{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University","last":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":1,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_vifgm00020_c01_c02","type":"Record Group","attributes":{"title":"Radioscripts","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00020_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_vifgm00020_c01_c02","ref_ssm":["vifgm_vifgm00020_c01_c02"],"id":"vifgm_vifgm00020_c01_c02","ead_ssi":"vifgm_vifgm00020","_root_":"vifgm_vifgm00020","_nest_parent_":"vifgm_vifgm00020_c01","parent_ssi":"vifgm_vifgm00020_c01","parent_ssim":["vifgm_vifgm00020","vifgm_vifgm00020_c01"],"parent_ids_ssim":["vifgm_vifgm00020","vifgm_vifgm00020_c01"],"parent_unittitles_ssm":["Federal Theatre Project playscript and radioscript collection","Federal Theatre Project Playscript and\n               Radioscript Collection"],"parent_unittitles_tesim":["Federal Theatre Project playscript and radioscript collection","Federal Theatre Project Playscript and\n               Radioscript Collection"],"text":["Federal Theatre Project playscript and radioscript collection","Federal Theatre Project Playscript and\n               Radioscript Collection","Radioscripts"],"title_filing_ssi":"Radioscripts","title_ssm":["Radioscripts"],"title_tesim":["Radioscripts"],"normalized_title_ssm":["Radioscripts"],"component_level_isim":[2],"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project playscript and radioscript collection"],"has_online_content_ssim":["false"],"child_component_count_isi":24,"level_ssm":["Record Group"],"level_ssim":["Record group"],"sort_isi":201,"_nest_path_":"/components#0/components#1","timestamp":"2026-05-01T00:50:41.700Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_vifgm00020","ead_ssi":"vifgm_vifgm00020","_root_":"vifgm_vifgm00020","_nest_parent_":"vifgm_vifgm00020","ead_source_url_ssi":"data/gmu/vifgm00020.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Federal Theatre Project playscript and radioscript collection\n"],"title_tesim":["Federal Theatre Project playscript and radioscript collection\n"],"unitdate_ssm":["1930s\n"],"unitdate_inclusive_ssm":["1930s\n"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0002\n"],"text":["C0002\n","Federal Theatre Project playscript and radioscript collection","Theater--United States--History--20th century.","36 linear ft.","Organized alphabetically.\n","The Federal Theatre Project was a division of the Works\n         Progress Administration (WPA), which provided employment for\n         large numbers of artists, writers, and performers during the\n         Great Depression (1929-1939). The Federal Theatre began in\n         1935 and, until its end in 1939, flourished as the first and\n         only federally sponsored and subsidized theater program in the\n         United States. Directed by Hallie Flanagan (1880-1969), it was\n         a way for theatrical professionals to gain employment during\n         the Depression. Jobs were provided for many people, including\n         actors, playwrights, scene designers, scene builders,\n         seamstresses, lighting experts, ushers, box-office men, and\n         stagehands.","Like many New Deal programs implemented by President\n         Franklin D. Roosevelt, the Federal Theatre Project was\n         intended not only to benefit its participants, but also to\n         enrich the condition of the nation. Theater was a\n         distinguished part of American popular culture, but the\n         economic downturn of the Depression had bankrupted the entire\n         theater industry. As the theater houses closed down, the\n         nation was left without an outlet for theatrical creativity.\n         According to Hallie Flanagan, this hurt the nation as much as\n         it hurt the theater industry - indeed, the nation was their\n         audience and the theater could provide entertaining\n         distractions from the effects of Depression as well as offer\n         commentary on present conditions.","But it was not enough to simply return to the\n         pre-Depression concept of theater. In the first meeting her\n         staff Flanagan expressed her willingness to follow Roosevelt's\n         experimental approach to public policy: \"In a changing world,\n         a world of experiment, the stage too must experiment - with\n         ideas, with the psychological relationship of men and women,\n         with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship\n         between the Federal Theatre and the federal government: \"Any\n         theatre sponsored by the government of the United States\n         should do no plays of a cheap, trivial, outworn or vulgar\n         nature, but only such plays as the Government can stand\n         proudly behind in a planned theatrical program, national in\n         scope, regional in emphasis, and American in democratic\n         attitude.\" To Flanagan, it was imperative that this new\n         theater should be progressive and experimental, yet within a\n         patriotic and informative framework.","The productions that best embodied Flanagan's views on\n         theater were the Living Newspapers. These hard-hitting,\n         poignant plays dealt with contemporary factual material,\n         dramatizing issues such as housing, agriculture, labor, and\n         destitution. Always ending on an upbeat note, Living\n         Newspapers underscored the importance of hard work and\n         morality in overcoming difficult times. Living Newspaper\n         titles include: Triple A Plowed Under, Injunction Granted, One\n         Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing black Americans\n         at a time when the Federal Government did not actively protect\n         the rights of minorities. The \"Negro Theater\" (as it was\n         called in the 1930s) was an established industry before the\n         Depression, and it greatly contributed to the success of the\n         Federal Theatre Project. Some of the most spectacular\n         productions were put on by black theater professionals, for\n         example: Macbeth, Haiti, Turpentine, Run Little Chillun, and\n         The Trial of Dr. Beck.","The Federal Theatre Project Playscript and Radioscript\n         Collection \n         contains over 200 copied playscripts and radioscripts, written\n         and performed in the 1930s for the Federal Theatre Project.\n         Also included is a collection of 62 copied Federal Theatre\n         programs, handbills given to the audience at the beginning of\n         a production. There is also a copy of The Flexible Stage, a\n         book by Emmet Lavery about the history of the Federal Theatre\n         Project. And there are the works of several noted authors in\n         the collection, including Upton Sinclair, Orson Welles,\n         Sinclair Lewis, Arthur Arent, and Langston Hughes.","The Federal Theatre Project Playscript and Radioscript\n         Collection \n         contains over 200 copied playscripts and radioscripts, written\n         and performed in the 1930s for the Federal Theatre Project.\n","George Mason University.  Special Collections and Archives.\n","Federal Theatre Project\n","Federal Theatre Project (U.S.)","English\n"],"unitid_tesim":["C0002\n"],"normalized_title_ssm":["Federal Theatre Project playscript and radioscript collection"],"collection_title_tesim":["Federal Theatre Project playscript and radioscript collection"],"collection_ssim":["Federal Theatre Project playscript and radioscript collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project\n"],"creator_ssim":["Federal Theatre Project\n"],"creator_corpname_ssim":["Federal Theatre Project\n"],"creators_ssim":["Federal Theatre Project\n"],"acqinfo_ssim":["Donated by the Federal Theatre Project.\n"],"access_subjects_ssim":["Theater--United States--History--20th century."],"access_subjects_ssm":["Theater--United States--History--20th century."],"has_online_content_ssim":["false"],"physdesc_tesim":["36 linear ft."],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically.\n\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["Organized alphabetically.\n"],"bioghist_html_tesm":["\u003cp\u003eThe Federal Theatre Project was a division of the Works\n         Progress Administration (WPA), which provided employment for\n         large numbers of artists, writers, and performers during the\n         Great Depression (1929-1939). The Federal Theatre began in\n         1935 and, until its end in 1939, flourished as the first and\n         only federally sponsored and subsidized theater program in the\n         United States. Directed by Hallie Flanagan (1880-1969), it was\n         a way for theatrical professionals to gain employment during\n         the Depression. Jobs were provided for many people, including\n         actors, playwrights, scene designers, scene builders,\n         seamstresses, lighting experts, ushers, box-office men, and\n         stagehands.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President\n         Franklin D. Roosevelt, the Federal Theatre Project was\n         intended not only to benefit its participants, but also to\n         enrich the condition of the nation. Theater was a\n         distinguished part of American popular culture, but the\n         economic downturn of the Depression had bankrupted the entire\n         theater industry. As the theater houses closed down, the\n         nation was left without an outlet for theatrical creativity.\n         According to Hallie Flanagan, this hurt the nation as much as\n         it hurt the theater industry - indeed, the nation was their\n         audience and the theater could provide entertaining\n         distractions from the effects of Depression as well as offer\n         commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the\n         pre-Depression concept of theater. In the first meeting her\n         staff Flanagan expressed her willingness to follow Roosevelt's\n         experimental approach to public policy: \"In a changing world,\n         a world of experiment, the stage too must experiment - with\n         ideas, with the psychological relationship of men and women,\n         with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship\n         between the Federal Theatre and the federal government: \"Any\n         theatre sponsored by the government of the United States\n         should do no plays of a cheap, trivial, outworn or vulgar\n         nature, but only such plays as the Government can stand\n         proudly behind in a planned theatrical program, national in\n         scope, regional in emphasis, and American in democratic\n         attitude.\" To Flanagan, it was imperative that this new\n         theater should be progressive and experimental, yet within a\n         patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on\n         theater were the Living Newspapers. These hard-hitting,\n         poignant plays dealt with contemporary factual material,\n         dramatizing issues such as housing, agriculture, labor, and\n         destitution. Always ending on an upbeat note, Living\n         Newspapers underscored the importance of hard work and\n         morality in overcoming difficult times. Living Newspaper\n         titles include: Triple A Plowed Under, Injunction Granted, One\n         Third of a Nation, and Spirocheta.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans\n         at a time when the Federal Government did not actively protect\n         the rights of minorities. The \"Negro Theater\" (as it was\n         called in the 1930s) was an established industry before the\n         Depression, and it greatly contributed to the success of the\n         Federal Theatre Project. Some of the most spectacular\n         productions were put on by black theater professionals, for\n         example: Macbeth, Haiti, Turpentine, Run Little Chillun, and\n         The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["The Federal Theatre Project was a division of the Works\n         Progress Administration (WPA), which provided employment for\n         large numbers of artists, writers, and performers during the\n         Great Depression (1929-1939). The Federal Theatre began in\n         1935 and, until its end in 1939, flourished as the first and\n         only federally sponsored and subsidized theater program in the\n         United States. Directed by Hallie Flanagan (1880-1969), it was\n         a way for theatrical professionals to gain employment during\n         the Depression. Jobs were provided for many people, including\n         actors, playwrights, scene designers, scene builders,\n         seamstresses, lighting experts, ushers, box-office men, and\n         stagehands.","Like many New Deal programs implemented by President\n         Franklin D. Roosevelt, the Federal Theatre Project was\n         intended not only to benefit its participants, but also to\n         enrich the condition of the nation. Theater was a\n         distinguished part of American popular culture, but the\n         economic downturn of the Depression had bankrupted the entire\n         theater industry. As the theater houses closed down, the\n         nation was left without an outlet for theatrical creativity.\n         According to Hallie Flanagan, this hurt the nation as much as\n         it hurt the theater industry - indeed, the nation was their\n         audience and the theater could provide entertaining\n         distractions from the effects of Depression as well as offer\n         commentary on present conditions.","But it was not enough to simply return to the\n         pre-Depression concept of theater. In the first meeting her\n         staff Flanagan expressed her willingness to follow Roosevelt's\n         experimental approach to public policy: \"In a changing world,\n         a world of experiment, the stage too must experiment - with\n         ideas, with the psychological relationship of men and women,\n         with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship\n         between the Federal Theatre and the federal government: \"Any\n         theatre sponsored by the government of the United States\n         should do no plays of a cheap, trivial, outworn or vulgar\n         nature, but only such plays as the Government can stand\n         proudly behind in a planned theatrical program, national in\n         scope, regional in emphasis, and American in democratic\n         attitude.\" To Flanagan, it was imperative that this new\n         theater should be progressive and experimental, yet within a\n         patriotic and informative framework.","The productions that best embodied Flanagan's views on\n         theater were the Living Newspapers. These hard-hitting,\n         poignant plays dealt with contemporary factual material,\n         dramatizing issues such as housing, agriculture, labor, and\n         destitution. Always ending on an upbeat note, Living\n         Newspapers underscored the importance of hard work and\n         morality in overcoming difficult times. Living Newspaper\n         titles include: Triple A Plowed Under, Injunction Granted, One\n         Third of a Nation, and Spirocheta.","The Federal Theatre was noted for employing black Americans\n         at a time when the Federal Government did not actively protect\n         the rights of minorities. The \"Negro Theater\" (as it was\n         called in the 1930s) was an established industry before the\n         Depression, and it greatly contributed to the success of the\n         Federal Theatre Project. Some of the most spectacular\n         productions were put on by black theater professionals, for\n         example: Macbeth, Haiti, Turpentine, Run Little Chillun, and\n         The Trial of Dr. Beck."],"scopecontent_html_tesm":["\u003cp\u003eThe Federal Theatre Project Playscript and Radioscript\n         Collection \n         contains over 200 copied playscripts and radioscripts, written\n         and performed in the 1930s for the Federal Theatre Project.\n         Also included is a collection of 62 copied Federal Theatre\n         programs, handbills given to the audience at the beginning of\n         a production. There is also a copy of The Flexible Stage, a\n         book by Emmet Lavery about the history of the Federal Theatre\n         Project. And there are the works of several noted authors in\n         the collection, including Upton Sinclair, Orson Welles,\n         Sinclair Lewis, Arthur Arent, and Langston Hughes.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["The Federal Theatre Project Playscript and Radioscript\n         Collection \n         contains over 200 copied playscripts and radioscripts, written\n         and performed in the 1930s for the Federal Theatre Project.\n         Also included is a collection of 62 copied Federal Theatre\n         programs, handbills given to the audience at the beginning of\n         a production. There is also a copy of The Flexible Stage, a\n         book by Emmet Lavery about the history of the Federal Theatre\n         Project. And there are the works of several noted authors in\n         the collection, including Upton Sinclair, Orson Welles,\n         Sinclair Lewis, Arthur Arent, and Langston Hughes."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe Federal Theatre Project Playscript and Radioscript\n         Collection \n         contains over 200 copied playscripts and radioscripts, written\n         and performed in the 1930s for the Federal Theatre Project.\n\u003c/abstract\u003e"],"abstract_tesim":["The Federal Theatre Project Playscript and Radioscript\n         Collection \n         contains over 200 copied playscripts and radioscripts, written\n         and performed in the 1930s for the Federal Theatre Project.\n"],"names_ssim":["George Mason University.  Special Collections and Archives.\n","Federal Theatre Project\n","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University.  Special Collections and Archives.\n","Federal Theatre Project\n","Federal Theatre Project (U.S.)"],"language_ssim":["English\n"],"total_component_count_is":225,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:50:41.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_vifgm00020_c01_c02"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"George Mason University","value":"George Mason University","hits":1},"links":{"remove":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/repository_ssim.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Federal Theatre Project playscript and radioscript collection","value":"Federal Theatre Project playscript and radioscript collection","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Federal+Theatre+Project+playscript+and+radioscript+collection\u0026f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/collection_ssim.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University"}},{"type":"facet","id":"level_ssim","attributes":{"label":"Level","items":[{"attributes":{"label":"Record group","value":"Record group","hits":1},"links":{"remove":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/level_ssim.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University"}},{"type":"search_field","id":"all_fields","attributes":{"label":"All Fields"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026search_field=all_fields"}},{"type":"search_field","id":"keyword","attributes":{"label":"Keyword"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026search_field=keyword"}},{"type":"search_field","id":"name","attributes":{"label":"Name"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026search_field=name"}},{"type":"search_field","id":"place","attributes":{"label":"Place"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026search_field=place"}},{"type":"search_field","id":"subject","attributes":{"label":"Subject"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026search_field=subject"}},{"type":"search_field","id":"title","attributes":{"label":"Title"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026search_field=title"}},{"type":"search_field","id":"container","attributes":{"label":"Container"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026search_field=container"}},{"type":"search_field","id":"identifier","attributes":{"label":"Identifier"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026search_field=identifier"}},{"type":"sort","id":"score desc, title_sort asc","attributes":{"label":"relevance"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026sort=score+desc%2C+title_sort+asc"}},{"type":"sort","id":"date_sort asc","attributes":{"label":"date (ascending)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026sort=date_sort+asc"}},{"type":"sort","id":"date_sort desc","attributes":{"label":"date (descending)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026sort=date_sort+desc"}},{"type":"sort","id":"creator_sort asc","attributes":{"label":"creator (A-Z)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026sort=creator_sort+asc"}},{"type":"sort","id":"creator_sort desc","attributes":{"label":"creator (Z-A)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026sort=creator_sort+desc"}},{"type":"sort","id":"title_sort asc","attributes":{"label":"title (A-Z)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026sort=title_sort+asc"}},{"type":"sort","id":"title_sort desc","attributes":{"label":"title (Z-A)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Record+group\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026sort=title_sort+desc"}}]}