{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2002\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=9","prev":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2002\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=8","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2002\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=10","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=2002\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=190"},"meta":{"pages":{"current_page":9,"next_page":10,"prev_page":8,"total_pages":190,"limit_value":10,"offset_value":80,"total_count":1898,"first_page?":false,"last_page?":false}},"data":[{"id":"viblbv_repositories_2_resources_4534","type":"collection","attributes":{"title":"Appalachian History Films","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_4534#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection consists of 34 films relating to local, regional, and Appalachian history, dating from 1981-2005. 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"],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Appalachian History Films, 1981-2005, undated, Ms2025-068 Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Appalachian History Films, 1981-2005, undated, Ms2025-068 Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Appalachian History Films was completed in August 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Appalachian History Films was completed in August 2025."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of 34 films relating to local, regional, and Appalachian history, dating from 1981-2005. 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"],"total_component_count_is":28,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T23:38:13.517Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_4534","ead_ssi":"viblbv_repositories_2_resources_4534","_root_":"viblbv_repositories_2_resources_4534","_nest_parent_":"viblbv_repositories_2_resources_4534","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_4534.xml","title_filing_ssi":"Appalachian History Films","title_ssm":["Appalachian History Films"],"title_tesim":["Appalachian History Films"],"unitdate_ssm":["1981-2005, undated"],"unitdate_inclusive_ssm":["1981-2005, undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2025.068"],"text":["Ms.2025.068","Appalachian History Films","Local/Regional History and Appalachian South","The collection is open for research.","The guide to the Appalachian History Films by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The bulk of these films are in U-matic format (and one in Beta), which Special Collections and University Archives does not have equipment for. 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","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction .","Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . ","Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Special Collections and University Archives, Virginia Tech","English \n.    "],"unitid_tesim":["Ms.2025.068"],"normalized_title_ssm":["Appalachian History Films"],"collection_title_tesim":["Appalachian History Films"],"collection_ssim":["Appalachian History Films"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. 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","Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The films in this collection were transferred to Special Collections and University Archives prior to 2010."],"access_subjects_ssim":["Local/Regional History and Appalachian South"],"access_subjects_ssm":["Local/Regional History and Appalachian South"],"has_online_content_ssim":["false"],"extent_ssm":["2.8 Cubic Feet 2 boxes"],"extent_tesim":["2.8 Cubic Feet 2 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"odd_html_tesm":["\u003cp\u003eThe guide to the Appalachian History Films by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003cextref href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/extref\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Appalachian History Films by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"phystech_html_tesm":["\u003cp\u003eThe bulk of these films are in U-matic format (and one in Beta), which Special Collections and University Archives does not have equipment for. 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"],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Appalachian History Films, 1981-2005, undated, Ms2025-068 Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Appalachian History Films, 1981-2005, undated, Ms2025-068 Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Appalachian History Films was completed in August 2025.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Appalachian History Films was completed in August 2025."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of 34 films relating to local, regional, and Appalachian history, dating from 1981-2005. 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Contact Special Collections and University Archives for assistance in determining the use of these materials. \u003c/p\u003e\n","\u003cp\u003eReproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e.\u003c/p\u003e\n","\u003cp\u003eReproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. \u003c/p\u003e\n","\u003cp\u003ePlease contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. 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Subjects include the U.S. Civil War; various WV cities, landscapes, and geographical features; and various local industries.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6940#breadcrumbs","type":"document_value","attributes":{"value":{"id":"wvmturhc_repositories_2_resources_6940","ead_ssi":"wvmturhc_repositories_2_resources_6940","_root_":"wvmturhc_repositories_2_resources_6940","_nest_parent_":"wvmturhc_repositories_2_resources_6940","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6940.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/216531","title_ssm":["Appalachian Prints Collection"],"title_tesim":["Appalachian Prints Collection"],"unitdate_ssm":["1859-1909","1839-2010"],"unitdate_bulk_ssim":["1859-1909"],"unitdate_inclusive_ssm":["1839-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4554","Archival Resource Key","/repositories/2/resources/6940"],"text":["A\u0026M 4554","Archival Resource Key","/repositories/2/resources/6940","Appalachian Prints Collection","United States -- History -- Civil War, 1861-1865 -- Pictorial works","West Virginia","Appalachian Region -- History","No special access restriction applies.","The material in this collection was arranged into series by the Center long before it was made into an A\u0026M collection. 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For ease of use, we have retained the original series.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The material in this collection was arranged into series by the Center long before it was made into an A\u0026M collection. 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Topics for 2010 included sustainable agriculture and food systems, building community through public art, rural governance and strategic planning, and the implications of the Marcellus Shale industry.","The Appalachian Studies Program is an academic program supporting teaching, research, and service on issues pertaining to Appalachia. The Appalachian studies minor focuses on complex cultural, political, economic, and environmental issues in the study of an important American region. The course of study ranges from mythic to modern Appalachian America and also provides opportunity for cross-cultural study of mountain cultures worldwide."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: Appalachian Regional Commission Teaching Project Records, Ms2011-041, Special Collections, Virginia Polytechnic Institute and State University, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: Appalachian Regional Commission Teaching Project Records, Ms2011-041, Special Collections, Virginia Polytechnic Institute and State University, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Appalachian Regional Commission Teaching Project Records was completed in March 2011.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Appalachian Regional Commission Teaching Project Records was completed in March 2011."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of five bound reports produced for the Appalachian Regional Commission Teaching Project from the years 2001-2006.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection consists of five bound reports produced for the Appalachian Regional Commission Teaching Project from the years 2001-2006."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish material from Appalachian Regional Commission Teaching Project Records must be obtained from Special Collections, Virginia Tech.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Permission to publish material from Appalachian Regional Commission Teaching Project Records must be obtained from Special Collections, Virginia Tech."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0117cb4fa2fd9ae5a6e45de04ec58513\" label=\"Abstract\"\u003eThe collection consists of five bound reports produced for the Appalachian Regional Commission Teaching Project from the years 2001-2006.\u003c/abstract\u003e"],"abstract_tesim":["The collection consists of five bound reports produced for the Appalachian Regional Commission Teaching Project from the years 2001-2006."],"names_coll_ssim":["Appalachian Regional Commission"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Appalachian Regional Commission"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Appalachian Regional Commission"],"language_ssim":["English \n.    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It includes the artist's autograph on colophon: Jessica Spring. 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Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","  Archibald F. Ward, Jr. was born in Lumberton, North Carolina in 1912, received his Masters of Divinity from Crozer Theological Seminary in 1937 and moved to Williamsburg, Virginia in 1942. He was involved in the Magruder Neighborhood whose lands were being acquisitioned by Camp Peary, felt strongly about the treatment of Black people, was Minister of the Williamsburg Baptist Church and accepted a position of the first full-time chaplain at Eastern State Hospital.\n\n Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \"http://scdbwiki.swem.wm.edu/wiki/index.php/Archibald F. Ward, Jr.\" Archibald F. Ward, Jr.\n\n ","Administrative History:  Archibald Floyd Ward, Jr. was born in Lumberton, North Carolina, and he was a minister of the Calvary Baptist Church then later the Williamsburg Baptist Church.  In addition, he became the president of the Williamsburg Rotary Club, and he later joined the staff of Eastern State Hospital as a chaplain.\n\n ","Audiovisual material has been digitized and is available to view in the reading room. At least 72 hours advanced notice required for access.","Acc. 2013.106 accessioned and minimally described by Steven Bookman, University Archives Specialist, in June 2013. Fully described by Phillip Nicholas in September 2014.  Accession 2017.042 described by Anne Johnson in 2021.","This collection contains correspondence, clippings, notebooks, and other material related to Archibald F. Ward, Jr. Included in the collection are notebooks and articles pertaining to Ward while he was the Chaplain at Eastern State Hospital in Williamsburg, Virginia, biographical material related to Ward, a notebook describing Ward's experience at Magruder and Camp Peary, correspondence with various members of the Rockefeller family, and correspondence related to the 250th anniversary celebration of the founding of Williamsburg, Virginia. ","The collection also includes correspondence concerning local issues while Ward was chairman of the Williamsburg Citizens Association in the 1940's, the Platform for Democracy talk in 1949 (including speeches), correspondence between Ward and James W. Miller, professor of philosophy at William and Mary, and correspondence and speeches with and by Thomas Verner Smith.","Box 4, Accession 2017.042 includes sermans by A.F. Ward, Jr. and material from the various places he worked.","Lastly, the collection includes film and soundscriber recordings, which have been digitized. 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Acquisition information for material received after 7/13/2009 is available by consulting a Special Collections Research Center staff member."],"access_subjects_ssim":["Eastern State Hospital (Va.)--History","Chaplains, Hospital.","Correspondence","Diaries","Notebooks","Pamphlets"],"access_subjects_ssm":["Eastern State Hospital (Va.)--History","Chaplains, Hospital.","Correspondence","Diaries","Notebooks","Pamphlets"],"has_online_content_ssim":["false"],"extent_ssm":["1.00 Linear Feet"],"extent_tesim":["1.00 Linear Feet"],"genreform_ssim":["Correspondence","Diaries","Notebooks","Pamphlets"],"date_range_isim":[1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. 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Ward, Jr. was born in Lumberton, North Carolina in 1912, received his Masters of Divinity from Crozer Theological Seminary in 1937 and moved to Williamsburg, Virginia in 1942. He was involved in the Magruder Neighborhood whose lands were being acquisitioned by Camp Peary, felt strongly about the treatment of Black people, was Minister of the Williamsburg Baptist Church and accepted a position of the first full-time chaplain at Eastern State Hospital.\n\n Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \"http://scdbwiki.swem.wm.edu/wiki/index.php/Archibald F. Ward, Jr.\" Archibald F. 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He was involved in the Magruder Neighborhood whose lands were being acquisitioned by Camp Peary, felt strongly about the treatment of Black people, was Minister of the Williamsburg Baptist Church and accepted a position of the first full-time chaplain at Eastern State Hospital.\n\n Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \"http://scdbwiki.swem.wm.edu/wiki/index.php/Archibald F. Ward, Jr.\" Archibald F. Ward, Jr.\n\n ","Administrative History:  Archibald Floyd Ward, Jr. was born in Lumberton, North Carolina, and he was a minister of the Calvary Baptist Church then later the Williamsburg Baptist Church.  In addition, he became the president of the Williamsburg Rotary Club, and he later joined the staff of Eastern State Hospital as a chaplain.\n\n "],"phystech_html_tesm":["\u003cp\u003eAudiovisual material has been digitized and is available to view in the reading room. At least 72 hours advanced notice required for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["Audiovisual material has been digitized and is available to view in the reading room. At least 72 hours advanced notice required for access."],"prefercite_html_tesm":["\u003cp\u003eArchibald F. Ward, Jr. Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e"],"prefercite_tesim":["Archibald F. Ward, Jr. Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"processinfo_html_tesm":["\u003cp\u003eAcc. 2013.106 accessioned and minimally described by Steven Bookman, University Archives Specialist, in June 2013. Fully described by Phillip Nicholas in September 2014.  Accession 2017.042 described by Anne Johnson in 2021.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information:"],"processinfo_tesim":["Acc. 2013.106 accessioned and minimally described by Steven Bookman, University Archives Specialist, in June 2013. Fully described by Phillip Nicholas in September 2014.  Accession 2017.042 described by Anne Johnson in 2021."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains correspondence, clippings, notebooks, and other material related to Archibald F. 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","The collection also includes correspondence concerning local issues while Ward was chairman of the Williamsburg Citizens Association in the 1940's, the Platform for Democracy talk in 1949 (including speeches), correspondence between Ward and James W. Miller, professor of philosophy at William and Mary, and correspondence and speeches with and by Thomas Verner Smith.","Box 4, Accession 2017.042 includes sermans by A.F. Ward, Jr. and material from the various places he worked.","Lastly, the collection includes film and soundscriber recordings, which have been digitized. "],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"names_coll_ssim":["Camp Peary (Va.)","Eastern State Hospital (Va.)"],"names_ssim":["Special Collections Research Center","Camp Peary (Va.)","Eastern State Hospital (Va.)","Ward, Archibald Floyd, Jr., 1912-2000"],"corpname_ssim":["Special Collections Research Center","Camp Peary (Va.)","Eastern State Hospital (Va.)"],"persname_ssim":["Ward, Archibald Floyd, Jr., 1912-2000"],"language_ssim":["English"],"total_component_count_is":36,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:10:15.256Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9","ead_ssi":"viw_repositories_2_resources_9","_root_":"viw_repositories_2_resources_9","_nest_parent_":"viw_repositories_2_resources_9","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9.xml","title_filing_ssi":"Ward, Archibald F., Jr.","title_ssm":["Archibald F. 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Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","  Archibald F. Ward, Jr. was born in Lumberton, North Carolina in 1912, received his Masters of Divinity from Crozer Theological Seminary in 1937 and moved to Williamsburg, Virginia in 1942. He was involved in the Magruder Neighborhood whose lands were being acquisitioned by Camp Peary, felt strongly about the treatment of Black people, was Minister of the Williamsburg Baptist Church and accepted a position of the first full-time chaplain at Eastern State Hospital.\n\n Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \"http://scdbwiki.swem.wm.edu/wiki/index.php/Archibald F. Ward, Jr.\" Archibald F. Ward, Jr.\n\n ","Administrative History:  Archibald Floyd Ward, Jr. was born in Lumberton, North Carolina, and he was a minister of the Calvary Baptist Church then later the Williamsburg Baptist Church.  In addition, he became the president of the Williamsburg Rotary Club, and he later joined the staff of Eastern State Hospital as a chaplain.\n\n ","Audiovisual material has been digitized and is available to view in the reading room. At least 72 hours advanced notice required for access.","Acc. 2013.106 accessioned and minimally described by Steven Bookman, University Archives Specialist, in June 2013. Fully described by Phillip Nicholas in September 2014.  Accession 2017.042 described by Anne Johnson in 2021.","This collection contains correspondence, clippings, notebooks, and other material related to Archibald F. Ward, Jr. Included in the collection are notebooks and articles pertaining to Ward while he was the Chaplain at Eastern State Hospital in Williamsburg, Virginia, biographical material related to Ward, a notebook describing Ward's experience at Magruder and Camp Peary, correspondence with various members of the Rockefeller family, and correspondence related to the 250th anniversary celebration of the founding of Williamsburg, Virginia. ","The collection also includes correspondence concerning local issues while Ward was chairman of the Williamsburg Citizens Association in the 1940's, the Platform for Democracy talk in 1949 (including speeches), correspondence between Ward and James W. Miller, professor of philosophy at William and Mary, and correspondence and speeches with and by Thomas Verner Smith.","Box 4, Accession 2017.042 includes sermans by A.F. Ward, Jr. and material from the various places he worked.","Lastly, the collection includes film and soundscriber recordings, which have been digitized. ","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Camp Peary (Va.)","Eastern State Hospital (Va.)","Ward, Archibald Floyd, Jr., 1912-2000","English"],"unitid_tesim":["MS 00210","/repositories/2/resources/9"],"normalized_title_ssm":["Archibald F. Ward, Jr. Papers"],"collection_title_tesim":["Archibald F. Ward, Jr. Papers"],"collection_ssim":["Archibald F. Ward, Jr. Papers"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Social life and customs"],"geogname_ssim":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Social life and customs"],"creator_ssm":["Ward, Archibald Floyd, Jr., 1912-2000"],"creator_ssim":["Ward, Archibald Floyd, Jr., 1912-2000"],"creator_persname_ssim":["Ward, Archibald Floyd, Jr., 1912-2000"],"creators_ssim":["Ward, Archibald Floyd, Jr., 1912-2000"],"places_ssim":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Social life and customs"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Acc. 2004.32 and Acc. 2004.42 gift via the Williamsburg Historic Records Association. Acquisition information for material received after 7/13/2009 is available by consulting a Special Collections Research Center staff member."],"access_subjects_ssim":["Eastern State Hospital (Va.)--History","Chaplains, Hospital.","Correspondence","Diaries","Notebooks","Pamphlets"],"access_subjects_ssm":["Eastern State Hospital (Va.)--History","Chaplains, Hospital.","Correspondence","Diaries","Notebooks","Pamphlets"],"has_online_content_ssim":["false"],"extent_ssm":["1.00 Linear Feet"],"extent_tesim":["1.00 Linear Feet"],"genreform_ssim":["Correspondence","Diaries","Notebooks","Pamphlets"],"date_range_isim":[1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cbioghist altrender=\"Biographical Information\" encodinganalog=\"545$a\"\u003e  Archibald F. Ward, Jr. was born in Lumberton, North Carolina in 1912, received his Masters of Divinity from Crozer Theological Seminary in 1937 and moved to Williamsburg, Virginia in 1942. He was involved in the Magruder Neighborhood whose lands were being acquisitioned by Camp Peary, felt strongly about the treatment of Black people, was Minister of the Williamsburg Baptist Church and accepted a position of the first full-time chaplain at Eastern State Hospital.\n\n Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \"http://scdbwiki.swem.wm.edu/wiki/index.php/Archibald F. Ward, Jr.\" Archibald F. Ward, Jr.\n\n \u003c/bioghist\u003e","\u003cbioghist altrender=\"Administrative History\" encodinganalog=\"545$b\"\u003e \u003chead\u003eAdministrative History:\u003c/head\u003e Archibald Floyd Ward, Jr. was born in Lumberton, North Carolina, and he was a minister of the Calvary Baptist Church then later the Williamsburg Baptist Church.  In addition, he became the president of the Williamsburg Rotary Club, and he later joined the staff of Eastern State Hospital as a chaplain.\n\n \u003c/bioghist\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["  Archibald F. Ward, Jr. was born in Lumberton, North Carolina in 1912, received his Masters of Divinity from Crozer Theological Seminary in 1937 and moved to Williamsburg, Virginia in 1942. He was involved in the Magruder Neighborhood whose lands were being acquisitioned by Camp Peary, felt strongly about the treatment of Black people, was Minister of the Williamsburg Baptist Church and accepted a position of the first full-time chaplain at Eastern State Hospital.\n\n Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \"http://scdbwiki.swem.wm.edu/wiki/index.php/Archibald F. Ward, Jr.\" Archibald F. Ward, Jr.\n\n ","Administrative History:  Archibald Floyd Ward, Jr. was born in Lumberton, North Carolina, and he was a minister of the Calvary Baptist Church then later the Williamsburg Baptist Church.  In addition, he became the president of the Williamsburg Rotary Club, and he later joined the staff of Eastern State Hospital as a chaplain.\n\n "],"phystech_html_tesm":["\u003cp\u003eAudiovisual material has been digitized and is available to view in the reading room. At least 72 hours advanced notice required for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["Audiovisual material has been digitized and is available to view in the reading room. At least 72 hours advanced notice required for access."],"prefercite_html_tesm":["\u003cp\u003eArchibald F. Ward, Jr. Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e"],"prefercite_tesim":["Archibald F. Ward, Jr. Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"processinfo_html_tesm":["\u003cp\u003eAcc. 2013.106 accessioned and minimally described by Steven Bookman, University Archives Specialist, in June 2013. Fully described by Phillip Nicholas in September 2014.  Accession 2017.042 described by Anne Johnson in 2021.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information:"],"processinfo_tesim":["Acc. 2013.106 accessioned and minimally described by Steven Bookman, University Archives Specialist, in June 2013. Fully described by Phillip Nicholas in September 2014.  Accession 2017.042 described by Anne Johnson in 2021."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains correspondence, clippings, notebooks, and other material related to Archibald F. Ward, Jr. Included in the collection are notebooks and articles pertaining to Ward while he was the Chaplain at Eastern State Hospital in Williamsburg, Virginia, biographical material related to Ward, a notebook describing Ward's experience at Magruder and Camp Peary, correspondence with various members of the Rockefeller family, and correspondence related to the 250th anniversary celebration of the founding of Williamsburg, Virginia. \u003c/p\u003e\n","\u003cp\u003eThe collection also includes correspondence concerning local issues while Ward was chairman of the Williamsburg Citizens Association in the 1940's, the Platform for Democracy talk in 1949 (including speeches), correspondence between Ward and James W. Miller, professor of philosophy at William and Mary, and correspondence and speeches with and by Thomas Verner Smith.\u003c/p\u003e\n","\u003cp\u003eBox 4, Accession 2017.042 includes sermans by A.F. Ward, Jr. and material from the various places he worked.\u003c/p\u003e\n","\u003cp\u003eLastly, the collection includes film and soundscriber recordings, which have been digitized. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains correspondence, clippings, notebooks, and other material related to Archibald F. Ward, Jr. Included in the collection are notebooks and articles pertaining to Ward while he was the Chaplain at Eastern State Hospital in Williamsburg, Virginia, biographical material related to Ward, a notebook describing Ward's experience at Magruder and Camp Peary, correspondence with various members of the Rockefeller family, and correspondence related to the 250th anniversary celebration of the founding of Williamsburg, Virginia. ","The collection also includes correspondence concerning local issues while Ward was chairman of the Williamsburg Citizens Association in the 1940's, the Platform for Democracy talk in 1949 (including speeches), correspondence between Ward and James W. Miller, professor of philosophy at William and Mary, and correspondence and speeches with and by Thomas Verner Smith.","Box 4, Accession 2017.042 includes sermans by A.F. Ward, Jr. and material from the various places he worked.","Lastly, the collection includes film and soundscriber recordings, which have been digitized. "],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"names_coll_ssim":["Camp Peary (Va.)","Eastern State Hospital (Va.)"],"names_ssim":["Special Collections Research Center","Camp Peary (Va.)","Eastern State Hospital (Va.)","Ward, Archibald Floyd, Jr., 1912-2000"],"corpname_ssim":["Special Collections Research Center","Camp Peary (Va.)","Eastern State Hospital (Va.)"],"persname_ssim":["Ward, Archibald Floyd, Jr., 1912-2000"],"language_ssim":["English"],"total_component_count_is":36,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:10:15.256Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9"}},{"id":"vifgm_arenastage","type":"collection","attributes":{"title":"Arena Stage records","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage#creator","type":"document_value","attributes":{"value":"Arena Stage","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage#abstract_or_scope","type":"document_value","attributes":{"value":"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.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_arenastage#breadcrumbs","type":"document_value","attributes":{"value":{"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","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"}},{"id":"vifgm_repositories_2_resources_416","type":"collection","attributes":{"title":"Arena Stage records","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#creator","type":"document_value","attributes":{"value":"Arena Stage (Organization : Washington, D.C.)","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#abstract_or_scope","type":"document_value","attributes":{"value":"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.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_416#breadcrumbs","type":"document_value","attributes":{"value":{"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","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"}},{"id":"viu_repositories_8_resources_1275","type":"collection","attributes":{"title":"Arlene Keeling Collection","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_8_resources_1275#abstract_or_scope","type":"document_value","attributes":{"value":"Emerita Professor, University of Virginia School of Nursing; co-founder of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Includes coronary care nursing materials (1962-1975) and research data from \"time-in–bed\" study. Some items restricted. Also a significant collection of general nursing history materials, including 19th and early-20th century nursing practice and treatment materials, photographs, and artifacts. Original prescription orders from 1893 and 1904. Military nursing represented in Civil-War era sanitary reports, and items from the two world wars.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_8_resources_1275#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_8_resources_1275","ead_ssi":"viu_repositories_8_resources_1275","_root_":"viu_repositories_8_resources_1275","_nest_parent_":"viu_repositories_8_resources_1275","ead_source_url_ssi":"data/oai/UVA/repositories_8_resources_1275.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/142098","title_ssm":["Arlene Keeling Collection"],"title_tesim":["Arlene Keeling Collection"],"unitdate_ssm":["1861-2006"],"unitdate_inclusive_ssm":["1861-2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2022-048","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/8/resources/1275"],"text":["2022-048","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/8/resources/1275","Arlene Keeling Collection","The collection is arranged in four a standard manuscript boxes, with references to artifact donations and oversize images shelved elsewhere. Box 01 containes materials concerning professional activities and research, organized by subject heading. Box 02 contains personal and professional photographs, as well as the Mountainside Hospital School of Nursing yearbooks. Box 03 contains Keeling's nursing history collection, organized by subject heading or general identification. Box 04 contains the Coronary Care Unit Study materials: grant application, data analysis, bibliography and reprints, and, finally, the two folders of restricted items containing patient information.","Arlene Wynbeek Keeling, Ph.D., R.N., F.A.A.N., emertia professor, held the Centennial Distinguished Professor of Nursing at the University of Virginia School of Nursing and was the Director of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Dr. Keeling joined the faculty of the University of Virginia School of Nursing in 1992, becoming Associate Director of the Bjoring Center that year. Keeling was the chair of the School of Nursing's Acute and Specialty Care Department and the Coordinator of the Acute Care Nurse Practitioner Program. A member of Sigma Theta Tau Nursing Honor Society, Keeling has also served as president of the American Association for the History of Nursing.","Dr. Keeling graduated from Mountainside Hospital School of Nursing, in Montclair, New Jersey, and subsequently pursued her bachelors, masters, and doctoral degrees in nursing from the University of Virginia.  Over the years, she perfected a specialty in acute coronary care nursing, and in this capacity undertook a series of major research studies involving recovery times after invasive cardiac procedures, published in \"Applied Nursing Research\" in 1994; \"The American Journal of Critical Care\" in 1996, 2000, and 2004; and in \"Pacing Clinical Electrophysiology\" in 2000. In addition to numerous other scientific topics, Dr. Keeling's research interests, publications, and presentations encompass nursing history and women's studies. Her book \"Nursing and the Privilege of Prescription, 1893–2000\" won the 2007 American Association for the History of Nursing Lavinia L. Dock award for exemplary historical research and writing. In 2010, Keeling published, with two faculty colleagues, Barbara Brodie and John Kirchgessner, \"The Voice of Professional Nursing Education: A 40-year History of the American Association of Colleges of Nursing.\" And with Barbra Mann Wall, she served as co-editor and contributing author for \"Nurses on the Front Line: When Disaster Strikes, 1878–2010,\" where she examined the 1918 influenza epidemic in Boston. The University Virginia Nursing Alumni Association awarded Dr. Keeling the Distinguished Professor Award in 2000 and the Faculty Leadership Award in 2005.","The Arlene W. Keeling collection contains a limited number of professional and personal materials assembled by Dr. Keeling over her career. These principally concern her coronary care time-in-bed-study research data, and interview transcripts relative to a history of coronary care nursing, 1962–1975, including items from the Bethany Hospital Coronary Care Unit (Kansas City, Kansas). Related items are cardiac nursing patient teaching materials, American Heart Association program materials, and American College of Cardiology brochures. Correspondence files and publication/presentation records illustrate Keeling's professional interests. A sizable collection of photographs documents various professional events, among them the University of Virginia Nursing School Centennial, as well as a trip to England for a nursing conference. Also included are copy photographs used in various publications, and two yearbooks from the Mountainside School of Nursing.","Of particular importance to nursing history researchers is a collection of original manuscript materials, prints, and photographs which Dr. Keeling acquired for use in Bjoring center exhibitions, presentations, and research projects. These include late-nineteenth to early-twentieth-century materials concerning nursing practice and medical treatments, including images of nurses, in addition to a group of original prescription orders made in 1893 and 1904 in Portland Maine. Military Nursing is represented in two Civil-War-era Sanitary Board Reports, and in a variety of World-War-One and World-War-Two-era items, including postcards, a poster, and newspaper articles. Other materials suitable for teaching the history of nursing round out the collection, including a variety of nineteenth and twentieth-century artifacts.  ","Emerita Professor, University of Virginia School of Nursing; co-founder of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Includes coronary care nursing materials (1962-1975) and research data from \"time-in–bed\" study. Some items restricted. Also a significant collection of general nursing history materials, including 19th and early-20th century nursing practice and treatment materials,    photographs, and artifacts. Original prescription orders from 1893 and 1904. Military nursing represented in Civil-War era sanitary reports, and items from the two world wars.","The Eleanor Crowder Bjoring Center for Nursing Historical Inquiry","English"],"unitid_tesim":["2022-048","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/8/resources/1275"],"normalized_title_ssm":["Arlene Keeling Collection"],"collection_title_tesim":["Arlene Keeling Collection"],"collection_ssim":["Arlene Keeling Collection"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"has_online_content_ssim":["false"],"extent_ssm":["2.0 Linear Feet"],"extent_tesim":["2.0 Linear Feet"],"date_range_isim":[1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in four a standard manuscript boxes, with references to artifact donations and oversize images shelved elsewhere. Box 01 containes materials concerning professional activities and research, organized by subject heading. Box 02 contains personal and professional photographs, as well as the Mountainside Hospital School of Nursing yearbooks. Box 03 contains Keeling's nursing history collection, organized by subject heading or general identification. Box 04 contains the Coronary Care Unit Study materials: grant application, data analysis, bibliography and reprints, and, finally, the two folders of restricted items containing patient information.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in four a standard manuscript boxes, with references to artifact donations and oversize images shelved elsewhere. Box 01 containes materials concerning professional activities and research, organized by subject heading. Box 02 contains personal and professional photographs, as well as the Mountainside Hospital School of Nursing yearbooks. Box 03 contains Keeling's nursing history collection, organized by subject heading or general identification. Box 04 contains the Coronary Care Unit Study materials: grant application, data analysis, bibliography and reprints, and, finally, the two folders of restricted items containing patient information."],"bioghist_html_tesm":["\u003cp\u003eArlene Wynbeek Keeling, Ph.D., R.N., F.A.A.N., emertia professor, held the Centennial Distinguished Professor of Nursing at the University of Virginia School of Nursing and was the Director of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Dr. Keeling joined the faculty of the University of Virginia School of Nursing in 1992, becoming Associate Director of the Bjoring Center that year. Keeling was the chair of the School of Nursing's Acute and Specialty Care Department and the Coordinator of the Acute Care Nurse Practitioner Program. A member of Sigma Theta Tau Nursing Honor Society, Keeling has also served as president of the American Association for the History of Nursing.\u003c/p\u003e\n","\u003cp\u003eDr. Keeling graduated from Mountainside Hospital School of Nursing, in Montclair, New Jersey, and subsequently pursued her bachelors, masters, and doctoral degrees in nursing from the University of Virginia.  Over the years, she perfected a specialty in acute coronary care nursing, and in this capacity undertook a series of major research studies involving recovery times after invasive cardiac procedures, published in \"Applied Nursing Research\" in 1994; \"The American Journal of Critical Care\" in 1996, 2000, and 2004; and in \"Pacing Clinical Electrophysiology\" in 2000. In addition to numerous other scientific topics, Dr. Keeling's research interests, publications, and presentations encompass nursing history and women's studies. Her book \"Nursing and the Privilege of Prescription, 1893–2000\" won the 2007 American Association for the History of Nursing Lavinia L. Dock award for exemplary historical research and writing. In 2010, Keeling published, with two faculty colleagues, Barbara Brodie and John Kirchgessner, \"The Voice of Professional Nursing Education: A 40-year History of the American Association of Colleges of Nursing.\" And with Barbra Mann Wall, she served as co-editor and contributing author for \"Nurses on the Front Line: When Disaster Strikes, 1878–2010,\" where she examined the 1918 influenza epidemic in Boston. The University Virginia Nursing Alumni Association awarded Dr. Keeling the Distinguished Professor Award in 2000 and the Faculty Leadership Award in 2005.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Arlene Wynbeek Keeling, Ph.D., R.N., F.A.A.N., emertia professor, held the Centennial Distinguished Professor of Nursing at the University of Virginia School of Nursing and was the Director of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Dr. Keeling joined the faculty of the University of Virginia School of Nursing in 1992, becoming Associate Director of the Bjoring Center that year. Keeling was the chair of the School of Nursing's Acute and Specialty Care Department and the Coordinator of the Acute Care Nurse Practitioner Program. A member of Sigma Theta Tau Nursing Honor Society, Keeling has also served as president of the American Association for the History of Nursing.","Dr. Keeling graduated from Mountainside Hospital School of Nursing, in Montclair, New Jersey, and subsequently pursued her bachelors, masters, and doctoral degrees in nursing from the University of Virginia.  Over the years, she perfected a specialty in acute coronary care nursing, and in this capacity undertook a series of major research studies involving recovery times after invasive cardiac procedures, published in \"Applied Nursing Research\" in 1994; \"The American Journal of Critical Care\" in 1996, 2000, and 2004; and in \"Pacing Clinical Electrophysiology\" in 2000. In addition to numerous other scientific topics, Dr. Keeling's research interests, publications, and presentations encompass nursing history and women's studies. Her book \"Nursing and the Privilege of Prescription, 1893–2000\" won the 2007 American Association for the History of Nursing Lavinia L. Dock award for exemplary historical research and writing. In 2010, Keeling published, with two faculty colleagues, Barbara Brodie and John Kirchgessner, \"The Voice of Professional Nursing Education: A 40-year History of the American Association of Colleges of Nursing.\" And with Barbra Mann Wall, she served as co-editor and contributing author for \"Nurses on the Front Line: When Disaster Strikes, 1878–2010,\" where she examined the 1918 influenza epidemic in Boston. The University Virginia Nursing Alumni Association awarded Dr. Keeling the Distinguished Professor Award in 2000 and the Faculty Leadership Award in 2005."],"scopecontent_html_tesm":["\u003cp\u003eThe Arlene W. Keeling collection contains a limited number of professional and personal materials assembled by Dr. Keeling over her career. These principally concern her coronary care time-in-bed-study research data, and interview transcripts relative to a history of coronary care nursing, 1962–1975, including items from the Bethany Hospital Coronary Care Unit (Kansas City, Kansas). Related items are cardiac nursing patient teaching materials, American Heart Association program materials, and American College of Cardiology brochures. Correspondence files and publication/presentation records illustrate Keeling's professional interests. A sizable collection of photographs documents various professional events, among them the University of Virginia Nursing School Centennial, as well as a trip to England for a nursing conference. Also included are copy photographs used in various publications, and two yearbooks from the Mountainside School of Nursing.\u003c/p\u003e\n","\u003cp\u003eOf particular importance to nursing history researchers is a collection of original manuscript materials, prints, and photographs which Dr. Keeling acquired for use in Bjoring center exhibitions, presentations, and research projects. These include late-nineteenth to early-twentieth-century materials concerning nursing practice and medical treatments, including images of nurses, in addition to a group of original prescription orders made in 1893 and 1904 in Portland Maine. Military Nursing is represented in two Civil-War-era Sanitary Board Reports, and in a variety of World-War-One and World-War-Two-era items, including postcards, a poster, and newspaper articles. Other materials suitable for teaching the history of nursing round out the collection, including a variety of nineteenth and twentieth-century artifacts.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Arlene W. Keeling collection contains a limited number of professional and personal materials assembled by Dr. Keeling over her career. These principally concern her coronary care time-in-bed-study research data, and interview transcripts relative to a history of coronary care nursing, 1962–1975, including items from the Bethany Hospital Coronary Care Unit (Kansas City, Kansas). Related items are cardiac nursing patient teaching materials, American Heart Association program materials, and American College of Cardiology brochures. Correspondence files and publication/presentation records illustrate Keeling's professional interests. A sizable collection of photographs documents various professional events, among them the University of Virginia Nursing School Centennial, as well as a trip to England for a nursing conference. Also included are copy photographs used in various publications, and two yearbooks from the Mountainside School of Nursing.","Of particular importance to nursing history researchers is a collection of original manuscript materials, prints, and photographs which Dr. Keeling acquired for use in Bjoring center exhibitions, presentations, and research projects. These include late-nineteenth to early-twentieth-century materials concerning nursing practice and medical treatments, including images of nurses, in addition to a group of original prescription orders made in 1893 and 1904 in Portland Maine. Military Nursing is represented in two Civil-War-era Sanitary Board Reports, and in a variety of World-War-One and World-War-Two-era items, including postcards, a poster, and newspaper articles. Other materials suitable for teaching the history of nursing round out the collection, including a variety of nineteenth and twentieth-century artifacts.  "],"abstract_html_tesm":["\u003cabstract id=\"aspace_dc3897b1dcef3612253b0b3d847da37d\"\u003eEmerita Professor, University of Virginia School of Nursing; co-founder of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Includes coronary care nursing materials (1962-1975) and research data from \"time-in–bed\" study. Some items restricted. Also a significant collection of general nursing history materials, including 19th and early-20th century nursing practice and treatment materials,    photographs, and artifacts. Original prescription orders from 1893 and 1904. Military nursing represented in Civil-War era sanitary reports, and items from the two world wars.\u003c/abstract\u003e"],"abstract_tesim":["Emerita Professor, University of Virginia School of Nursing; co-founder of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Includes coronary care nursing materials (1962-1975) and research data from \"time-in–bed\" study. Some items restricted. Also a significant collection of general nursing history materials, including 19th and early-20th century nursing practice and treatment materials,    photographs, and artifacts. Original prescription orders from 1893 and 1904. Military nursing represented in Civil-War era sanitary reports, and items from the two world wars."],"names_ssim":["The Eleanor Crowder Bjoring Center for Nursing Historical Inquiry"],"corpname_ssim":["The Eleanor Crowder Bjoring Center for Nursing Historical Inquiry"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:45:30.621Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_8_resources_1275","ead_ssi":"viu_repositories_8_resources_1275","_root_":"viu_repositories_8_resources_1275","_nest_parent_":"viu_repositories_8_resources_1275","ead_source_url_ssi":"data/oai/UVA/repositories_8_resources_1275.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/142098","title_ssm":["Arlene Keeling Collection"],"title_tesim":["Arlene Keeling Collection"],"unitdate_ssm":["1861-2006"],"unitdate_inclusive_ssm":["1861-2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["2022-048","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/8/resources/1275"],"text":["2022-048","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/8/resources/1275","Arlene Keeling Collection","The collection is arranged in four a standard manuscript boxes, with references to artifact donations and oversize images shelved elsewhere. Box 01 containes materials concerning professional activities and research, organized by subject heading. Box 02 contains personal and professional photographs, as well as the Mountainside Hospital School of Nursing yearbooks. Box 03 contains Keeling's nursing history collection, organized by subject heading or general identification. Box 04 contains the Coronary Care Unit Study materials: grant application, data analysis, bibliography and reprints, and, finally, the two folders of restricted items containing patient information.","Arlene Wynbeek Keeling, Ph.D., R.N., F.A.A.N., emertia professor, held the Centennial Distinguished Professor of Nursing at the University of Virginia School of Nursing and was the Director of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Dr. Keeling joined the faculty of the University of Virginia School of Nursing in 1992, becoming Associate Director of the Bjoring Center that year. Keeling was the chair of the School of Nursing's Acute and Specialty Care Department and the Coordinator of the Acute Care Nurse Practitioner Program. A member of Sigma Theta Tau Nursing Honor Society, Keeling has also served as president of the American Association for the History of Nursing.","Dr. Keeling graduated from Mountainside Hospital School of Nursing, in Montclair, New Jersey, and subsequently pursued her bachelors, masters, and doctoral degrees in nursing from the University of Virginia.  Over the years, she perfected a specialty in acute coronary care nursing, and in this capacity undertook a series of major research studies involving recovery times after invasive cardiac procedures, published in \"Applied Nursing Research\" in 1994; \"The American Journal of Critical Care\" in 1996, 2000, and 2004; and in \"Pacing Clinical Electrophysiology\" in 2000. In addition to numerous other scientific topics, Dr. Keeling's research interests, publications, and presentations encompass nursing history and women's studies. Her book \"Nursing and the Privilege of Prescription, 1893–2000\" won the 2007 American Association for the History of Nursing Lavinia L. Dock award for exemplary historical research and writing. In 2010, Keeling published, with two faculty colleagues, Barbara Brodie and John Kirchgessner, \"The Voice of Professional Nursing Education: A 40-year History of the American Association of Colleges of Nursing.\" And with Barbra Mann Wall, she served as co-editor and contributing author for \"Nurses on the Front Line: When Disaster Strikes, 1878–2010,\" where she examined the 1918 influenza epidemic in Boston. The University Virginia Nursing Alumni Association awarded Dr. Keeling the Distinguished Professor Award in 2000 and the Faculty Leadership Award in 2005.","The Arlene W. Keeling collection contains a limited number of professional and personal materials assembled by Dr. Keeling over her career. These principally concern her coronary care time-in-bed-study research data, and interview transcripts relative to a history of coronary care nursing, 1962–1975, including items from the Bethany Hospital Coronary Care Unit (Kansas City, Kansas). Related items are cardiac nursing patient teaching materials, American Heart Association program materials, and American College of Cardiology brochures. Correspondence files and publication/presentation records illustrate Keeling's professional interests. A sizable collection of photographs documents various professional events, among them the University of Virginia Nursing School Centennial, as well as a trip to England for a nursing conference. Also included are copy photographs used in various publications, and two yearbooks from the Mountainside School of Nursing.","Of particular importance to nursing history researchers is a collection of original manuscript materials, prints, and photographs which Dr. Keeling acquired for use in Bjoring center exhibitions, presentations, and research projects. These include late-nineteenth to early-twentieth-century materials concerning nursing practice and medical treatments, including images of nurses, in addition to a group of original prescription orders made in 1893 and 1904 in Portland Maine. Military Nursing is represented in two Civil-War-era Sanitary Board Reports, and in a variety of World-War-One and World-War-Two-era items, including postcards, a poster, and newspaper articles. Other materials suitable for teaching the history of nursing round out the collection, including a variety of nineteenth and twentieth-century artifacts.  ","Emerita Professor, University of Virginia School of Nursing; co-founder of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Includes coronary care nursing materials (1962-1975) and research data from \"time-in–bed\" study. Some items restricted. Also a significant collection of general nursing history materials, including 19th and early-20th century nursing practice and treatment materials,    photographs, and artifacts. Original prescription orders from 1893 and 1904. Military nursing represented in Civil-War era sanitary reports, and items from the two world wars.","The Eleanor Crowder Bjoring Center for Nursing Historical Inquiry","English"],"unitid_tesim":["2022-048","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/8/resources/1275"],"normalized_title_ssm":["Arlene Keeling Collection"],"collection_title_tesim":["Arlene Keeling Collection"],"collection_ssim":["Arlene Keeling Collection"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"has_online_content_ssim":["false"],"extent_ssm":["2.0 Linear Feet"],"extent_tesim":["2.0 Linear Feet"],"date_range_isim":[1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in four a standard manuscript boxes, with references to artifact donations and oversize images shelved elsewhere. Box 01 containes materials concerning professional activities and research, organized by subject heading. Box 02 contains personal and professional photographs, as well as the Mountainside Hospital School of Nursing yearbooks. Box 03 contains Keeling's nursing history collection, organized by subject heading or general identification. Box 04 contains the Coronary Care Unit Study materials: grant application, data analysis, bibliography and reprints, and, finally, the two folders of restricted items containing patient information.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in four a standard manuscript boxes, with references to artifact donations and oversize images shelved elsewhere. Box 01 containes materials concerning professional activities and research, organized by subject heading. Box 02 contains personal and professional photographs, as well as the Mountainside Hospital School of Nursing yearbooks. Box 03 contains Keeling's nursing history collection, organized by subject heading or general identification. Box 04 contains the Coronary Care Unit Study materials: grant application, data analysis, bibliography and reprints, and, finally, the two folders of restricted items containing patient information."],"bioghist_html_tesm":["\u003cp\u003eArlene Wynbeek Keeling, Ph.D., R.N., F.A.A.N., emertia professor, held the Centennial Distinguished Professor of Nursing at the University of Virginia School of Nursing and was the Director of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Dr. Keeling joined the faculty of the University of Virginia School of Nursing in 1992, becoming Associate Director of the Bjoring Center that year. Keeling was the chair of the School of Nursing's Acute and Specialty Care Department and the Coordinator of the Acute Care Nurse Practitioner Program. A member of Sigma Theta Tau Nursing Honor Society, Keeling has also served as president of the American Association for the History of Nursing.\u003c/p\u003e\n","\u003cp\u003eDr. Keeling graduated from Mountainside Hospital School of Nursing, in Montclair, New Jersey, and subsequently pursued her bachelors, masters, and doctoral degrees in nursing from the University of Virginia.  Over the years, she perfected a specialty in acute coronary care nursing, and in this capacity undertook a series of major research studies involving recovery times after invasive cardiac procedures, published in \"Applied Nursing Research\" in 1994; \"The American Journal of Critical Care\" in 1996, 2000, and 2004; and in \"Pacing Clinical Electrophysiology\" in 2000. In addition to numerous other scientific topics, Dr. Keeling's research interests, publications, and presentations encompass nursing history and women's studies. Her book \"Nursing and the Privilege of Prescription, 1893–2000\" won the 2007 American Association for the History of Nursing Lavinia L. Dock award for exemplary historical research and writing. In 2010, Keeling published, with two faculty colleagues, Barbara Brodie and John Kirchgessner, \"The Voice of Professional Nursing Education: A 40-year History of the American Association of Colleges of Nursing.\" And with Barbra Mann Wall, she served as co-editor and contributing author for \"Nurses on the Front Line: When Disaster Strikes, 1878–2010,\" where she examined the 1918 influenza epidemic in Boston. The University Virginia Nursing Alumni Association awarded Dr. Keeling the Distinguished Professor Award in 2000 and the Faculty Leadership Award in 2005.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Arlene Wynbeek Keeling, Ph.D., R.N., F.A.A.N., emertia professor, held the Centennial Distinguished Professor of Nursing at the University of Virginia School of Nursing and was the Director of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Dr. Keeling joined the faculty of the University of Virginia School of Nursing in 1992, becoming Associate Director of the Bjoring Center that year. Keeling was the chair of the School of Nursing's Acute and Specialty Care Department and the Coordinator of the Acute Care Nurse Practitioner Program. A member of Sigma Theta Tau Nursing Honor Society, Keeling has also served as president of the American Association for the History of Nursing.","Dr. Keeling graduated from Mountainside Hospital School of Nursing, in Montclair, New Jersey, and subsequently pursued her bachelors, masters, and doctoral degrees in nursing from the University of Virginia.  Over the years, she perfected a specialty in acute coronary care nursing, and in this capacity undertook a series of major research studies involving recovery times after invasive cardiac procedures, published in \"Applied Nursing Research\" in 1994; \"The American Journal of Critical Care\" in 1996, 2000, and 2004; and in \"Pacing Clinical Electrophysiology\" in 2000. In addition to numerous other scientific topics, Dr. Keeling's research interests, publications, and presentations encompass nursing history and women's studies. Her book \"Nursing and the Privilege of Prescription, 1893–2000\" won the 2007 American Association for the History of Nursing Lavinia L. Dock award for exemplary historical research and writing. In 2010, Keeling published, with two faculty colleagues, Barbara Brodie and John Kirchgessner, \"The Voice of Professional Nursing Education: A 40-year History of the American Association of Colleges of Nursing.\" And with Barbra Mann Wall, she served as co-editor and contributing author for \"Nurses on the Front Line: When Disaster Strikes, 1878–2010,\" where she examined the 1918 influenza epidemic in Boston. The University Virginia Nursing Alumni Association awarded Dr. Keeling the Distinguished Professor Award in 2000 and the Faculty Leadership Award in 2005."],"scopecontent_html_tesm":["\u003cp\u003eThe Arlene W. Keeling collection contains a limited number of professional and personal materials assembled by Dr. Keeling over her career. These principally concern her coronary care time-in-bed-study research data, and interview transcripts relative to a history of coronary care nursing, 1962–1975, including items from the Bethany Hospital Coronary Care Unit (Kansas City, Kansas). Related items are cardiac nursing patient teaching materials, American Heart Association program materials, and American College of Cardiology brochures. Correspondence files and publication/presentation records illustrate Keeling's professional interests. A sizable collection of photographs documents various professional events, among them the University of Virginia Nursing School Centennial, as well as a trip to England for a nursing conference. Also included are copy photographs used in various publications, and two yearbooks from the Mountainside School of Nursing.\u003c/p\u003e\n","\u003cp\u003eOf particular importance to nursing history researchers is a collection of original manuscript materials, prints, and photographs which Dr. Keeling acquired for use in Bjoring center exhibitions, presentations, and research projects. These include late-nineteenth to early-twentieth-century materials concerning nursing practice and medical treatments, including images of nurses, in addition to a group of original prescription orders made in 1893 and 1904 in Portland Maine. Military Nursing is represented in two Civil-War-era Sanitary Board Reports, and in a variety of World-War-One and World-War-Two-era items, including postcards, a poster, and newspaper articles. Other materials suitable for teaching the history of nursing round out the collection, including a variety of nineteenth and twentieth-century artifacts.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Arlene W. Keeling collection contains a limited number of professional and personal materials assembled by Dr. Keeling over her career. These principally concern her coronary care time-in-bed-study research data, and interview transcripts relative to a history of coronary care nursing, 1962–1975, including items from the Bethany Hospital Coronary Care Unit (Kansas City, Kansas). Related items are cardiac nursing patient teaching materials, American Heart Association program materials, and American College of Cardiology brochures. Correspondence files and publication/presentation records illustrate Keeling's professional interests. A sizable collection of photographs documents various professional events, among them the University of Virginia Nursing School Centennial, as well as a trip to England for a nursing conference. Also included are copy photographs used in various publications, and two yearbooks from the Mountainside School of Nursing.","Of particular importance to nursing history researchers is a collection of original manuscript materials, prints, and photographs which Dr. Keeling acquired for use in Bjoring center exhibitions, presentations, and research projects. These include late-nineteenth to early-twentieth-century materials concerning nursing practice and medical treatments, including images of nurses, in addition to a group of original prescription orders made in 1893 and 1904 in Portland Maine. Military Nursing is represented in two Civil-War-era Sanitary Board Reports, and in a variety of World-War-One and World-War-Two-era items, including postcards, a poster, and newspaper articles. Other materials suitable for teaching the history of nursing round out the collection, including a variety of nineteenth and twentieth-century artifacts.  "],"abstract_html_tesm":["\u003cabstract id=\"aspace_dc3897b1dcef3612253b0b3d847da37d\"\u003eEmerita Professor, University of Virginia School of Nursing; co-founder of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Includes coronary care nursing materials (1962-1975) and research data from \"time-in–bed\" study. Some items restricted. Also a significant collection of general nursing history materials, including 19th and early-20th century nursing practice and treatment materials,    photographs, and artifacts. Original prescription orders from 1893 and 1904. Military nursing represented in Civil-War era sanitary reports, and items from the two world wars.\u003c/abstract\u003e"],"abstract_tesim":["Emerita Professor, University of Virginia School of Nursing; co-founder of the Eleanor Crowder Bjoring Center for Nursing Historical Inquiry. Includes coronary care nursing materials (1962-1975) and research data from \"time-in–bed\" study. Some items restricted. Also a significant collection of general nursing history materials, including 19th and early-20th century nursing practice and treatment materials,    photographs, and artifacts. Original prescription orders from 1893 and 1904. Military nursing represented in Civil-War era sanitary reports, and items from the two world wars."],"names_ssim":["The Eleanor Crowder Bjoring Center for Nursing Historical Inquiry"],"corpname_ssim":["The Eleanor Crowder Bjoring Center for Nursing Historical Inquiry"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:45:30.621Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_8_resources_1275"}},{"id":"vifgm_repositories_2_resources_652","type":"collection","attributes":{"title":"Art Attack records","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_652#abstract_or_scope","type":"document_value","attributes":{"value":"The Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_652#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_652","ead_ssi":"vifgm_repositories_2_resources_652","_root_":"vifgm_repositories_2_resources_652","_nest_parent_":"vifgm_repositories_2_resources_652","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_652.xml","title_ssm":["Art Attack records"],"title_tesim":["Art Attack records"],"unitdate_ssm":["1979-2009"],"unitdate_inclusive_ssm":["1979-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0507","/repositories/2/resources/652"],"text":["C0507","/repositories/2/resources/652","Art Attack records","Art","Art -- Exhibitions","Photography","Some materials are restricted due to content. Please see inventory for more details. All other materials are open to access.","The collection is arranged into two series based on the content of the materials.","Series Series 1: Installations and Events Subseries 1.1: Installations in the United States  Subseries 1.2: International Installations  Series 2: Art Attack Organization Records ","\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at ","Lynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.","Evan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.","\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n","Alberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022.","Processing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024.","An oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the ","\nThe Special Collections Research Center holds other collections focused on ","The Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  ","Series 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. ","Series 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective.","R 74, C 4, S 1-6","George Mason University. Libraries. Special Collections Research Center","English \n,        German \n,        Polish \n.    "],"unitid_tesim":["C0507","/repositories/2/resources/652"],"normalized_title_ssm":["Art Attack records"],"collection_title_tesim":["Art Attack records"],"collection_ssim":["Art Attack records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"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 Art Attack co-founder Lynn McCary in 2018 and 2023."],"access_subjects_ssim":["Art","Art -- Exhibitions","Photography"],"access_subjects_ssm":["Art","Art -- Exhibitions","Photography"],"has_online_content_ssim":["false"],"extent_ssm":["21 Linear Feet 43 boxes, 1 map case"],"extent_tesim":["21 Linear Feet 43 boxes, 1 map case"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eSome materials are restricted due to content. Please see inventory for more details. All other materials are open to access.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Some materials are restricted due to content. Please see inventory for more details. All other materials are open to access."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into two series based on the content of the materials.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Installations and Events\u003c/item\u003e\n      \u003citem\u003eSubseries 1.1: Installations in the United States \u003c/item\u003e\n      \u003citem\u003eSubseries 1.2: International Installations \u003c/item\u003e\n      \u003citem\u003eSeries 2: Art Attack Organization Records \u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into two series based on the content of the materials.","Series Series 1: Installations and Events Subseries 1.1: Installations in the United States  Subseries 1.2: International Installations  Series 2: Art Attack Organization Records "],"bioghist_html_tesm":["\u003cp\u003e\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at \u003cextptr show=\"new\" title=\"their website.\" href=\"http://artattackinternational.org/mission.html\"\u003e\u003c/extptr\u003e\n\u003c/p\u003e","\u003cp\u003eLynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.\u003c/p\u003e","\u003cp\u003eEvan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.\u003c/p\u003e","\u003cp\u003e\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n\u003c/p\u003e","\u003cp\u003eAlberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at ","Lynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.","Evan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.","\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n","Alberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022."],"prefercite_html_tesm":["\u003cp\u003eArt Attack records, C0507, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Art Attack records, C0507, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eAn oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the \u003cextptr show=\"new\" title=\"George Mason University oral history collection.\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Special Collections Research Center holds other collections focused on \u003cextptr show=\"new\" title=\"art and artists.\" href=\"https://aspace.gmu.edu/search?q[]=art\u0026amp;op[]=\u0026amp;field[]=keyword\u0026amp;from_year[]=\u0026amp;to_year[]=\u0026amp;filter_fields[]=subjects\u0026amp;filter_values[]=Art\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["An oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the ","\nThe Special Collections Research Center holds other collections focused on "],"scopecontent_html_tesm":["\u003cp\u003eThe Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  \u003c/p\u003e\n","\u003cp\u003eSeries 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. \u003c/p\u003e\n","\u003cp\u003eSeries 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  ","Series 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. ","Series 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  "],"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_fa6f7a17953458efeb9ed412bc005d67\"\u003eThe Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. 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Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English \n,        German \n,        Polish \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":399,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:28:45.771Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_652","ead_ssi":"vifgm_repositories_2_resources_652","_root_":"vifgm_repositories_2_resources_652","_nest_parent_":"vifgm_repositories_2_resources_652","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_652.xml","title_ssm":["Art Attack records"],"title_tesim":["Art Attack records"],"unitdate_ssm":["1979-2009"],"unitdate_inclusive_ssm":["1979-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0507","/repositories/2/resources/652"],"text":["C0507","/repositories/2/resources/652","Art Attack records","Art","Art -- Exhibitions","Photography","Some materials are restricted due to content. Please see inventory for more details. All other materials are open to access.","The collection is arranged into two series based on the content of the materials.","Series Series 1: Installations and Events Subseries 1.1: Installations in the United States  Subseries 1.2: International Installations  Series 2: Art Attack Organization Records ","\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at ","Lynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.","Evan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.","\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n","Alberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022.","Processing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024.","An oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the ","\nThe Special Collections Research Center holds other collections focused on ","The Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  ","Series 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. 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The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective.","R 74, C 4, S 1-6","George Mason University. Libraries. Special Collections Research Center","English \n,        German \n,        Polish \n.    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All other materials are open to access."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into two series based on the content of the materials.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Installations and Events\u003c/item\u003e\n      \u003citem\u003eSubseries 1.1: Installations in the United States \u003c/item\u003e\n      \u003citem\u003eSubseries 1.2: International Installations \u003c/item\u003e\n      \u003citem\u003eSeries 2: Art Attack Organization Records \u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into two series based on the content of the materials.","Series Series 1: Installations and Events Subseries 1.1: Installations in the United States  Subseries 1.2: International Installations  Series 2: Art Attack Organization Records "],"bioghist_html_tesm":["\u003cp\u003e\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at \u003cextptr show=\"new\" title=\"their website.\" href=\"http://artattackinternational.org/mission.html\"\u003e\u003c/extptr\u003e\n\u003c/p\u003e","\u003cp\u003eLynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.\u003c/p\u003e","\u003cp\u003eEvan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.\u003c/p\u003e","\u003cp\u003e\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n\u003c/p\u003e","\u003cp\u003eAlberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at ","Lynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.","Evan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.","\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n","Alberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022."],"prefercite_html_tesm":["\u003cp\u003eArt Attack records, C0507, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Art Attack records, C0507, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eAn oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the \u003cextptr show=\"new\" title=\"George Mason University oral history collection.\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Special Collections Research Center holds other collections focused on \u003cextptr show=\"new\" title=\"art and artists.\" href=\"https://aspace.gmu.edu/search?q[]=art\u0026amp;op[]=\u0026amp;field[]=keyword\u0026amp;from_year[]=\u0026amp;to_year[]=\u0026amp;filter_fields[]=subjects\u0026amp;filter_values[]=Art\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["An oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the ","\nThe Special Collections Research Center holds other collections focused on "],"scopecontent_html_tesm":["\u003cp\u003eThe Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  \u003c/p\u003e\n","\u003cp\u003eSeries 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. \u003c/p\u003e\n","\u003cp\u003eSeries 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  ","Series 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. ","Series 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  "],"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_fa6f7a17953458efeb9ed412bc005d67\"\u003eThe Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective.\u003c/abstract\u003e"],"abstract_tesim":["The Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_5bf20a5fa74f6054415961374b783aa7\"\u003eR 74, C 4, S 1-6\u003c/physloc\u003e"],"physloc_tesim":["R 74, C 4, S 1-6"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English \n,        German \n,        Polish \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":399,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:28:45.771Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_652"}},{"id":"wvmturhc_repositories_2_resources_6950","type":"collection","attributes":{"title":"Artemis Sisters Collective Records","creator":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6950#creator","type":"document_value","attributes":{"value":"Flynn, Michele","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6950#abstract_or_scope","type":"document_value","attributes":{"value":"The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6950#breadcrumbs","type":"document_value","attributes":{"value":{"id":"wvmturhc_repositories_2_resources_6950","ead_ssi":"wvmturhc_repositories_2_resources_6950","_root_":"wvmturhc_repositories_2_resources_6950","_nest_parent_":"wvmturhc_repositories_2_resources_6950","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6950.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/221760","title_ssm":["Artemis Sisters Collective Records"],"title_tesim":["Artemis Sisters Collective Records"],"unitdate_ssm":["1980-1994, 2016-2024, and undated","1980-1994"],"unitdate_bulk_ssim":["1980-1994"],"unitdate_inclusive_ssm":["1980-1994, 2016-2024, and undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950"],"text":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950","Artemis Sisters Collective Records","Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist Collection","Music and musicians.","This collection is open for research.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","The Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  ","The early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  ","Almost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  ","Members of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  ","Artemis members ran a radio show,  Something About the Women , focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  ","Additionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026 Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. ","The Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. ","In 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. ","This collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  ","The bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    ","Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  ","The collection is divided into six series: ","Series 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   ","Series 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   ","Series 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  ","Series 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  ","Series 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  ","Series 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.","Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn","English \n.    "],"unitid_tesim":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950"],"normalized_title_ssm":["Artemis Sisters Collective Records"],"collection_title_tesim":["Artemis Sisters Collective Records"],"collection_ssim":["Artemis Sisters Collective Records"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creator_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creator_persname_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creators_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"access_terms_ssm":["Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Flynn, Michele; Koeturius, Carrie; Williams, Cindy; Klein, Ilene; and Transue, Judith, 2022 October 24","Gift of Ilene Klein, 2023 October 16","Gift of Celia Faux, 2023 November 14"],"access_subjects_ssim":["Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist Collection","Music and musicians."],"access_subjects_ssm":["Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist Collection","Music and musicians."],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet 1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1.5 in.; 1 flat storage box, 3 in.","1.60 Gigabytes 18 files, including .mp4, .doc, .m4a"],"extent_tesim":["1 Linear Feet 1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1.5 in.; 1 flat storage box, 3 in.","1.60 Gigabytes 18 files, including .mp4, .doc, .m4a"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research.\u003c/p\u003e\n","\u003cp\u003eResearchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"bioghist_html_tesm":["\u003cp\u003eThe Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  \u003c/p\u003e\n","\u003cp\u003eThe early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  \u003c/p\u003e\n","\u003cp\u003eAlmost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  \u003c/p\u003e\n","\u003cp\u003eMembers of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  \u003c/p\u003e\n","\u003cp\u003eArtemis members ran a radio show, \u003ctitle\u003e\u003cpart\u003eSomething About the Women\u003c/part\u003e\u003c/title\u003e, focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  \u003c/p\u003e\n","\u003cp\u003eAdditionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026amp; Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. \u003c/p\u003e\n","\u003cp\u003eThe Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. \u003c/p\u003e\n","\u003cp\u003eIn 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  ","The early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  ","Almost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  ","Members of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  ","Artemis members ran a radio show,  Something About the Women , focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  ","Additionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026 Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. ","The Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. ","In 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Artemis Sisters Collective Records, A\u0026amp;M 4561, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Artemis Sisters Collective Records, A\u0026M 4561, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  \u003c/p\u003e\n","\u003cp\u003eThe bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    \u003c/p\u003e\n","\u003cp\u003eMaterials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into six series: \u003c/p\u003e\n","\u003cp\u003eSeries 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   \u003c/p\u003e\n","\u003cp\u003eSeries 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   \u003c/p\u003e\n","\u003cp\u003eSeries 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  \u003c/p\u003e\n","\u003cp\u003eSeries 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  \u003c/p\u003e\n","\u003cp\u003eSeries 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  \u003c/p\u003e\n","\u003cp\u003eSeries 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  ","The bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    ","Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  ","The collection is divided into six series: ","Series 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   ","Series 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   ","Series 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  ","Series 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  ","Series 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  ","Series 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn."],"userestrict_html_tesm":["\u003cp\u003ePublished interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.\u003c/p\u003e\n","\u003cp\u003e\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0b91a6dbe6c66d53d006a90b9eaad359\"\u003eThe Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.\u003c/abstract\u003e"],"abstract_tesim":["The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_3daa89f9a0c1b1f455c024ec3d4497d2\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy"],"persname_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":47,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T23:19:13.617Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_6950","ead_ssi":"wvmturhc_repositories_2_resources_6950","_root_":"wvmturhc_repositories_2_resources_6950","_nest_parent_":"wvmturhc_repositories_2_resources_6950","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6950.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/221760","title_ssm":["Artemis Sisters Collective Records"],"title_tesim":["Artemis Sisters Collective Records"],"unitdate_ssm":["1980-1994, 2016-2024, and undated","1980-1994"],"unitdate_bulk_ssim":["1980-1994"],"unitdate_inclusive_ssm":["1980-1994, 2016-2024, and undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950"],"text":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950","Artemis Sisters Collective Records","Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist Collection","Music and musicians.","This collection is open for research.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","The Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  ","The early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  ","Almost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  ","Members of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  ","Artemis members ran a radio show,  Something About the Women , focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  ","Additionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026 Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. ","The Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. ","In 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. ","This collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  ","The bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    ","Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  ","The collection is divided into six series: ","Series 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   ","Series 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   ","Series 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  ","Series 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  ","Series 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  ","Series 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.","Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn","English \n.    "],"unitid_tesim":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950"],"normalized_title_ssm":["Artemis Sisters Collective Records"],"collection_title_tesim":["Artemis Sisters Collective Records"],"collection_ssim":["Artemis Sisters Collective Records"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creator_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creator_persname_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creators_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"access_terms_ssm":["Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Flynn, Michele; Koeturius, Carrie; Williams, Cindy; Klein, Ilene; and Transue, Judith, 2022 October 24","Gift of Ilene Klein, 2023 October 16","Gift of Celia Faux, 2023 November 14"],"access_subjects_ssim":["Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist Collection","Music and musicians."],"access_subjects_ssm":["Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist Collection","Music and musicians."],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet 1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1.5 in.; 1 flat storage box, 3 in.","1.60 Gigabytes 18 files, including .mp4, .doc, .m4a"],"extent_tesim":["1 Linear Feet 1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1.5 in.; 1 flat storage box, 3 in.","1.60 Gigabytes 18 files, including .mp4, .doc, .m4a"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research.\u003c/p\u003e\n","\u003cp\u003eResearchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"bioghist_html_tesm":["\u003cp\u003eThe Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  \u003c/p\u003e\n","\u003cp\u003eThe early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  \u003c/p\u003e\n","\u003cp\u003eAlmost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  \u003c/p\u003e\n","\u003cp\u003eMembers of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  \u003c/p\u003e\n","\u003cp\u003eArtemis members ran a radio show, \u003ctitle\u003e\u003cpart\u003eSomething About the Women\u003c/part\u003e\u003c/title\u003e, focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  \u003c/p\u003e\n","\u003cp\u003eAdditionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026amp; Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. \u003c/p\u003e\n","\u003cp\u003eThe Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. \u003c/p\u003e\n","\u003cp\u003eIn 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  ","The early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  ","Almost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  ","Members of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  ","Artemis members ran a radio show,  Something About the Women , focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  ","Additionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026 Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. ","The Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. ","In 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Artemis Sisters Collective Records, A\u0026amp;M 4561, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Artemis Sisters Collective Records, A\u0026M 4561, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  \u003c/p\u003e\n","\u003cp\u003eThe bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    \u003c/p\u003e\n","\u003cp\u003eMaterials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into six series: \u003c/p\u003e\n","\u003cp\u003eSeries 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   \u003c/p\u003e\n","\u003cp\u003eSeries 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   \u003c/p\u003e\n","\u003cp\u003eSeries 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  \u003c/p\u003e\n","\u003cp\u003eSeries 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  \u003c/p\u003e\n","\u003cp\u003eSeries 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  \u003c/p\u003e\n","\u003cp\u003eSeries 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  ","The bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    ","Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  ","The collection is divided into six series: ","Series 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   ","Series 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   ","Series 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  ","Series 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  ","Series 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  ","Series 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn."],"userestrict_html_tesm":["\u003cp\u003ePublished interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.\u003c/p\u003e\n","\u003cp\u003e\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0b91a6dbe6c66d53d006a90b9eaad359\"\u003eThe Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.\u003c/abstract\u003e"],"abstract_tesim":["The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_3daa89f9a0c1b1f455c024ec3d4497d2\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy"],"persname_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"language_ssim":["English \n.    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