-2004), contains building plans, correspondence, and budgets on construction and renovation projects for Fenwick library, the Johnson Center library (also referred to as University Center), Arlington Campus Library, and the Mercer Library at the Prince William Campus. This series is divided into four subseries. Subseries one, Arlington Campus Library (1978-1999), includes the proposal for the Arlington Campus Library (also known as the Metro campus) as well as blueprints featuring the Arlington building and buildings at the Fairfax campus. Subseries two, Fenwick Library (1962-2004), includes building plans, correspondence, proposals and specifications for the Fenwick Library building. Subseries three, Johnson Center (University Center) (1980-1996), includes budgets, building plans, correspondence, planning, proposals and policies relating to the Johnson Center building and library. Subseries four contains documents on the Prince William campus and Mercer Library dating from 1991-1998.","Series seven, Library departments and services (1959-2008), is divided into eight subseries each of which consists of information on a particular department of the library. Subseries one, Catalog and Databases (1979-1995), contains information on the automated library system, and the cataloging department. Subseries two, Circulation (1959-2002), includes manuals and policies for the circulation department. Subseries three, Collection Development (1964-2001) contains acquisitions information, collection development policies, and lists of audiovisual materials in the library. Subseries four, Periodicals (1963-1996), contains information on the periodicals collection. Subseries five, Reference (1976-2000), contains information on the Reference department policies and resources. Subseries six, Other Services (1969-2008), includes material relating to other services the library provides such as workshops and seminars, readings and events, library instruction, and resources. Subseries seven, Exhibits (1955-2007), contains photographs, brochures, publicity, and display materials for exhibits created by and displayed at Fenwick Library. More exhibit material can be found in Series 11 Oversize Material. Subseries eight, Special Collections and Archives (1950-2007), contains information regarding all aspects of the Special Collections and Archives including services, projects, reports, grants, forms, and collection information.","Series eight, Administrative Files (1958-2001), is divided into three subseries: Gifts, Grants, and Personnel. Subseries one, Gifts (1958-1989) contains acknowledgements of gifts received by the library. Subseries two, Grants (1966-1993), includes grant correspondence, proposals, and requests. Subseries three, Personnel (1964-1995), includes faculty information, organization charts, personnel procedures and information on volunteer programs.","Series nine, Miscellaneous (1949-2001), consists of two boxes of miscellaneous correspondence, memorandums, statistics, policies and brochures.","Series ten, Photographs, Audiovisual, Artifacts (1967-1999), includes photographs, audiovisual materials such as VHS and audio cassette tapes, and artifacts including Mason related buttons. It is divided into three subseries. Subseries one, Photographs (1967-1990) includes photographs, contacts sheets, negatives, and slides featuring library staff, as well as, the Fenwick Library and Johnson Center buildings. Subseries two, Audiovisual (1979-1999), includes VHS tapes, an audio cassette tape, a reel to reel tape and a 45rpm record featuring library related seminars and meetings, as well as, information on library technology. Subseries three, Artifacts (1990s), consists of scissors used during the Johnson Center celebration in 1993 and MasonLink buttons.","Series eleven, Oversize (1984-2003), consists of oversize exhibit related material."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe collection includes materials and reports on library planning and operations as well as special projects, programs and events.\n\u003c/abstract\u003e"],"abstract_tesim":["The collection includes materials and reports on library planning and operations as well as special projects, programs and events.\n"],"names_ssim":["George Mason University.  Special Collections and Archives.\n","George Mason University Libraries\n","George Mason University. Libraries."],"corpname_ssim":["George Mason University.  Special Collections and Archives.\n","George Mason University Libraries\n","George Mason University. Libraries."],"language_ssim":["English\n"],"total_component_count_is":3018,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:52:17.185Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_vifgm00082_c07_c07_c25"}},{"id":"vifgm_repositories_2_resources_308_c07_c07_c25","type":"File","attributes":{"title":"1977-1980","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_308_c07_c07_c25#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_308_c07_c07_c25","ref_ssm":["vifgm_repositories_2_resources_308_c07_c07_c25"],"id":"vifgm_repositories_2_resources_308_c07_c07_c25","ead_ssi":"vifgm_repositories_2_resources_308","_root_":"vifgm_repositories_2_resources_308","_nest_parent_":"vifgm_repositories_2_resources_308_c07_c07","parent_ssi":"vifgm_repositories_2_resources_308_c07_c07","parent_ssim":["vifgm_repositories_2_resources_308","vifgm_repositories_2_resources_308_c07","vifgm_repositories_2_resources_308_c07_c07"],"parent_ids_ssim":["vifgm_repositories_2_resources_308","vifgm_repositories_2_resources_308_c07","vifgm_repositories_2_resources_308_c07_c07"],"parent_unittitles_ssm":["George Mason University Libraries records","Series 7: Library departments and services","Subseries 7.7: Exhibits"],"parent_unittitles_tesim":["George Mason University Libraries records","Series 7: Library departments and services","Subseries 7.7: Exhibits"],"text":["George Mason University Libraries records","Series 7: Library departments and services","Subseries 7.7: Exhibits","1977-1980","box 159","folder 8"],"title_filing_ssi":"1977-1980","title_ssm":["1977-1980"],"title_tesim":["1977-1980"],"unitdate_other_ssim":["1977-1980"],"normalized_date_ssm":["1977/1980"],"normalized_title_ssm":["1977-1980"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["George Mason University Libraries records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":2188,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["There are no restrictions."],"date_range_isim":[1977,1978,1979,1980],"containers_ssim":["box 159","folder 8"],"scopecontent_heading_ssm":["Scope and Contents note"],"_nest_path_":"/components#6/components#6/components#24","timestamp":"2026-05-01T00:25:37.310Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_308","ead_ssi":"vifgm_repositories_2_resources_308","_root_":"vifgm_repositories_2_resources_308","_nest_parent_":"vifgm_repositories_2_resources_308","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_308.xml","aspace_url_ssi":"http://scrc.gmu.edu/finding_aids/gmulibraries.html","title_ssm":["George Mason University Libraries records"],"title_tesim":["George Mason University Libraries records"],"unitdate_ssm":["1949-2008"],"unitdate_inclusive_ssm":["1949-2008"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0095","/repositories/2/resources/308"],"text":["R0095","/repositories/2/resources/308","George Mason University Libraries records","Academic libraries -- United States","Collection is open to research.","Organized into eleven series:","Missing Title Series 1: Library Director, 1958-2001 Series 2: Correspondence and memos, 1960-1999 Series 3: Reports and publications, 1960-2007 Series 4: Committees and collaborations, 1960-2004 Series 5: Policies and procedures, 1960-2001 Series 6: Buildings, 1962-2004 Series 7: Departments and services, 1959-2008 Series 8: Administrative files, 1958-2001 Series 9: Miscellaneous, 1949-2001 Series 10: Photographs, audiovisual materials, artifacts, 1967-1999 Series 11: Oversize, 1984-2003","Fenwick Library, the main research library in the GMU Library System, houses most of the libraries' print collections in all disciplines including journals and maps. In addition to the print collections, the library offers resources in microform and electronic formats. Electronic resources include networked and stand-alone CD-ROMs, the libraries' online catalog, a number of databases available through the libraries' membership in various consortia, and Internet access. Reference librarians in Fenwick assist faculty with specific research projects, teach classes about information search strategies and resources, and work with specific academic departments to develop library collections. Fenwick staff also assist students at all levels -- graduate and undergraduate -- as they become more sophisticated library users throughout their careers at GMU.","The Special Collections and Archives Department in Fenwick Library collects, organizes and preserves books and other items of historical or special interest to the GMU Community; scans and digitizes some especially noteworthy materials for research use (available via the Libraries' Web Pages), and provides finding aids for identification and use of special and archival materials.","The Johnson Center Library (JCL) located in the George W. Johnson Center is an electronic gateway library that supports the informational and instructional needs of students, faculty and staff. The JCL provides access to library resources through the world wide web and Mason libraries local area network of resources. The JCL emphasizes teaching library users to use electronic resources. A variety of drop-in instructional classes on library research skills and in using electronic resources are offered. In addition, course related instructional classes are conducted by the liaison librarians for specific subject departments. Course-integrated library instruction has been developed for special populations such as New Century College, Honors Program, and University 100. The Johnson Center Library provides the following collections and services: Adaptive Technology to assist persons with disabilities, circulating Collection of undergraduate foundation materials focusing on multiculturalism, gender studies, technology, and music and education circulating collections (including graduate level). The library also features a core reference collection, curriculum collection, international newspapers, course reserves, instructional classes and media collections and equipment.","The Arlington Campus Library collects materials that support the non-law academic programs offered on the Arlington Campus of George Mason University. Resources cover a wide range of applied social science disciplinary areas, including public policy, public administration, social services, nonprofit management, business, economics and education. In addition to the core reference and circulating collections, the library serves as a depository for European Union documents and houses the University Library's collection of pre-1987 bound journals.","The Mercer Library, on the Prince William Campus, is part of the George Mason University Libraries system and provides full-access to all GMU-owned print and electronic resources. This means researchers have at their disposal, a collection of one million titles and over 250 electronic databases. The Mercer Library collection specializes in the following disciplines: Health and Fitness, Tourism, Administration of Justice, Education, Biodefense, Bioinformatics, and Computer Science.","Processed by Special Collections and Archives staff.","Special Collections and Archives holds the George Mason University records.","The George Mason University Libraries records includes materials and reports on library planning and operations as well as special projects, programs and events. It is divided into eleven series and includes the Library Directors records as well as department records, planning and construction records, reports, meeting minutes, committee records, and policies and procedures. Each series is arranged alphabetically and then chronologically unless otherwise noted. Series one, three, six, seven, eight, and ten have subseries to further divide and make easily accessible the information within.","Series one, Library Director (1958-2001), consists of 34 boxes of files created by the Library Director and is divided into six subseries; Scheduled Reports, Library Director 1958-1981, John G. Veenstra, Louella V. Weatherbee, Charlene Hurt, and John G. Zenelis. This series includes annual reports, letters, correspondence and memorandums, and miscellaneous plus chronological files collected by the Library Director. Scheduled reports 1959-1985 contains annual and monthly reports prepared by the Library Director. The first annual report of the Librarian dates from 1959. The second subseries, Library Director (1958-1981), includes correspondence, grant and project information, and management by objectives (MBOs) for library departments. The John G. Veenstra (1966-1987), series includes correspondence and memorandums many of which are concerning Special Collections and public services. The fourth subseries, Louella V. Weatherbee (1980-1985), contains documents concerning or created by Louella Weatherbee regarding library expansion, departments, and services. The Charlene Hurt (1973-1999) subseries contains the bulk of the Library Director materials. It contains files created by, or concerning, Charlene Hurt, who served as Library Director in the 1980s and 1990s, and includes information on conferences, chronological files, budgets, correspondence, Johnson Center planning, library policies, and weekly calenders. Subseries six, John G. Zenelis (1998-2001), is a short subseries with information on the Library Director search in 1998, memorandums, and a statement by the Librarian from 2001.  ","Series two, Correspondence and Memos (1960-1999), consists of four boxes of correspondence and memorandums, created by and pertaining to, library employees, library policies, and library departments, from the years 1960 to 1999.","Series three, Reports (1960-2007), is divided into five subseries: Budgets, Reports, Minutes, Publications, Publicity and Research. Subseries one (Boxes 39-44), Budgets (1970-2001), is arranged chronologically and contains annual budgets, requests and updates. Subseries two (Boxes 54-63), Reports (1960-2001), includes annual, monthly, and quarterly reports, consultant reports, surveys, Southern Association of Colleges and Schools (SACS) accreditation reports, and self studies. Subseries three (Boxes 64-66), Committee (1972-2002), includes meeting minutes, memorandum, papers from division head meetings, faculty senate, graduate council meetings and others. Subseries four (Boxes 67-72), Publications (1964-2007), includes the publications Added Entries, Federal One, Full Text, and Library Notes as well as brochures and other newletters produced by the Library staff. Subseries five(Boxes 73-75), Publicity and Research (1967-1995), contains newspaper and magazine articles featuring the libraries at George Mason and especially the Federal Theatre Project. Research articles focus on library science, professional development, and public relations.","Series four, Committees and Collaborations (1960-2004), consists of eight boxes of records originating from library committees and records concerning collaborations within the University and with other institutions undertaken by the library. This series includes information on the Arlington Campus Library, Campus Wide Information Working group (CWIS), Committee on Committees, Consortium for Continuing Higher Education (CCHENV), Faculty Senate Library Committee, Friends of the Library, the Johnson Center, Liaison Librarian Program task force (LLPTF), Librarians council, Policy and Planning council, Research Planning council, Southern Association of Colleges and Schools (SACS), State Council of Higher Education (SCHEV), Virtual Library of Virginia (VIVA), Washington Research Library Consortium (WRLC), and many more.","Series five, Policies and Procedures (1960-2001), includes five boxes of documents on the library handbook, policies, emergency plans, computer, library council minutes, and copier procedures and mission statements.","Series six, Buildings (1962-2004), contains building plans, correspondence, notes, and budgets on construction and renovation projects for Fenwick library, the Johnson Center library (also referred to as University Center), Arlington Campus Library, and the Mercer Library at the Prince William Campus. This series is divided into four subseries. Subseries one, Arlington Campus Library (1978-1999), includes the proposal for the Arlington Campus Library (also known as the Metro campus) as well as blueprints featuring the Arlington building and buildings at the Fairfax campus. Subseries two, Fenwick Library (1962-2004), includes building plans, correspondence, proposals and specifications for the Fenwick Library building. Subseries three, Johnson Center (University Center) (1980-1996), includes budgets, building plans, correspondence, planning, proposals and policies relating to the Johnson Center building and library. Subseries four contains documents on the Prince William campus and Mercer Library dating from 1991-1998.","Series seven, Library departments and services (1959-2008), is divided into eight subseries each of which consists of information on a particular department of the library. Subseries one, Catalog and Databases (1979-1995), contains information on the automated library system, and the cataloging department. Subseries two, Circulation (1959-2002), includes manuals and policies for the circulation department. Subseries three, Collection Development (1964-2001) contains acquisitions information, collection development policies, and lists of audiovisual materials in the library. Subseries four, Periodicals (1963-1996), contains information on the periodicals collection and holding lists. Subseries five, Reference (1976-2000), contains information on the Reference department policies and resources. Subseries six, Other Services (1969-2008), includes material relating to other services the library provides such as workshops and seminars, readings and events, library instruction, research theses and resources. Subseries seven, Exhibits (1955-2007), contains photographs, brochures, publicity, and display materials for exhibits created by and displayed at Fenwick Library. More exhibit material can be found in Series 11 Oversize Material. Subseries eight, Special Collections and Archives (1950-2007), contains information regarding all aspects of the Special Collections and Archives and additional places such as the Millionth Volume Celebration Group including services, projects, reports, grants, forms, research, and collection information.","Series eight, Administrative Files (1958-2001), is divided into three subseries: Gifts, Grants, and Personnel. Subseries one, Gifts (1958-1989) contains acknowledgements of gifts received by the library. Subseries two, Grants (1966-1993), includes grant correspondence, proposals, and requests. Subseries three, Personnel (1964-1995), includes faculty information, organization charts, reports, personnel procedures and information on volunteer programs.","Series nine, Miscellaneous (1949-2011) consists of boxes of miscellaneous correspondence, memorandums, statistics, policies and brochures (boxes 192, 193, 225-242).","Series ten, Photographs, Audiovisual, Artifacts (1967-1999), includes photographs, audiovisual materials such as VHS and audio cassette tapes, and artifacts including Mason related buttons. It is divided into three subseries. Subseries one, Photographs (1967-1990) includes photographs, contacts sheets, negatives, and slides featuring library staff, as well as, the Fenwick Library and Johnson Center buildings. Subseries two, Audiovisual (1979-1999), includes VHS tapes, an audio cassette tape, a reel to reel tape and a 45rpm record featuring library related seminars and meetings, as well as, information on library technology. Subseries three, Artifacts (1990s), consists of scissors used during the Johnson Center celebration in 1993 and MasonLink buttons.","Series eleven, Oversize (1984-2003), consists of oversize exhibit related material.","There are no restrictions.","The collection includes materials and reports on library planning and operations as well as special projects, programs and events.","George Mason University. Libraries. Special Collections Research Center","George Mason University. Libraries","English"],"unitid_tesim":["R0095","/repositories/2/resources/308"],"normalized_title_ssm":["George Mason University Libraries records"],"collection_title_tesim":["George Mason University Libraries records"],"collection_ssim":["George Mason University Libraries records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Libraries"],"creator_ssim":["George Mason University. 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In addition to the print collections, the library offers resources in microform and electronic formats. Electronic resources include networked and stand-alone CD-ROMs, the libraries' online catalog, a number of databases available through the libraries' membership in various consortia, and Internet access. Reference librarians in Fenwick assist faculty with specific research projects, teach classes about information search strategies and resources, and work with specific academic departments to develop library collections. Fenwick staff also assist students at all levels -- graduate and undergraduate -- as they become more sophisticated library users throughout their careers at GMU.\u003c/p\u003e\n","\u003cp\u003eThe Special Collections and Archives Department in Fenwick Library collects, organizes and preserves books and other items of historical or special interest to the GMU Community; scans and digitizes some especially noteworthy materials for research use (available via the Libraries' Web Pages), and provides finding aids for identification and use of special and archival materials.\u003c/p\u003e\n","\u003cp\u003eThe Johnson Center Library (JCL) located in the George W. Johnson Center is an electronic gateway library that supports the informational and instructional needs of students, faculty and staff. The JCL provides access to library resources through the world wide web and Mason libraries local area network of resources. The JCL emphasizes teaching library users to use electronic resources. A variety of drop-in instructional classes on library research skills and in using electronic resources are offered. In addition, course related instructional classes are conducted by the liaison librarians for specific subject departments. Course-integrated library instruction has been developed for special populations such as New Century College, Honors Program, and University 100. The Johnson Center Library provides the following collections and services: Adaptive Technology to assist persons with disabilities, circulating Collection of undergraduate foundation materials focusing on multiculturalism, gender studies, technology, and music and education circulating collections (including graduate level). The library also features a core reference collection, curriculum collection, international newspapers, course reserves, instructional classes and media collections and equipment.\u003c/p\u003e\n","\u003cp\u003eThe Arlington Campus Library collects materials that support the non-law academic programs offered on the Arlington Campus of George Mason University. Resources cover a wide range of applied social science disciplinary areas, including public policy, public administration, social services, nonprofit management, business, economics and education. In addition to the core reference and circulating collections, the library serves as a depository for European Union documents and houses the University Library's collection of pre-1987 bound journals.\u003c/p\u003e\n","\u003cp\u003eThe Mercer Library, on the Prince William Campus, is part of the George Mason University Libraries system and provides full-access to all GMU-owned print and electronic resources. This means researchers have at their disposal, a collection of one million titles and over 250 electronic databases. The Mercer Library collection specializes in the following disciplines: Health and Fitness, Tourism, Administration of Justice, Education, Biodefense, Bioinformatics, and Computer Science.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["Fenwick Library, the main research library in the GMU Library System, houses most of the libraries' print collections in all disciplines including journals and maps. In addition to the print collections, the library offers resources in microform and electronic formats. Electronic resources include networked and stand-alone CD-ROMs, the libraries' online catalog, a number of databases available through the libraries' membership in various consortia, and Internet access. Reference librarians in Fenwick assist faculty with specific research projects, teach classes about information search strategies and resources, and work with specific academic departments to develop library collections. Fenwick staff also assist students at all levels -- graduate and undergraduate -- as they become more sophisticated library users throughout their careers at GMU.","The Special Collections and Archives Department in Fenwick Library collects, organizes and preserves books and other items of historical or special interest to the GMU Community; scans and digitizes some especially noteworthy materials for research use (available via the Libraries' Web Pages), and provides finding aids for identification and use of special and archival materials.","The Johnson Center Library (JCL) located in the George W. Johnson Center is an electronic gateway library that supports the informational and instructional needs of students, faculty and staff. The JCL provides access to library resources through the world wide web and Mason libraries local area network of resources. The JCL emphasizes teaching library users to use electronic resources. A variety of drop-in instructional classes on library research skills and in using electronic resources are offered. In addition, course related instructional classes are conducted by the liaison librarians for specific subject departments. Course-integrated library instruction has been developed for special populations such as New Century College, Honors Program, and University 100. The Johnson Center Library provides the following collections and services: Adaptive Technology to assist persons with disabilities, circulating Collection of undergraduate foundation materials focusing on multiculturalism, gender studies, technology, and music and education circulating collections (including graduate level). The library also features a core reference collection, curriculum collection, international newspapers, course reserves, instructional classes and media collections and equipment.","The Arlington Campus Library collects materials that support the non-law academic programs offered on the Arlington Campus of George Mason University. Resources cover a wide range of applied social science disciplinary areas, including public policy, public administration, social services, nonprofit management, business, economics and education. In addition to the core reference and circulating collections, the library serves as a depository for European Union documents and houses the University Library's collection of pre-1987 bound journals.","The Mercer Library, on the Prince William Campus, is part of the George Mason University Libraries system and provides full-access to all GMU-owned print and electronic resources. This means researchers have at their disposal, a collection of one million titles and over 250 electronic databases. The Mercer Library collection specializes in the following disciplines: Health and Fitness, Tourism, Administration of Justice, Education, Biodefense, Bioinformatics, and Computer Science."],"prefercite_html_tesm":["\u003cp\u003eGeorge Mason University Libraries records, Collection #R0095, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["George Mason University Libraries records, Collection #R0095, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the George Mason University records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the George Mason University records."],"scopecontent_html_tesm":["\u003cp\u003eThe George Mason University Libraries records includes materials and reports on library planning and operations as well as special projects, programs and events. It is divided into eleven series and includes the Library Directors records as well as department records, planning and construction records, reports, meeting minutes, committee records, and policies and procedures. Each series is arranged alphabetically and then chronologically unless otherwise noted. Series one, three, six, seven, eight, and ten have subseries to further divide and make easily accessible the information within.\u003c/p\u003e\n","\u003cp\u003eSeries one, Library Director (1958-2001), consists of 34 boxes of files created by the Library Director and is divided into six subseries; Scheduled Reports, Library Director 1958-1981, John G. Veenstra, Louella V. Weatherbee, Charlene Hurt, and John G. Zenelis. This series includes annual reports, letters, correspondence and memorandums, and miscellaneous plus chronological files collected by the Library Director. Scheduled reports 1959-1985 contains annual and monthly reports prepared by the Library Director. The first annual report of the Librarian dates from 1959. The second subseries, Library Director (1958-1981), includes correspondence, grant and project information, and management by objectives (MBOs) for library departments. The John G. Veenstra (1966-1987), series includes correspondence and memorandums many of which are concerning Special Collections and public services. The fourth subseries, Louella V. Weatherbee (1980-1985), contains documents concerning or created by Louella Weatherbee regarding library expansion, departments, and services. The Charlene Hurt (1973-1999) subseries contains the bulk of the Library Director materials. It contains files created by, or concerning, Charlene Hurt, who served as Library Director in the 1980s and 1990s, and includes information on conferences, chronological files, budgets, correspondence, Johnson Center planning, library policies, and weekly calenders. Subseries six, John G. Zenelis (1998-2001), is a short subseries with information on the Library Director search in 1998, memorandums, and a statement by the Librarian from 2001.  \u003c/p\u003e\n","\u003cp\u003eSeries two, Correspondence and Memos (1960-1999), consists of four boxes of correspondence and memorandums, created by and pertaining to, library employees, library policies, and library departments, from the years 1960 to 1999.\u003c/p\u003e\n","\u003cp\u003eSeries three, Reports (1960-2007), is divided into five subseries: Budgets, Reports, Minutes, Publications, Publicity and Research. Subseries one (Boxes 39-44), Budgets (1970-2001), is arranged chronologically and contains annual budgets, requests and updates. Subseries two (Boxes 54-63), Reports (1960-2001), includes annual, monthly, and quarterly reports, consultant reports, surveys, Southern Association of Colleges and Schools (SACS) accreditation reports, and self studies. Subseries three (Boxes 64-66), Committee (1972-2002), includes meeting minutes, memorandum, papers from division head meetings, faculty senate, graduate council meetings and others. Subseries four (Boxes 67-72), Publications (1964-2007), includes the publications Added Entries, Federal One, Full Text, and Library Notes as well as brochures and other newletters produced by the Library staff. Subseries five(Boxes 73-75), Publicity and Research (1967-1995), contains newspaper and magazine articles featuring the libraries at George Mason and especially the Federal Theatre Project. Research articles focus on library science, professional development, and public relations.\u003c/p\u003e\n","\u003cp\u003eSeries four, Committees and Collaborations (1960-2004), consists of eight boxes of records originating from library committees and records concerning collaborations within the University and with other institutions undertaken by the library. This series includes information on the Arlington Campus Library, Campus Wide Information Working group (CWIS), Committee on Committees, Consortium for Continuing Higher Education (CCHENV), Faculty Senate Library Committee, Friends of the Library, the Johnson Center, Liaison Librarian Program task force (LLPTF), Librarians council, Policy and Planning council, Research Planning council, Southern Association of Colleges and Schools (SACS), State Council of Higher Education (SCHEV), Virtual Library of Virginia (VIVA), Washington Research Library Consortium (WRLC), and many more.\u003c/p\u003e\n","\u003cp\u003eSeries five, Policies and Procedures (1960-2001), includes five boxes of documents on the library handbook, policies, emergency plans, computer, library council minutes, and copier procedures and mission statements.\u003c/p\u003e\n","\u003cp\u003eSeries six, Buildings (1962-2004), contains building plans, correspondence, notes, and budgets on construction and renovation projects for Fenwick library, the Johnson Center library (also referred to as University Center), Arlington Campus Library, and the Mercer Library at the Prince William Campus. This series is divided into four subseries. Subseries one, Arlington Campus Library (1978-1999), includes the proposal for the Arlington Campus Library (also known as the Metro campus) as well as blueprints featuring the Arlington building and buildings at the Fairfax campus. Subseries two, Fenwick Library (1962-2004), includes building plans, correspondence, proposals and specifications for the Fenwick Library building. Subseries three, Johnson Center (University Center) (1980-1996), includes budgets, building plans, correspondence, planning, proposals and policies relating to the Johnson Center building and library. Subseries four contains documents on the Prince William campus and Mercer Library dating from 1991-1998.\u003c/p\u003e\n","\u003cp\u003eSeries seven, Library departments and services (1959-2008), is divided into eight subseries each of which consists of information on a particular department of the library. Subseries one, Catalog and Databases (1979-1995), contains information on the automated library system, and the cataloging department. Subseries two, Circulation (1959-2002), includes manuals and policies for the circulation department. Subseries three, Collection Development (1964-2001) contains acquisitions information, collection development policies, and lists of audiovisual materials in the library. Subseries four, Periodicals (1963-1996), contains information on the periodicals collection and holding lists. Subseries five, Reference (1976-2000), contains information on the Reference department policies and resources. Subseries six, Other Services (1969-2008), includes material relating to other services the library provides such as workshops and seminars, readings and events, library instruction, research theses and resources. Subseries seven, Exhibits (1955-2007), contains photographs, brochures, publicity, and display materials for exhibits created by and displayed at Fenwick Library. More exhibit material can be found in Series 11 Oversize Material. Subseries eight, Special Collections and Archives (1950-2007), contains information regarding all aspects of the Special Collections and Archives and additional places such as the Millionth Volume Celebration Group including services, projects, reports, grants, forms, research, and collection information.\u003c/p\u003e\n","\u003cp\u003eSeries eight, Administrative Files (1958-2001), is divided into three subseries: Gifts, Grants, and Personnel. Subseries one, Gifts (1958-1989) contains acknowledgements of gifts received by the library. Subseries two, Grants (1966-1993), includes grant correspondence, proposals, and requests. Subseries three, Personnel (1964-1995), includes faculty information, organization charts, reports, personnel procedures and information on volunteer programs.\u003c/p\u003e\n","\u003cp\u003eSeries nine, Miscellaneous (1949-2011) consists of boxes of miscellaneous correspondence, memorandums, statistics, policies and brochures (boxes 192, 193, 225-242).\u003c/p\u003e\n","\u003cp\u003eSeries ten, Photographs, Audiovisual, Artifacts (1967-1999), includes photographs, audiovisual materials such as VHS and audio cassette tapes, and artifacts including Mason related buttons. It is divided into three subseries. Subseries one, Photographs (1967-1990) includes photographs, contacts sheets, negatives, and slides featuring library staff, as well as, the Fenwick Library and Johnson Center buildings. Subseries two, Audiovisual (1979-1999), includes VHS tapes, an audio cassette tape, a reel to reel tape and a 45rpm record featuring library related seminars and meetings, as well as, information on library technology. Subseries three, Artifacts (1990s), consists of scissors used during the Johnson Center celebration in 1993 and MasonLink buttons.\u003c/p\u003e\n","\u003cp\u003eSeries eleven, Oversize (1984-2003), consists of oversize exhibit related material.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The George Mason University Libraries records includes materials and reports on library planning and operations as well as special projects, programs and events. It is divided into eleven series and includes the Library Directors records as well as department records, planning and construction records, reports, meeting minutes, committee records, and policies and procedures. Each series is arranged alphabetically and then chronologically unless otherwise noted. Series one, three, six, seven, eight, and ten have subseries to further divide and make easily accessible the information within.","Series one, Library Director (1958-2001), consists of 34 boxes of files created by the Library Director and is divided into six subseries; Scheduled Reports, Library Director 1958-1981, John G. Veenstra, Louella V. Weatherbee, Charlene Hurt, and John G. Zenelis. This series includes annual reports, letters, correspondence and memorandums, and miscellaneous plus chronological files collected by the Library Director. Scheduled reports 1959-1985 contains annual and monthly reports prepared by the Library Director. The first annual report of the Librarian dates from 1959. The second subseries, Library Director (1958-1981), includes correspondence, grant and project information, and management by objectives (MBOs) for library departments. The John G. Veenstra (1966-1987), series includes correspondence and memorandums many of which are concerning Special Collections and public services. The fourth subseries, Louella V. Weatherbee (1980-1985), contains documents concerning or created by Louella Weatherbee regarding library expansion, departments, and services. The Charlene Hurt (1973-1999) subseries contains the bulk of the Library Director materials. It contains files created by, or concerning, Charlene Hurt, who served as Library Director in the 1980s and 1990s, and includes information on conferences, chronological files, budgets, correspondence, Johnson Center planning, library policies, and weekly calenders. Subseries six, John G. Zenelis (1998-2001), is a short subseries with information on the Library Director search in 1998, memorandums, and a statement by the Librarian from 2001.  ","Series two, Correspondence and Memos (1960-1999), consists of four boxes of correspondence and memorandums, created by and pertaining to, library employees, library policies, and library departments, from the years 1960 to 1999.","Series three, Reports (1960-2007), is divided into five subseries: Budgets, Reports, Minutes, Publications, Publicity and Research. Subseries one (Boxes 39-44), Budgets (1970-2001), is arranged chronologically and contains annual budgets, requests and updates. Subseries two (Boxes 54-63), Reports (1960-2001), includes annual, monthly, and quarterly reports, consultant reports, surveys, Southern Association of Colleges and Schools (SACS) accreditation reports, and self studies. Subseries three (Boxes 64-66), Committee (1972-2002), includes meeting minutes, memorandum, papers from division head meetings, faculty senate, graduate council meetings and others. Subseries four (Boxes 67-72), Publications (1964-2007), includes the publications Added Entries, Federal One, Full Text, and Library Notes as well as brochures and other newletters produced by the Library staff. Subseries five(Boxes 73-75), Publicity and Research (1967-1995), contains newspaper and magazine articles featuring the libraries at George Mason and especially the Federal Theatre Project. Research articles focus on library science, professional development, and public relations.","Series four, Committees and Collaborations (1960-2004), consists of eight boxes of records originating from library committees and records concerning collaborations within the University and with other institutions undertaken by the library. This series includes information on the Arlington Campus Library, Campus Wide Information Working group (CWIS), Committee on Committees, Consortium for Continuing Higher Education (CCHENV), Faculty Senate Library Committee, Friends of the Library, the Johnson Center, Liaison Librarian Program task force (LLPTF), Librarians council, Policy and Planning council, Research Planning council, Southern Association of Colleges and Schools (SACS), State Council of Higher Education (SCHEV), Virtual Library of Virginia (VIVA), Washington Research Library Consortium (WRLC), and many more.","Series five, Policies and Procedures (1960-2001), includes five boxes of documents on the library handbook, policies, emergency plans, computer, library council minutes, and copier procedures and mission statements.","Series six, Buildings (1962-2004), contains building plans, correspondence, notes, and budgets on construction and renovation projects for Fenwick library, the Johnson Center library (also referred to as University Center), Arlington Campus Library, and the Mercer Library at the Prince William Campus. This series is divided into four subseries. Subseries one, Arlington Campus Library (1978-1999), includes the proposal for the Arlington Campus Library (also known as the Metro campus) as well as blueprints featuring the Arlington building and buildings at the Fairfax campus. Subseries two, Fenwick Library (1962-2004), includes building plans, correspondence, proposals and specifications for the Fenwick Library building. Subseries three, Johnson Center (University Center) (1980-1996), includes budgets, building plans, correspondence, planning, proposals and policies relating to the Johnson Center building and library. Subseries four contains documents on the Prince William campus and Mercer Library dating from 1991-1998.","Series seven, Library departments and services (1959-2008), is divided into eight subseries each of which consists of information on a particular department of the library. Subseries one, Catalog and Databases (1979-1995), contains information on the automated library system, and the cataloging department. Subseries two, Circulation (1959-2002), includes manuals and policies for the circulation department. Subseries three, Collection Development (1964-2001) contains acquisitions information, collection development policies, and lists of audiovisual materials in the library. Subseries four, Periodicals (1963-1996), contains information on the periodicals collection and holding lists. Subseries five, Reference (1976-2000), contains information on the Reference department policies and resources. Subseries six, Other Services (1969-2008), includes material relating to other services the library provides such as workshops and seminars, readings and events, library instruction, research theses and resources. Subseries seven, Exhibits (1955-2007), contains photographs, brochures, publicity, and display materials for exhibits created by and displayed at Fenwick Library. More exhibit material can be found in Series 11 Oversize Material. Subseries eight, Special Collections and Archives (1950-2007), contains information regarding all aspects of the Special Collections and Archives and additional places such as the Millionth Volume Celebration Group including services, projects, reports, grants, forms, research, and collection information.","Series eight, Administrative Files (1958-2001), is divided into three subseries: Gifts, Grants, and Personnel. Subseries one, Gifts (1958-1989) contains acknowledgements of gifts received by the library. Subseries two, Grants (1966-1993), includes grant correspondence, proposals, and requests. Subseries three, Personnel (1964-1995), includes faculty information, organization charts, reports, personnel procedures and information on volunteer programs.","Series nine, Miscellaneous (1949-2011) consists of boxes of miscellaneous correspondence, memorandums, statistics, policies and brochures (boxes 192, 193, 225-242).","Series ten, Photographs, Audiovisual, Artifacts (1967-1999), includes photographs, audiovisual materials such as VHS and audio cassette tapes, and artifacts including Mason related buttons. It is divided into three subseries. Subseries one, Photographs (1967-1990) includes photographs, contacts sheets, negatives, and slides featuring library staff, as well as, the Fenwick Library and Johnson Center buildings. Subseries two, Audiovisual (1979-1999), includes VHS tapes, an audio cassette tape, a reel to reel tape and a 45rpm record featuring library related seminars and meetings, as well as, information on library technology. Subseries three, Artifacts (1990s), consists of scissors used during the Johnson Center celebration in 1993 and MasonLink buttons.","Series eleven, Oversize (1984-2003), consists of oversize exhibit related material."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_8dfaa9188b3ad2ef9566bf6629453cc2\" label=\"Abstract\"\u003eThe collection includes materials and reports on library planning and operations as well as special projects, programs and events.\u003c/abstract\u003e"],"abstract_tesim":["The collection includes materials and reports on library planning and operations as well as special projects, programs and events."],"names_coll_ssim":["George Mason University. Libraries"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Libraries"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Libraries"],"language_ssim":["English"],"total_component_count_is":3105,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:25:37.310Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_308_c07_c07_c25"}},{"id":"vifgm_repositories_2_resources_26_c01_c473","type":"File","attributes":{"title":"1978","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_26_c01_c473#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eContents: Concert Programs, Misc. Documents Dates of materials: 1978\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_26_c01_c473#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_26_c01_c473","ref_ssm":["vifgm_repositories_2_resources_26_c01_c473"],"id":"vifgm_repositories_2_resources_26_c01_c473","ead_ssi":"vifgm_repositories_2_resources_26","_root_":"vifgm_repositories_2_resources_26","_nest_parent_":"vifgm_repositories_2_resources_26_c01","parent_ssi":"vifgm_repositories_2_resources_26_c01","parent_ssim":["vifgm_repositories_2_resources_26","vifgm_repositories_2_resources_26_c01"],"parent_ids_ssim":["vifgm_repositories_2_resources_26","vifgm_repositories_2_resources_26_c01"],"parent_unittitles_ssm":["Sam di Bonaventura papers","Dr. Sam di Bonaventura papers"],"parent_unittitles_tesim":["Sam di Bonaventura papers","Dr. Sam di Bonaventura papers"],"text":["Sam di Bonaventura papers","Dr. Sam di Bonaventura papers","1978","box 109","Contents: Concert Programs, Misc. Documents Dates of materials: 1978","1 item"],"title_filing_ssi":"1978","title_ssm":["1978"],"title_tesim":["1978"],"unitdate_other_ssim":["1978"],"normalized_date_ssm":["1978"],"normalized_title_ssm":["1978"],"component_level_isim":[2],"repository_ssim":["George Mason University"],"collection_ssim":["Sam di Bonaventura papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":474,"parent_access_restrict_tesm":["This collection is housed at the WRLC Shared Collections Facility. Advance notice will be required to access any materials.","There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1978],"containers_ssim":["box 109"],"scopecontent_html_tesm":["\u003cp\u003eContents: Concert Programs, Misc. Documents Dates of materials: 1978\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Contents: Concert Programs, Misc. Documents Dates of materials: 1978"],"physloc_html_tesm":["\u003cphysloc id=\"aspace_c2339f813c628562eaf58fe696e3f9ba\" label=\"Location note\"\u003e1 item\u003c/physloc\u003e"],"physloc_tesim":["1 item"],"_nest_path_":"/components#0/components#472","timestamp":"2026-05-09T07:11:34.577Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_26","ead_ssi":"vifgm_repositories_2_resources_26","_root_":"vifgm_repositories_2_resources_26","_nest_parent_":"vifgm_repositories_2_resources_26","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_26.xml","title_filing_ssi":"Sam di Bonaventura papers","title_ssm":["Sam di Bonaventura papers"],"title_tesim":["Sam di Bonaventura papers"],"unitdate_ssm":["1900-1998"],"unitdate_inclusive_ssm":["1900-1998"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0070","/repositories/2/resources/26"],"text":["C0070","/repositories/2/resources/26","Sam di Bonaventura papers","Music theory","Music -- Instruction and study","Music","Sheet music","Concert programs","This collection is housed at the WRLC Shared Collections Facility. Advance notice will be required to access any materials.","There are no access restrictions.","This collection is organized alphabetically by composer or subject.","Sam di Bonaventura was a professor of music at George Mason from 1975 until 1998. Known around campus simply as \"Dr. Sam,\" di Bonaventura taught music history, music theory, and private violin lessons until he retired in spring 1998. Di Bonaventura studied music at Juilliard, Yale, Harvard, and Peabody Conservatory. He studied composition with musical giants including Robert Ward, Vincent Persichetti, Paul Hindemith, Walter Piston, and Benjamin Lees. He was a professional violinist and composed a number of original works for orchestra, chamber ensemble, vocal and choral media.","Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty. Finding aid updated by Amanda Menjivar in August 2023.","Di Bonaventura's extensive recorded music collection was added to the George Mason University Libraries' media collections.","Collection consists of notebooks containing related research notes, scholarly papers, concert programs, musical scores and sheet music arranged alphabetically by subject.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Collection consists of notebooks containing related research notes, scholarly papers, concert programs, musical scores and sheet music arranged alphabetically by subject.","This collection is housed at the WRLC Shared Collections Facility.","George Mason University. Libraries. 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Advance notice will be required to access any materials.\u003c/p\u003e\n","\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["This collection is housed at the WRLC Shared Collections Facility. Advance notice will be required to access any materials.","There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized alphabetically by composer or subject.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized alphabetically by composer or subject."],"bioghist_html_tesm":["\u003cp\u003eSam di Bonaventura was a professor of music at George Mason from 1975 until 1998. Known around campus simply as \"Dr. Sam,\" di Bonaventura taught music history, music theory, and private violin lessons until he retired in spring 1998. Di Bonaventura studied music at Juilliard, Yale, Harvard, and Peabody Conservatory. He studied composition with musical giants including Robert Ward, Vincent Persichetti, Paul Hindemith, Walter Piston, and Benjamin Lees. He was a professional violinist and composed a number of original works for orchestra, chamber ensemble, vocal and choral media.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Sam di Bonaventura was a professor of music at George Mason from 1975 until 1998. Known around campus simply as \"Dr. Sam,\" di Bonaventura taught music history, music theory, and private violin lessons until he retired in spring 1998. Di Bonaventura studied music at Juilliard, Yale, Harvard, and Peabody Conservatory. He studied composition with musical giants including Robert Ward, Vincent Persichetti, Paul Hindemith, Walter Piston, and Benjamin Lees. He was a professional violinist and composed a number of original works for orchestra, chamber ensemble, vocal and choral media."],"prefercite_html_tesm":["\u003cp\u003eSam di Bonaventura papers, C0070, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Sam di Bonaventura papers, C0070, 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. Finding aid updated by Amanda Menjivar in August 2023.\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. Finding aid updated by Amanda Menjivar in August 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eDi Bonaventura's extensive recorded music collection was added to the George Mason University Libraries' media collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Di Bonaventura's extensive recorded music collection was added to the George Mason University Libraries' media collections."],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of notebooks containing related research notes, scholarly papers, concert programs, musical scores and sheet music arranged alphabetically by subject.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection consists of notebooks containing related research notes, scholarly papers, concert programs, musical scores and sheet music arranged alphabetically by subject."],"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_51a406c82f8321c19c2622ea0e676389\" label=\"Abstract\"\u003eCollection consists of notebooks containing related research notes, scholarly papers, concert programs, musical scores and sheet music arranged alphabetically by subject.\u003c/abstract\u003e"],"abstract_tesim":["Collection consists of notebooks containing related research notes, scholarly papers, concert programs, musical scores and sheet music arranged alphabetically by subject."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_70e12a43f34a0829a0acb6011c26e2b7\"\u003eThis collection is housed at the WRLC Shared Collections Facility.\u003c/physloc\u003e"],"physloc_tesim":["This collection is housed at the WRLC Shared Collections Facility."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Di Bonaventura, Sam"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Di Bonaventura, Sam"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":571,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-09T07:11:34.577Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_26_c01_c473"}},{"id":"vifgm_arenastage_c04_c03_c45","type":"File","attributes":{"title":"1978-1979 Part I - August 1978 - January 1979,","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c03_c45#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c03_c45#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_arenastage_c04_c03_c45","ref_ssm":["vifgm_arenastage_c04_c03_c45"],"id":"vifgm_arenastage_c04_c03_c45","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage_c04_c03","parent_ssi":"vifgm_arenastage_c04_c03","parent_ssim":["vifgm_arenastage","vifgm_arenastage_c04","vifgm_arenastage_c04_c03"],"parent_ids_ssim":["vifgm_arenastage","vifgm_arenastage_c04","vifgm_arenastage_c04_c03"],"parent_unittitles_ssm":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.3: Scrapbooks,"],"parent_unittitles_tesim":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.3: Scrapbooks,"],"text":["Arena Stage records","Series 4: Oversize materials,","Subseries 4.3: Scrapbooks,","1978-1979 Part I - August 1978 - January 1979,","Box 688","Folder 1",""],"title_filing_ssi":"1978-1979 Part I - August 1978 - January 1979, \n","title_ssm":["1978-1979 Part I - August 1978 - January 1979, \n"],"title_tesim":["1978-1979 Part I - August 1978 - January 1979, \n"],"unitdate_other_ssim":["1978-1979\n"],"normalized_date_ssm":["1978/1979"],"normalized_title_ssm":["1978-1979 Part I - August 1978 - January 1979,"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":7945,"parent_access_restrict_tesm":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["There are no restrictions."],"date_range_isim":[1978,1979],"containers_ssim":["Box 688","Folder 1"],"scopecontent_html_tesm":["\u003cp/\u003e"],"scopecontent_tesim":[""],"_nest_path_":"/components#3/components#2/components#44","timestamp":"2026-05-01T00:52:17.185Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_arenastage","ead_ssi":"vifgm_arenastage","_root_":"vifgm_arenastage","_nest_parent_":"vifgm_arenastage","ead_source_url_ssi":"data/gmu/arenastage.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/arenastage.html","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949-2010"],"unitdate_inclusive_ssm":["1949-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017"],"text":["C0017","Arena Stage records","Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings.","Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.","Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  ","There are no restrictions.","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)","English\n            "],"unitid_tesim":["C0017"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage"],"creator_ssim":["Arena Stage"],"creator_corpname_ssim":["Arena Stage"],"creators_ssim":["Arena Stage"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by Arena Stage in 2000-2011."],"access_subjects_ssim":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"access_subjects_ssm":["Theater--Washington (D.C.)","Photographic prints.","Sound recordings.","Video recordings."],"has_online_content_ssim":["false"],"extent_ssm":["739 boxes"],"extent_tesim":["739 boxes"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.  Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n        \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\" href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e\n        \u003cextptr type=\"simple\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\" href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\"\u003e\u003c/extptr\u003e\n      \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.\u003c/p\u003e","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.\u003c/p\u003e","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, DC's preeminent regional theater.  Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in DC, was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's She Stoops to Conquer. Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theater Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: The Great White Hope. The Great White Hope included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African-American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic\". Fichandler experimented with non-traditional casting in plays like King Lear and The Threepenny Opera, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays, Our Town and Inherit the Wind to the USSR. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of Inherit the Wind at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of K2, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of The Crucible at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith is still Arena's artistic director as of 2016.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Weist, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to watch reel-to-reel film and audio, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections and Archives staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh.  EAD markup completed by Elizabeth Beckman in 2016."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds several collections of personal papers of individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas Fichandler papers, and the Ken Kitch papers, as well as the Living Stage Theater Company collection and many other theater collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries.  Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray.  Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans.  This subseries is broken up into four sub-subseries.  Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi.  Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically.  Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris.  Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play.  Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries.  Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events.  Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence.  Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically.  Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States.  Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays.  It is divided into 6 subseries.  Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts.  It is generally organized alphabetically by play.  Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena.  It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays.  It is arranged alphabetically by play title.  Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s.  The reports include running times, incident reports, and other commentary on the audience and the performance.  Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play.  Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998.  It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries.  Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours.  Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material.  Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s.  Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater.  Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988.  It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries.  Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title.  Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film.  Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes.  "],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center.","Arena Stage","Arena Stage (Organization : Washington, D.C.)"],"language_ssim":["English\n            "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:52:17.185Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_arenastage_c04_c03_c45"}},{"id":"vifgm_repositories_2_resources_416_c04_c03_c45","type":"File","attributes":{"title":"1978-1979 Part I - August 1978 - January 1979","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c04_c03_c45#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_416_c04_c03_c45","ref_ssm":["vifgm_repositories_2_resources_416_c04_c03_c45"],"id":"vifgm_repositories_2_resources_416_c04_c03_c45","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416_c04_c03","parent_ssi":"vifgm_repositories_2_resources_416_c04_c03","parent_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c04","vifgm_repositories_2_resources_416_c04_c03"],"parent_ids_ssim":["vifgm_repositories_2_resources_416","vifgm_repositories_2_resources_416_c04","vifgm_repositories_2_resources_416_c04_c03"],"parent_unittitles_ssm":["Arena Stage records","Series 4: Oversize materials","Subseries 4.3: Scrapbooks"],"parent_unittitles_tesim":["Arena Stage records","Series 4: Oversize materials","Subseries 4.3: Scrapbooks"],"text":["Arena Stage records","Series 4: Oversize materials","Subseries 4.3: Scrapbooks","1978-1979 Part I - August 1978 - January 1979","box 688","folder 1"],"title_filing_ssi":"1978-1979 Part I - August 1978 - January 1979","title_ssm":["1978-1979 Part I - August 1978 - January 1979"],"title_tesim":["1978-1979 Part I - August 1978 - January 1979"],"unitdate_other_ssim":["1978-1979"],"normalized_date_ssm":["1978/1979"],"normalized_title_ssm":["1978-1979 Part I - August 1978 - January 1979"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Arena Stage records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":7945,"parent_access_restrict_tesm":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1978,1979],"containers_ssim":["box 688","folder 1"],"scopecontent_heading_ssm":["Scope and Contents note"],"_nest_path_":"/components#3/components#2/components#44","timestamp":"2026-05-01T00:23:25.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_416","ead_ssi":"vifgm_repositories_2_resources_416","_root_":"vifgm_repositories_2_resources_416","_nest_parent_":"vifgm_repositories_2_resources_416","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_416.xml","title_ssm":["Arena Stage records"],"title_tesim":["Arena Stage records"],"unitdate_ssm":["1949 - 2010"],"unitdate_inclusive_ssm":["1949 - 2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0017","/repositories/2/resources/416"],"text":["C0017","/repositories/2/resources/416","Arena Stage records","Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints","Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.","Accruals to this collection are expected.","The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)",""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.","","From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.","The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.","Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.","The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.","The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.","\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5","George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016","English"],"unitid_tesim":["C0017","/repositories/2/resources/416"],"normalized_title_ssm":["Arena Stage records"],"collection_title_tesim":["Arena Stage records"],"collection_ssim":["Arena Stage records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arena Stage (Organization : Washington, D.C.)"],"creator_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creator_corpname_ssim":["Arena Stage (Organization : Washington, D.C.)"],"creators_ssim":["Arena Stage (Organization : Washington, D.C.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Arena Stage in 2000-2024.","This collection has additional unprocessed accessions 2023.040-C and 2024.088-C, and therefore this finding aid may not be fully up to date. Please contact SCRC for more information."],"access_subjects_ssim":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"access_subjects_ssm":["Theater -- Washington (D.C.)","Theater","Theater -- United States","Theater programs","Theater -- Production and direction","Performing arts","Video recordings","Sound recordings","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["369.5 Linear Feet 739 boxes"],"extent_tesim":["369.5 Linear Feet 739 boxes"],"genreform_ssim":["Video recordings","Sound recordings","Photographic prints"],"date_range_isim":[1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Some personnel records in Series 1 Subseries 3 Sub-subseries 2: Personnel, staff contain Social Security Numbers and must be screened by SCRC staff before researchers can view them."],"accruals_html_tesm":["\u003cp\u003eAccruals to this collection are expected.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["Accruals to this collection are expected."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series, each of which is further divided into subseries:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Administrative records, 1949-2007 (Boxes 1-196)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Production files, 1950-2010 (Boxes 197-588, 654-663)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Photographs, 1950-1991 (Boxes 589-639)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Oversize materials, 1949-late 2000s (Boxes 640-720)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Audiovisual materials, 1970-2007 (Boxes 721-739)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series, each of which is further divided into subseries:","Series Series 1: Administrative records, 1949-2007 (Boxes 1-196) Series 2: Production files, 1950-2010 (Boxes 197-588, 654-663) Series 3: Photographs, 1950-1991 (Boxes 589-639) Series 4: Oversize materials, 1949-late 2000s (Boxes 640-720) Series 5: Audiovisual materials, 1970-2007 (Boxes 721-739)"],"bibliography_html_tesm":["\u003cp\u003e\u003cextptr href=\"http://www.arenastage.org/plan-your-visit/the-mead-center/\" title=\"'Arena Stage at the Mead Center for American Theater.' Arena Stage. Accessed February 3, 2016.\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e","\u003cp\u003e Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.\u003c/p\u003e","\u003cp\u003e \u003cextptr href=\"http://www.washingtonpost.com/wp-srv/style/theater/features/arena51205.htm\" title=\"Richards, David. 'For Arena Stage, a Pioneering Selection.' Washington Post. December 5, 1997\" show=\"new\"\u003e\u003c/extptr\u003e \u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":[""," Maslon, Lawrence, editor. \"The Arena Adventure: The First 40 Years.\" Washington, DC: Arena Stage, 1990.",""],"bioghist_html_tesm":["\u003cp\u003eFrom its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.\u003c/p\u003e\n","\u003cp\u003eArena began its long and successful life with Oliver Goldsmith's \u003citalic\u003eShe Stoops to Conquer.\u003c/italic\u003e Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.\u003c/p\u003e\n","\u003cp\u003eDuring the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.\u003c/p\u003e\n","\u003cp\u003eThe Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date: \u003citalic\u003eThe Great White Hope.\u003c/italic\u003e \u003citalic\u003eThe Great White Hope\u003c/italic\u003e included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like \u003citalic\u003eKing Lear\u003c/italic\u003e and \u003citalic\u003eThe Threepenny Opera\u003c/italic\u003e, but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.\u003c/p\u003e\n","\u003cp\u003eIn 1973 Arena would have the opportunity to take two of its plays, \u003citalic\u003eOur Town\u003c/italic\u003e and \u003citalic\u003eInherit the Wind\u003c/italic\u003e to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of \u003citalic\u003eInherit the Wind\u003c/italic\u003e at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.\u003c/p\u003e\n","\u003cp\u003eThe early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of \u003citalic\u003eK2\u003c/italic\u003e, for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of \u003citalic\u003eThe Crucible\u003c/italic\u003e at the Israel Festival.\u003c/p\u003e\n","\u003cp\u003e1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.\u003c/p\u003e\n","\u003cp\u003eMany now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["From its opening on August 16, 1950, the Arena Stage has dedicated itself to being a space of imagination and innovation, a tool of \"civilization,\" and Washington, D.C.'s preeminent regional theater. Founded by Zelda Fichandler, with assistance from her husband Thomas C. Fichandler and partner Edward Mangum, the Arena Stage began as a for-profit theater under Arena Enterprises, Inc. The original Hippodrome Theatre, located on Ninth and New York N.W. in D.C., was revolutionary amongst regional theatres for its theatre-in-the-round construction and would provide the blueprint for all future Arena locations.","Arena began its long and successful life with Oliver Goldsmith's  She Stoops to Conquer.  Arena owed its early successes in the 1950s to its fluid play schedule organization and its willingness to put on works that were not commercial successes on Broadway. In November of 1956, after a year's hiatus, the company relocated to a temporary home at the Old Heurich Brewery, dubbed the Old Vat by company members. The move was facilitated in part by the commitment and drive of Board members J. Burke Knapp, Albert M. Berkowitz, Israel Convisser, Leslie Amouri, and Henry J. Danilowicz. However, financial issues would continue to trouble Arena Enterprises, Inc., eventually leading to its dissolution in 1959, and the creation of Arena's new, non-profit parent organization, the Washington Drama Society.","During the 1960s, Arena garnered international renown in its new space: the Arena Stage Theatre. The new building, located at Sixth Street and Maine Avenue SW, was the first playhouse built in Washington since 1895. Chicago architect Harry Weese designed the space to be as innovative as possible while still maintaining the theater-in-the-round layout. Now a non-profit theater, Arena drew much of its funding during this time from the National Endowment for the Arts (NEA) and generous donations from both the Ford Foundation and the Rockefeller Foundations.","The Arena Stage began some of its most ambitious work during the 1960s including forming the Living Stage Theatre Company, further integrating its cast, and staging its most ambitious and acclaimed work to date:  The Great White Hope. The Great White Hope  included twenty five additional guest actors, including James Earl Jones, and was an enormous success, both critically and financially, for Arena. It was the first major resident theater production to be exported to Broadway. Fichandler also began to experiment with casting African American actors in traditionally white roles during the 1968 season after she published the paper \"Towards a Deepening Aesthetic.\" Fichandler experimented with non-traditional casting in plays like  King Lear  and  The Threepenny Opera , but unfortunately these plays were met with critical confusion and disappointing ticket sales. Arena Stage was incredibly successful in the 1970s, garnering awards and critical approval, and international recognition. Not content with the current Arena Stage configuration, Fichandler and others worked diligently to acquire another stage facility that would collaborate, not compete, with the current Stage. Generosity on the part of David Lloyd Kreeger, and others, led to the construction of the new Kreeger Theater which opened on January 15, 1971.","In 1973 Arena would have the opportunity to take two of its plays,  Our Town  and  Inherit the Wind  to the U.S.S.R. This was the first ever trip to the Soviet Union undertaken by a resident theater group. The trip was a wild success with Russian audiences giving the cast a standing ovation following their performance of  Inherit the Wind  at the Moscow Art Theatre. In April 1976 the American Theatre Critics Association bestowed upon the Arena Stage a special Tony Award for resident theaters. The ATCA cited Arena's qualities as a \"trailblazer\" in theatrical arts and representative of other theaters that had followed its lead.","The early 1980s were a difficult time for theater, but, in spite of this, Arena continued to push the limits of conventional residential theater. The 1982 production of  K2 , for example, saw the construction of a sheer glacial face on the Kreeger stage according to the vision of set designer Ming Cho Lee. In 1986 twenty-three actors and a thirteen member production staff traveled to Jerusalem to perform Zelda's production of  The Crucible  at the Israel Festival.","1989 marked the end of an era as Zelda Fichandler announced that she would step down as Arena's producing director at the end of the 1990-1991 fortieth anniversary season. Douglas C. Wager would succeed her as artistic director. Amid financial difficulties and changing times for theaters everywhere, Arena's resident company of actors was disbanded by the late 1990s. Wager remained at the helm until 1998, when Molly Smith took over the position. Under Smith's leadership, Bing Thom architects completed another major renovation of Arena's existing buildings into the Mead Center for American Theater in 2010. Smith served as Arena's artistic director until 2023, when she retired and was succeeded by current Aristic Director, Hana Sharif.","Many now-famous actors took part in Arena Stage productions during the early part of their careers. Some of them include Robert Prosky, Morgan Freeman, Dianne Wiest, James Earl Jones, Kevin Kline, Christopher Guest, Yeardley Smith, Samuel L. Jackson, Ned Beatty, Jane Alexander, and Ron Perlman. Many other set designers, artists, costume designers, and technical workers owe their early success and experience to the Arena Stage."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to film and audio reels, Betacam, or U-matic tapes contained in Series 5.2 and 5.3. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eArena Stage records, C0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Arena Stage records, C0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Harvard Theatre Collection and George Mason University Special Collections Research Center staff. Reprocessed by Greta Suiter, Kerry Mitchell, Elizabeth Beckman, Diane Stancil, and Nick Welsh. EAD markup completed by Elizabeth Beckman in 2016. Finding aid updated by Amanda Menjivar in 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center holds the personal papers of several individuals involved with Arena Stage, including the Zelda Fichandler papers, the Thomas C. Fichandler papers, the Ken Kitch papers, as well as the Living Stage records."],"scopecontent_html_tesm":["\u003cp\u003eThe Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.\u003c/p\u003e\n","\u003cp\u003eSeries 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.\u003c/p\u003e\n","\u003cp\u003eSeries 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.\u003c/p\u003e\n","\u003cp\u003eSeries 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.\u003c/p\u003e\n","\u003cp\u003eSeries 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.\u003c/p\u003e\n","\u003cp\u003eSeries 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Arena Stage records consist of material that spans the theater's history from 1949 to 2010, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, correspondence, and other production materials, as well as administrative records pertaining to the theater's finances, publicity, buildings, and programs.","Series 1: Administrative records (1949-2007) documents the creation, operation, and maintenance of Arena Stage and its various programs. It is further divided into 6 subseries. Subseries 1.1: Correspondence includes correspondence arranged alphabetically by the correspondent's last name or by organizational name. Some correspondence is further aggregated and then organized alphabetically, such as \"Play Correspondence\" or \"Audience Response.\" Of particular note are letters from President Bill Clinton, Supreme Court Justice Ruth Bader Ginsburg, and King Kong star Fay Wray. Subseries 1.2: Programs, policies, and procedures, includes records of Arena's programs, such as the \"Arena Angels\" volunteer program and fellowship programs, policies, such as bylaws, diversity policies, and handbooks, and planning, including season planning and long-range plans. This subseries is broken up into four sub-subseries. Sub-subseries 1.3.1: Financial papers documents Arena's finances and includes stockholder documents from its beginnings as a for-profit theater, grant-related documentation after the theater transitioned to a non-profit in the late 1950s, and records of the theater's development office, some of which were kept by department director Elspeth Udvarhelyi. Sub-subseries 1.3.2: Personnel records includes information on staff at Arena Stage arranged alphabetically. Of particular interest are headshots and/or resumes of a number of well-known actors, including James Earl Jones, Morgan Freeman, Henry Winkler, Edward Hermann, Yeardley Smith, Jane Alexander, Swoosie Kurtz, Victor Garber, Ron Perlman, Annette Benning, Olympia Dukakis, John Lithgow, John Voigt, Sigourney Weaver, and Rosemary Harris. Sub-subseries 1.3.3: Casting information contains notes on casting for productions arranged alphabetically by play. Sub-subseries 1.3.4: Production contracts includes official agreements between Arena and others arranged alphabetically by play. Subseries 1.4: Meeting minutes contains meeting minutes from Arena's Board of Trustees, staff, and other subgroups within the organization. Subseries 1.5: Communications and events, is also divided into four sub-subseries. Sub-subseries 1.5.1: Events documents special events held by Arena Stage, including anniversaries, galas, benefits, openings and press events. Sub-subseries 1.5.2: Communications and Marketing includes records produced by the Communications and Marketing departments, including meeting minutes, planning, research, and correspondence. Sub-subseries 1.5.3: Printed Material includes subscriber materials, mailings, brochures, reviews collected and arranged by play title, and programs organized chronologically. Sub-subseries 1.5.4: Theater Communications Group contains correspondence, reports, and other information generated from Arena's association with the Theater Communications Group, an organization of theaters around the United States. Subseries 1.6: Buildings and facilities includes information about and architectural plans for Arena's various buildings over the years, including the Hippodrome, the Old Vat, the 1960 permanent building, and the Kreeger Theater addition.","Series 2: Production Files (1950-2010) is comprised of records related to the artistic development and performance of Arena's plays. It is divided into 6 subseries. Subseries 2.1: Dramaturgical files documents literary, historical and background research done by Arena's literary department for various plays, including articles, research packets, actor's packets, and scripts. It is generally organized alphabetically by play. Subseries 2.2: Playwright subject files contains research on various playwrights, both living and dead, whose work has been performed at Arena. It is organized alphabetically by playwright's last name. Subseries 2.3: Production files includes scripts, blocking information, correspondence, and other material related to the production of Arena's plays. It is arranged alphabetically by play title. Subseries 2.4: Stage manager's reports includes daily reports by the stage manager of productions for the entire runs of many of Arena's plays from the late 1960s to the mid-1990s. The reports include running times, incident reports, and other commentary on the audience and the performance. Subseries 2.5: Wrap files contains documents collected from throughout the runs of various productions, including reviews that reflect the wider response to the play. Subseries 2.6: Producing director's files contains documents from Arena's second Producing director after Zelda Fichandler, Doug Wager, who served from 1991-1998. It includes pre-production speeches given by Wager, as well as planning files.","Series 3: Photographs (1950-1991)is divided into 3 subseries. Subseries 3.1: Production photographs includes photos of scenes from Arena's productions arranged alphabetically by play. Subseries 3.2: Production books includes production photos collected in books, many of which are by professional photographer George de Vincent. Subseries 3.3: Buildings, staff, and events includes photographs of Arena's buildings, staff and cast portraits, and event photographs, such as prints from Arena's 30th anniversary celebration and from Arena's Soviet Union and Israel tours. Subseries 3.4: Negatives and slides includes slides and negatives of Arena's staff and events, as well as some buildings, sets, and production-related images.","Series 4: Oversize (1949-late 2000s) is divided into 3 subseries and contains a variety of oversize material. Subseries 4.1: Braille programs contains programs in Braille for various Arena productions from the 1990s and early 2000s. Subseries 4.2: Miscellaneous artwork and programs includes posters from Arena productions and events, enlarged photos, costume sketches, and other oversized material, such as a large model of the Mead Center for American Theater. Subseries 4.3: Scrapbooks contains scrapbooks created for each of Arena's seasons up until 1988. It also includes scrapbooks for Arena's tour of the Soviet Union and of visitors to Arena.","Series 5: Audiovisual (1970-2007) contains several types of formats and is divided into 3 subseries. Series 5.1: Performances on VHS contains VHS tapes (a few of which have associated DVDs) of performances at Arena arranged alphabetically by play title. Series 5.2: Reel-to-reel contains production and event footage on reel-to-reel film. Series 5.3: Other audiovisual formats and VHS tapes contains footage of events and productions on audiocassette, Betacam, and U-matic tapes. "],"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_ec96c412f915842d3012676b73803163\" label=\"Abstract\"\u003eThe Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records.\u003c/abstract\u003e"],"abstract_tesim":["The Arena Stage records consist of material that spans the theater's history from its beginnings in 1950 to the present, including production notebooks, photographs, audiotapes, videotapes, playbills, scrapbooks, scripts, handwritten correspondence, and other production materials, as well as administrative records."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_22f8958322c3fdee6366a384bb686980\"\u003e\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5\u003c/physloc\u003e"],"physloc_tesim":["\nR 5, C 1, S 2 - R 9, C 4, S 7 \n\n\nR29, C1, S2\n\nOS R 3, C 2, S 1 - C 3, S 7\nOS R 4, C 5, S 5 \nOS R 5, C 2, S 3\nOS R 5, C 5, S 4\nOS R 6, C 4, S 6 - S 7\nOS R 7, C 1, S 2\nMap Case 9.1, 11.5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)","Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Arena Stage (Organization : Washington, D.C.)"],"names_coll_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"persname_ssim":["Fichandler, Thomas C.","Fichandler, Zelda, 1924-2016"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8332,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:23:25.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416_c04_c03_c45"}},{"id":"vifgm_repositories_2_resources_206_c239","type":"File","attributes":{"title":"1978-79","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_206_c239#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_206_c239","ref_ssm":["vifgm_repositories_2_resources_206_c239"],"id":"vifgm_repositories_2_resources_206_c239","ead_ssi":"vifgm_repositories_2_resources_206","_root_":"vifgm_repositories_2_resources_206","_nest_parent_":"vifgm_repositories_2_resources_206","parent_ssi":"vifgm_repositories_2_resources_206","parent_ssim":["vifgm_repositories_2_resources_206"],"parent_ids_ssim":["vifgm_repositories_2_resources_206"],"parent_unittitles_ssm":["George Mason University Facilities records"],"parent_unittitles_tesim":["George Mason University Facilities records"],"text":["George Mason University Facilities records","1978-79","box 21","folder 9"],"title_filing_ssi":"1978-79","title_ssm":["1978-79"],"title_tesim":["1978-79"],"unitdate_inclusive_ssm":["1978-1979"],"normalized_date_ssm":["1978/1979"],"normalized_title_ssm":["1978-79"],"component_level_isim":[1],"repository_ssim":["George Mason University"],"collection_ssim":["George Mason University Facilities records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":239,"parent_access_restrict_tesm":["A small amount of student records that are restricted under FERPA, were found in the collection at its acquisition. It has been ascertained that these records do not belong with these materials. They have been withdrawn from the collection, and restrictions have been noted."],"parent_access_terms_tesm":["None."],"date_range_isim":[1978,1979],"containers_ssim":["box 21","folder 9"],"_nest_path_":"/components#238","timestamp":"2026-05-01T00:35:02.663Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_206","ead_ssi":"vifgm_repositories_2_resources_206","_root_":"vifgm_repositories_2_resources_206","_nest_parent_":"vifgm_repositories_2_resources_206","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_206.xml","title_ssm":["George Mason University Facilities records"],"title_tesim":["George Mason University Facilities records"],"unitdate_ssm":["1952-2003"],"unitdate_inclusive_ssm":["1952-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["R0017","/repositories/2/resources/206"],"text":["R0017","/repositories/2/resources/206","George Mason University Facilities records","A small amount of student records that are restricted under FERPA, were found in the collection at its acquisition. It has been ascertained that these records do not belong with these materials. They have been withdrawn from the collection, and restrictions have been noted.","Selected digital versions are available through the  .","Organized at the individual file level by building/road/project or contractor and by physical format.","George Mason University began operation under the name \"University College of the University of Virginia\" in the fall of 1957 in an 8-room former elementary school in Bailey's Crossroads. The original student body consisted of 17 young men and women from local high schools. The college was renamed \"George Mason College\" in late 1959 and moved to its first permanent campus at Fairfax during the fall of 1964. George Mason College became independent from the University of Virginia on April 7, 1972 and was renamed George Mason University. In 1979 George Mason's acquisition of the International School of Law in Arlington was approved by the Virginia Legislature, creating the George Mason University School of Law (now known as the Antonin Scalia Law School) upon the Arlington Campus (know known as Mason Square Campus). Today's Science and Technology Campus near Manassas, Virginia was established in 1997, and Mason Korea, located in the Incheon Global Campus, began operations in 2014. Enrollment at all campuses combined totaled over 40,000 in 2024.","George Mason University Facilities and Campus Operations operates, maintains, repairs, replaces, renews, and secures all buildings, grounds, utilities, and other infrastructure belonging to George Mason University. This responsibility changed considerably over the years as the university grew from a four-building branch college in 1964 to a university boasting nearly 150 during the early 2000s.","Processed by Joey Romeo in August 2012. EAD markup completed by Joey Romeo and Michelle Page in September 2012. Metadata cleanup in May/June 2025 by Annie Waddell and Robert Vay.","This collection contains records created or acquired by the George Mason University Facilities division (now known as George Mason University Facilities and Campus Operations) from 1952 to 2003. The majority of the records cover the years 1967 to 1994. The materials were originally housed in the university's Facilities Management Office and used to document construction, repair, upgrades,improvements,and maintenance of the physical campuses at Fairfax, Manassas, Arlington, Virginia. The records include aerial photos, blue prints, microfilms, project manuals, change orders, and other project-related documents pertaining to management of George Mason University physical campuses.  Records in this group document construction, mantenance and expansion of student residence halls as well as campus libraries, administrative and academic buildings, athletic facilities, roads, and other university properties.","None.","This collection contains records created or collected by the George Mason University Facilities Management unit from the 1952 to 2003.  More specifically, it contains photos, blue prints, microfilms, project manuals, change orders, and other project-related documents pertaining to the management of the Fairfax, Arlington (now known as Mason Square), and Prince William (now known as the Science and Technology) Campuses.","George Mason University. Libraries. Special Collections Research Center","George Mason University. Facilities","English \n.    "],"unitid_tesim":["R0017","/repositories/2/resources/206"],"normalized_title_ssm":["George Mason University Facilities records"],"collection_title_tesim":["George Mason University Facilities records"],"collection_ssim":["George Mason University Facilities records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Facilities"],"creator_ssim":["George Mason University. Facilities"],"creator_corpname_ssim":["George Mason University. Facilities"],"creators_ssim":["George Mason University. Facilities"],"access_terms_ssm":["None."],"acqinfo_ssim":["Transferred by George Mason University Facilities Management to Special Collections Research Center in 2008."],"has_online_content_ssim":["false"],"extent_ssm":["70 Linear Feet (140 boxes)"],"extent_tesim":["70 Linear Feet (140 boxes)"],"date_range_isim":[1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eA small amount of student records that are restricted under FERPA, were found in the collection at its acquisition. It has been ascertained that these records do not belong with these materials. They have been withdrawn from the collection, and restrictions have been noted.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["A small amount of student records that are restricted under FERPA, were found in the collection at its acquisition. It has been ascertained that these records do not belong with these materials. They have been withdrawn from the collection, and restrictions have been noted."],"altformavail_html_tesm":["\u003cp\u003eSelected digital versions are available through the \u003cextptr href=\"http://mars.gmu.edu/handle/1920/2996\" title=\"George Mason University Facilities Planning Documents, 1960-2007\" show=\"new\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternate Format Available"],"altformavail_tesim":["Selected digital versions are available through the  ."],"arrangement_html_tesm":["\u003cp\u003eOrganized at the individual file level by building/road/project or contractor and by physical format.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized at the individual file level by building/road/project or contractor and by physical format."],"bioghist_html_tesm":["\u003cp\u003eGeorge Mason University began operation under the name \"University College of the University of Virginia\" in the fall of 1957 in an 8-room former elementary school in Bailey's Crossroads. The original student body consisted of 17 young men and women from local high schools. The college was renamed \"George Mason College\" in late 1959 and moved to its first permanent campus at Fairfax during the fall of 1964. George Mason College became independent from the University of Virginia on April 7, 1972 and was renamed George Mason University. In 1979 George Mason's acquisition of the International School of Law in Arlington was approved by the Virginia Legislature, creating the George Mason University School of Law (now known as the Antonin Scalia Law School) upon the Arlington Campus (know known as Mason Square Campus). Today's Science and Technology Campus near Manassas, Virginia was established in 1997, and Mason Korea, located in the Incheon Global Campus, began operations in 2014. Enrollment at all campuses combined totaled over 40,000 in 2024.\u003c/p\u003e\n","\u003cp\u003eGeorge Mason University Facilities and Campus Operations operates, maintains, repairs, replaces, renews, and secures all buildings, grounds, utilities, and other infrastructure belonging to George Mason University. This responsibility changed considerably over the years as the university grew from a four-building branch college in 1964 to a university boasting nearly 150 during the early 2000s.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["George Mason University began operation under the name \"University College of the University of Virginia\" in the fall of 1957 in an 8-room former elementary school in Bailey's Crossroads. The original student body consisted of 17 young men and women from local high schools. The college was renamed \"George Mason College\" in late 1959 and moved to its first permanent campus at Fairfax during the fall of 1964. George Mason College became independent from the University of Virginia on April 7, 1972 and was renamed George Mason University. In 1979 George Mason's acquisition of the International School of Law in Arlington was approved by the Virginia Legislature, creating the George Mason University School of Law (now known as the Antonin Scalia Law School) upon the Arlington Campus (know known as Mason Square Campus). Today's Science and Technology Campus near Manassas, Virginia was established in 1997, and Mason Korea, located in the Incheon Global Campus, began operations in 2014. Enrollment at all campuses combined totaled over 40,000 in 2024.","George Mason University Facilities and Campus Operations operates, maintains, repairs, replaces, renews, and secures all buildings, grounds, utilities, and other infrastructure belonging to George Mason University. This responsibility changed considerably over the years as the university grew from a four-building branch college in 1964 to a university boasting nearly 150 during the early 2000s."],"prefercite_html_tesm":["\u003cp\u003eGeorge Mason University Facilities records, # R0017, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["George Mason University Facilities records, # R0017, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Joey Romeo in August 2012. EAD markup completed by Joey Romeo and Michelle Page in September 2012. Metadata cleanup in May/June 2025 by Annie Waddell and Robert Vay.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Joey Romeo in August 2012. EAD markup completed by Joey Romeo and Michelle Page in September 2012. Metadata cleanup in May/June 2025 by Annie Waddell and Robert Vay."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains records created or acquired by the George Mason University Facilities division (now known as George Mason University Facilities and Campus Operations) from 1952 to 2003. The majority of the records cover the years 1967 to 1994. The materials were originally housed in the university's Facilities Management Office and used to document construction, repair, upgrades,improvements,and maintenance of the physical campuses at Fairfax, Manassas, Arlington, Virginia. The records include aerial photos, blue prints, microfilms, project manuals, change orders, and other project-related documents pertaining to management of George Mason University physical campuses.  Records in this group document construction, mantenance and expansion of student residence halls as well as campus libraries, administrative and academic buildings, athletic facilities, roads, and other university properties.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection contains records created or acquired by the George Mason University Facilities division (now known as George Mason University Facilities and Campus Operations) from 1952 to 2003. The majority of the records cover the years 1967 to 1994. The materials were originally housed in the university's Facilities Management Office and used to document construction, repair, upgrades,improvements,and maintenance of the physical campuses at Fairfax, Manassas, Arlington, Virginia. The records include aerial photos, blue prints, microfilms, project manuals, change orders, and other project-related documents pertaining to management of George Mason University physical campuses.  Records in this group document construction, mantenance and expansion of student residence halls as well as campus libraries, administrative and academic buildings, athletic facilities, roads, and other university properties."],"userestrict_html_tesm":["\u003cp\u003eNone.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["None."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7543aee6c7852142b11e3a84c8193d1e\" label=\"Abstract\"\u003eThis collection contains records created or collected by the George Mason University Facilities Management unit from the 1952 to 2003.  More specifically, it contains photos, blue prints, microfilms, project manuals, change orders, and other project-related documents pertaining to the management of the Fairfax, Arlington (now known as Mason Square), and Prince William (now known as the Science and Technology) Campuses.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains records created or collected by the George Mason University Facilities Management unit from the 1952 to 2003.  More specifically, it contains photos, blue prints, microfilms, project manuals, change orders, and other project-related documents pertaining to the management of the Fairfax, Arlington (now known as Mason Square), and Prince William (now known as the Science and Technology) Campuses."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Facilities"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","George Mason University. Facilities"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2283,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:35:02.663Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_206_c239"}},{"id":"vifgm_repositories_2_resources_118_c1817","type":"File","attributes":{"title":"1978 Budget","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_118_c1817#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_118_c1817","ref_ssm":["vifgm_repositories_2_resources_118_c1817"],"id":"vifgm_repositories_2_resources_118_c1817","ead_ssi":"vifgm_repositories_2_resources_118","_root_":"vifgm_repositories_2_resources_118","_nest_parent_":"vifgm_repositories_2_resources_118","parent_ssi":"vifgm_repositories_2_resources_118","parent_ssim":["vifgm_repositories_2_resources_118"],"parent_ids_ssim":["vifgm_repositories_2_resources_118"],"parent_unittitles_ssm":["American Theatre Association records"],"parent_unittitles_tesim":["American Theatre Association records"],"text":["American Theatre Association records","1978 Budget","box 54","folder 26"],"title_filing_ssi":"1978 Budget","title_ssm":["1978 Budget"],"title_tesim":["1978 Budget"],"unitdate_inclusive_ssm":["November 1978-November 1980"],"normalized_date_ssm":["1978/1980"],"normalized_title_ssm":["1978 Budget"],"component_level_isim":[1],"repository_ssim":["George Mason University"],"collection_ssim":["American Theatre Association records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1817,"parent_access_restrict_tesm":["Certain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1978,1979,1980],"containers_ssim":["box 54","folder 26"],"_nest_path_":"/components#1816","timestamp":"2026-05-01T00:37:55.284Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_118","ead_ssi":"vifgm_repositories_2_resources_118","_root_":"vifgm_repositories_2_resources_118","_nest_parent_":"vifgm_repositories_2_resources_118","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_118.xml","title_filing_ssi":"American Theatre Association records","title_ssm":["American Theatre Association records"],"title_tesim":["American Theatre Association records"],"unitdate_ssm":["1972-1986"],"unitdate_inclusive_ssm":["1972-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0042","/repositories/2/resources/118"],"text":["C0042","/repositories/2/resources/118","American Theatre Association records","Theater -- United States","Theater","Performing arts","Theater and society","Correspondence","Video recordings","Photographs","Certain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research.","This collection is arranged by subject.","The 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. The Association also sought to stimulate creative activity and scholarship in educational theatre and in allied fields of educational television, radio, film, and puppetry. ","In 1972 the American Educational Theatre Association restructured itself under a new title, the American Theatre Association, and Jed H. Davis became the Association's president. After earning BA, MA, and PhD degrees from the University of Minnesota, Davis served briefly in the U.S. Army. In 1947 he began teaching at Macalester College, followed by Michigan State and Kansas University, where he became director of children's theatre and University Theatre. Davis wrote several essays on theatre education for major journals and coauthored two books with Mary Jane Evans,  Theatre, Children and Youth  and  Children's Theatre: Play Production for the Child Audience.  Since the 1950s, Jed Davis served actively in professional associations, including the Children's Theatre Conference in 1963 and the ATA in 1972 until retiring in 1986, the year of the ATA's dissolution. Davis passed away in 2015.","This collection is unprocessed. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. ","Basic box inventory compiled by SCRC staff from 2022-2025. Finding aid updated by Amanda Menjivar in June 2025.","The Special Collections Research Center also holds the records of other theatrical organizations, such as the Arena Stage records, as well as many other collections focusing on theatre and the performing arts.","The New York Public Library, Archives and Manuscripts division and Texas State University Libraries hold American Theatre Association collections.","https://archives.nypl.org/the/18637 ","https://archivesspace.library.txstate.edu/repositories/2/resources/70","Note: This collection is not fully processed - a basic box inventory is available.","This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials.","George Mason University. Libraries. Special Collections Research Center","American Theatre Association","National Theater Players (Washington, D.C.)","Davis, Jed H. (Jed Horace)","English"],"unitid_tesim":["C0042","/repositories/2/resources/118"],"normalized_title_ssm":["American Theatre Association records"],"collection_title_tesim":["American Theatre Association records"],"collection_ssim":["American Theatre Association records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["American Theatre Association"],"creator_ssim":["American Theatre Association"],"creator_corpname_ssim":["American Theatre Association"],"creators_ssim":["American Theatre Association"],"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":["Portions of this collection were donated by the American Theatre Association, by the National Theater, and by Jed H. Davis between 1995-1999. An additional donation was made in 2016."],"access_subjects_ssim":["Theater -- United States","Theater","Performing arts","Theater and society","Correspondence","Video recordings","Photographs"],"access_subjects_ssm":["Theater -- United States","Theater","Performing arts","Theater and society","Correspondence","Video recordings","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["75 Linear Feet 91 boxes"],"extent_tesim":["75 Linear Feet 91 boxes"],"genreform_ssim":["Correspondence","Video recordings","Photographs"],"accessrestrict_html_tesm":["\u003cp\u003eCertain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Certain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research."],"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. The Association also sought to stimulate creative activity and scholarship in educational theatre and in allied fields of educational television, radio, film, and puppetry. \u003c/p\u003e\n","\u003cp\u003eIn 1972 the American Educational Theatre Association restructured itself under a new title, the American Theatre Association, and Jed H. Davis became the Association's president. After earning BA, MA, and PhD degrees from the University of Minnesota, Davis served briefly in the U.S. Army. In 1947 he began teaching at Macalester College, followed by Michigan State and Kansas University, where he became director of children's theatre and University Theatre. Davis wrote several essays on theatre education for major journals and coauthored two books with Mary Jane Evans, \u003citalic\u003eTheatre, Children and Youth\u003c/italic\u003e and \u003citalic\u003eChildren's Theatre: Play Production for the Child Audience.\u003c/italic\u003e Since the 1950s, Jed Davis served actively in professional associations, including the Children's Theatre Conference in 1963 and the ATA in 1972 until retiring in 1986, the year of the ATA's dissolution. Davis passed away in 2015.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The 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. The Association also sought to stimulate creative activity and scholarship in educational theatre and in allied fields of educational television, radio, film, and puppetry. ","In 1972 the American Educational Theatre Association restructured itself under a new title, the American Theatre Association, and Jed H. Davis became the Association's president. After earning BA, MA, and PhD degrees from the University of Minnesota, Davis served briefly in the U.S. Army. In 1947 he began teaching at Macalester College, followed by Michigan State and Kansas University, where he became director of children's theatre and University Theatre. Davis wrote several essays on theatre education for major journals and coauthored two books with Mary Jane Evans,  Theatre, Children and Youth  and  Children's Theatre: Play Production for the Child Audience.  Since the 1950s, Jed Davis served actively in professional associations, including the Children's Theatre Conference in 1963 and the ATA in 1972 until retiring in 1986, the year of the ATA's dissolution. Davis passed away in 2015."],"prefercite_html_tesm":["\u003cp\u003eAmerican Theatre Association records, C0042, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["American Theatre Association records, C0042, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThis collection is unprocessed. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \u003c/p\u003e","\u003cp\u003eBasic box inventory compiled by SCRC staff from 2022-2025. 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Finding aid updated by Amanda Menjivar in June 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the records of other theatrical organizations, such as the Arena Stage records, as well as many other collections focusing on theatre and the performing arts.\u003c/p\u003e\n","\u003cp\u003eThe New York Public Library, Archives and Manuscripts division and Texas State University Libraries hold American Theatre Association collections.\u003c/p\u003e\n","\u003cp\u003ehttps://archives.nypl.org/the/18637 \u003c/p\u003e\n","\u003cp\u003ehttps://archivesspace.library.txstate.edu/repositories/2/resources/70\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the records of other theatrical organizations, such as the Arena Stage records, as well as many other collections focusing on theatre and the performing arts.","The New York Public Library, Archives and Manuscripts division and Texas State University Libraries hold American Theatre Association collections.","https://archives.nypl.org/the/18637 ","https://archivesspace.library.txstate.edu/repositories/2/resources/70"],"scopecontent_html_tesm":["\u003cp\u003eNote: This collection is not fully processed - a basic box inventory is available.\u003c/p\u003e\n","\u003cp\u003eThis collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Note: This collection is not fully processed - a basic box inventory is available.","This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials. "],"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_cbed6be54bd2c070c6f8f0c3dca7dc91\" label=\"Abstract\"\u003eThis collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials."],"names_coll_ssim":["National Theater Players (Washington, D.C.)","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)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American Theatre Association","National Theater Players (Washington, D.C.)"],"persname_ssim":["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":"2026-05-01T00:37:55.284Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_118_c1817"}},{"id":"vifgm_repositories_2_resources_118_c1818","type":"File","attributes":{"title":"1978 Budget","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_118_c1818#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_118_c1818","ref_ssm":["vifgm_repositories_2_resources_118_c1818"],"id":"vifgm_repositories_2_resources_118_c1818","ead_ssi":"vifgm_repositories_2_resources_118","_root_":"vifgm_repositories_2_resources_118","_nest_parent_":"vifgm_repositories_2_resources_118","parent_ssi":"vifgm_repositories_2_resources_118","parent_ssim":["vifgm_repositories_2_resources_118"],"parent_ids_ssim":["vifgm_repositories_2_resources_118"],"parent_unittitles_ssm":["American Theatre Association records"],"parent_unittitles_tesim":["American Theatre Association records"],"text":["American Theatre Association records","1978 Budget","box 54","folder 27"],"title_filing_ssi":"1978 Budget","title_ssm":["1978 Budget"],"title_tesim":["1978 Budget"],"unitdate_inclusive_ssm":["June 1978-July 1980"],"normalized_date_ssm":["1978/1980"],"normalized_title_ssm":["1978 Budget"],"component_level_isim":[1],"repository_ssim":["George Mason University"],"collection_ssim":["American Theatre Association records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1818,"parent_access_restrict_tesm":["Certain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1978,1979,1980],"containers_ssim":["box 54","folder 27"],"_nest_path_":"/components#1817","timestamp":"2026-05-01T00:37:55.284Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_118","ead_ssi":"vifgm_repositories_2_resources_118","_root_":"vifgm_repositories_2_resources_118","_nest_parent_":"vifgm_repositories_2_resources_118","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_118.xml","title_filing_ssi":"American Theatre Association records","title_ssm":["American Theatre Association records"],"title_tesim":["American Theatre Association records"],"unitdate_ssm":["1972-1986"],"unitdate_inclusive_ssm":["1972-1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0042","/repositories/2/resources/118"],"text":["C0042","/repositories/2/resources/118","American Theatre Association records","Theater -- United States","Theater","Performing arts","Theater and society","Correspondence","Video recordings","Photographs","Certain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research.","This collection is arranged by subject.","The 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. The Association also sought to stimulate creative activity and scholarship in educational theatre and in allied fields of educational television, radio, film, and puppetry. ","In 1972 the American Educational Theatre Association restructured itself under a new title, the American Theatre Association, and Jed H. Davis became the Association's president. After earning BA, MA, and PhD degrees from the University of Minnesota, Davis served briefly in the U.S. Army. In 1947 he began teaching at Macalester College, followed by Michigan State and Kansas University, where he became director of children's theatre and University Theatre. Davis wrote several essays on theatre education for major journals and coauthored two books with Mary Jane Evans,  Theatre, Children and Youth  and  Children's Theatre: Play Production for the Child Audience.  Since the 1950s, Jed Davis served actively in professional associations, including the Children's Theatre Conference in 1963 and the ATA in 1972 until retiring in 1986, the year of the ATA's dissolution. Davis passed away in 2015.","This collection is unprocessed. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. ","Basic box inventory compiled by SCRC staff from 2022-2025. Finding aid updated by Amanda Menjivar in June 2025.","The Special Collections Research Center also holds the records of other theatrical organizations, such as the Arena Stage records, as well as many other collections focusing on theatre and the performing arts.","The New York Public Library, Archives and Manuscripts division and Texas State University Libraries hold American Theatre Association collections.","https://archives.nypl.org/the/18637 ","https://archivesspace.library.txstate.edu/repositories/2/resources/70","Note: This collection is not fully processed - a basic box inventory is available.","This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials. ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials.","George Mason University. Libraries. Special Collections Research Center","American Theatre Association","National Theater Players (Washington, D.C.)","Davis, Jed H. 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An additional donation was made in 2016."],"access_subjects_ssim":["Theater -- United States","Theater","Performing arts","Theater and society","Correspondence","Video recordings","Photographs"],"access_subjects_ssm":["Theater -- United States","Theater","Performing arts","Theater and society","Correspondence","Video recordings","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["75 Linear Feet 91 boxes"],"extent_tesim":["75 Linear Feet 91 boxes"],"genreform_ssim":["Correspondence","Video recordings","Photographs"],"accessrestrict_html_tesm":["\u003cp\u003eCertain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Certain materials in this collection are restricted, see inventory for details. Otherwise, collection is open to research."],"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. The Association also sought to stimulate creative activity and scholarship in educational theatre and in allied fields of educational television, radio, film, and puppetry. \u003c/p\u003e\n","\u003cp\u003eIn 1972 the American Educational Theatre Association restructured itself under a new title, the American Theatre Association, and Jed H. Davis became the Association's president. After earning BA, MA, and PhD degrees from the University of Minnesota, Davis served briefly in the U.S. Army. In 1947 he began teaching at Macalester College, followed by Michigan State and Kansas University, where he became director of children's theatre and University Theatre. Davis wrote several essays on theatre education for major journals and coauthored two books with Mary Jane Evans, \u003citalic\u003eTheatre, Children and Youth\u003c/italic\u003e and \u003citalic\u003eChildren's Theatre: Play Production for the Child Audience.\u003c/italic\u003e Since the 1950s, Jed Davis served actively in professional associations, including the Children's Theatre Conference in 1963 and the ATA in 1972 until retiring in 1986, the year of the ATA's dissolution. Davis passed away in 2015.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The 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. The Association also sought to stimulate creative activity and scholarship in educational theatre and in allied fields of educational television, radio, film, and puppetry. ","In 1972 the American Educational Theatre Association restructured itself under a new title, the American Theatre Association, and Jed H. Davis became the Association's president. After earning BA, MA, and PhD degrees from the University of Minnesota, Davis served briefly in the U.S. Army. In 1947 he began teaching at Macalester College, followed by Michigan State and Kansas University, where he became director of children's theatre and University Theatre. Davis wrote several essays on theatre education for major journals and coauthored two books with Mary Jane Evans,  Theatre, Children and Youth  and  Children's Theatre: Play Production for the Child Audience.  Since the 1950s, Jed Davis served actively in professional associations, including the Children's Theatre Conference in 1963 and the ATA in 1972 until retiring in 1986, the year of the ATA's dissolution. Davis passed away in 2015."],"prefercite_html_tesm":["\u003cp\u003eAmerican Theatre Association records, C0042, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["American Theatre Association records, C0042, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThis collection is unprocessed. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. \u003c/p\u003e","\u003cp\u003eBasic box inventory compiled by SCRC staff from 2022-2025. Finding aid updated by Amanda Menjivar in June 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection is unprocessed. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. ","Basic box inventory compiled by SCRC staff from 2022-2025. Finding aid updated by Amanda Menjivar in June 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the records of other theatrical organizations, such as the Arena Stage records, as well as many other collections focusing on theatre and the performing arts.\u003c/p\u003e\n","\u003cp\u003eThe New York Public Library, Archives and Manuscripts division and Texas State University Libraries hold American Theatre Association collections.\u003c/p\u003e\n","\u003cp\u003ehttps://archives.nypl.org/the/18637 \u003c/p\u003e\n","\u003cp\u003ehttps://archivesspace.library.txstate.edu/repositories/2/resources/70\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the records of other theatrical organizations, such as the Arena Stage records, as well as many other collections focusing on theatre and the performing arts.","The New York Public Library, Archives and Manuscripts division and Texas State University Libraries hold American Theatre Association collections.","https://archives.nypl.org/the/18637 ","https://archivesspace.library.txstate.edu/repositories/2/resources/70"],"scopecontent_html_tesm":["\u003cp\u003eNote: This collection is not fully processed - a basic box inventory is available.\u003c/p\u003e\n","\u003cp\u003eThis collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Note: This collection is not fully processed - a basic box inventory is available.","This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials. "],"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_cbed6be54bd2c070c6f8f0c3dca7dc91\" label=\"Abstract\"\u003eThis collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains official records of the American Theatre Association such as meeting minutes, correspondence, and administrative papers, as well as photographs and audiovisual materials."],"names_coll_ssim":["National Theater Players (Washington, D.C.)","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)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American Theatre Association","National Theater Players (Washington, D.C.)"],"persname_ssim":["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":"2026-05-01T00:37:55.284Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_118_c1818"}},{"id":"vifgm_repositories_2_resources_521_c1272","type":"File","attributes":{"title":"\"1978 Desk Master Diary\" Appointment Book","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521_c1272#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_521_c1272","ref_ssm":["vifgm_repositories_2_resources_521_c1272"],"id":"vifgm_repositories_2_resources_521_c1272","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","parent_ssi":"vifgm_repositories_2_resources_521","parent_ssim":["vifgm_repositories_2_resources_521"],"parent_ids_ssim":["vifgm_repositories_2_resources_521"],"parent_unittitles_ssm":["Robert and Wilva Breen papers"],"parent_unittitles_tesim":["Robert and Wilva Breen papers"],"text":["Robert and Wilva Breen papers","\"1978 Desk Master Diary\" Appointment Book","Box 97","Folder 4"],"title_filing_ssi":"\"1978 Desk Master Diary\" Appointment Book","title_ssm":["\"1978 Desk Master Diary\" Appointment Book"],"title_tesim":["\"1978 Desk Master Diary\" Appointment Book"],"unitdate_other_ssim":["1978"],"normalized_date_ssm":["1978"],"normalized_title_ssm":["\"1978 Desk Master Diary\" Appointment Book"],"component_level_isim":[1],"repository_ssim":["George Mason University"],"collection_ssim":["Robert and Wilva Breen papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1272,"parent_access_restrict_tesm":["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."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"date_range_isim":[1978],"containers_ssim":["Box 97","Folder 4"],"_nest_path_":"/components#1271","timestamp":"2026-05-08T07:16:03.204Z","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"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"text":["C0004","/repositories/2/resources/521","Robert and Wilva Breen papers","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.","Selections from the Robert and Wilva Breen papers are also available digitally on ","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","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"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"normalized_title_ssm":["Robert and Wilva Breen papers"],"collection_title_tesim":["Robert and Wilva Breen papers"],"collection_ssim":["Robert and Wilva Breen papers"],"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.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva"],"creators_ssim":["Breen, Robert","Breen, Wilva"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"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\n","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e\n","\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\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on ","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"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\n","\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\n","\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\n","\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\n","\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\n","\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\n","\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\n","\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\n","\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\n","\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\n","\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"],"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"],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","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"],"corpname_ssim":["George Mason University. Libraries. 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