{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bnames%5D%5B%5D=ANTA+%28Organization%29","last":"https://search.arvasarchive.org/catalog.json?f%5Bnames%5D%5B%5D=ANTA+%28Organization%29\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":5,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_repositories_2_resources_386","type":"collection","attributes":{"title":"Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, 1938/1979","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_386#creator","type":"document_value","attributes":{"value":"Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_386#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations. It also includes a collection of playbills from around the United States dating from 1938 - 1979.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_386#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_386","ead_ssi":"vifgm_repositories_2_resources_386","_root_":"vifgm_repositories_2_resources_386","_nest_parent_":"vifgm_repositories_2_resources_386","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_386.xml","title_ssm":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"title_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers"],"unitdate_ssm":["1938 - 1979"],"unitdate_inclusive_ssm":["1938 - 1979"],"normalized_date_ssm":["1938/1979"],"normalized_title_ssm":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, 1938/1979"],"text":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, 1938/1979","C0260","/repositories/2/resources/386","Theater -- United States","Theater programs","There are no access restrictions.","The collection is arranged in three boxes by format and chronologically.","The Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968.","Processing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022.","The Special Collections Research Center also holds the , which includes extensive documentation of ANTA.","This collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979.","R 50, C 4, S 5","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969","English\n."],"collection_title_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, 1938/1979"],"collection_ssim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, 1938/1979"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0260","/repositories/2/resources/386"],"unitid_tesim":["C0260","/repositories/2/resources/386"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_persname_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)"],"creators_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Bernard Rosenblatt in 1995."],"access_subjects_ssim":["Theater -- United States","Theater programs"],"access_subjects_ssm":["Theater -- United States","Theater programs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 3 boxes"],"extent_tesim":["1.5 Linear Feet 3 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in three boxes by format and chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in three boxes by format and chronologically."],"bioghist_html_tesm":["\u003cp\u003eThe Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968."],"prefercite_html_tesm":["\u003cp\u003eBernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, C0260, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, C0260, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Robert and Wilva Breen papers\" href=\"https://aspace.gmu.edu/resources/c0004\"\u003e\u003c/extptr\u003e, which includes extensive documentation of ANTA.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the , which includes extensive documentation of ANTA."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3."],"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_c63ac6f95aef2bac4a30f4fe5c8add4e\"\u003eThis collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_1cba5636c0f00121c2887def4c300b0c\"\u003eR 50, C 4, S 5\u003c/physloc\u003e\n    "],"physloc_tesim":["R 50, C 4, S 5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)"],"names_coll_ssim":["ANTA (Organization)"],"persname_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","Rosenblatt, Bernard A. 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RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968.","Processing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022.","The Special Collections Research Center also holds the , which includes extensive documentation of ANTA.","This collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979.","R 50, C 4, S 5","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969","English\n."],"collection_title_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, 1938/1979"],"collection_ssim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, 1938/1979"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0260","/repositories/2/resources/386"],"unitid_tesim":["C0260","/repositories/2/resources/386"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_persname_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)"],"creators_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Bernard Rosenblatt in 1995."],"access_subjects_ssim":["Theater -- United States","Theater programs"],"access_subjects_ssm":["Theater -- United States","Theater programs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 3 boxes"],"extent_tesim":["1.5 Linear Feet 3 boxes"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in three boxes by format and chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in three boxes by format and chronologically."],"bioghist_html_tesm":["\u003cp\u003eThe Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. RTC, founded in the early 1950s, drew its membership from community and university theatres around the region. RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Regional Theater Council (RTC) for Northern California and Nevada was a regional affiliate of the American National Theater and Academy (ANTA), an organization created to promote and support the development of American theatre. 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RTC disbanded by 1969 due to lack of interest, fragmentation, and absorption by other related organizations, such as the California Educational Theater Association (CETA), the Northern California District of the American Educational Theater Association (NCD-AETA), and the American Community Theater Association (ACTA).  \nBernard Rosenblatt, a professor at San Joaquin Delta College, served as president of RTC in the mid and late 1960s, and served as Vice President of the NCD-AETA upon its formation in 1968."],"prefercite_html_tesm":["\u003cp\u003eBernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, C0260, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Bernard Rosenblatt Regional Theatre Council for Northern California and Nevada papers, C0260, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Elizabeth Beckman in June 2015. EAD markup completed by Elizabeth Beckman in June 2015. Box inventory created by Savannah Long in November 2022. Finding aid updated by Amanda Menjivar in November 2022."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Robert and Wilva Breen papers\" href=\"https://aspace.gmu.edu/resources/c0004\"\u003e\u003c/extptr\u003e, which includes extensive documentation of ANTA.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the , which includes extensive documentation of ANTA."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection documents the activities of Bernard Rosenblatt and the Regional Theater Council for Northern California and Nevada, as well as related organizations such as the Northern California District of the American Educational Theatre Association and the American Community Theatre Association. Types of records include correspondence, meeting minutes, organizational constitutions, histories, and newsletters dating from 1960 - 1969. Also included is Bernard Rosenblatt's collection of theatre programs from institutions across the United States (from the Metropolitan Opera to community theatre productions) dating from 1938-1979. The organizational records are located in boxes 1 and 2, and the theatre programs are located in boxes 2 and 3."],"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_c63ac6f95aef2bac4a30f4fe5c8add4e\"\u003eThis collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents Bernard Rosenblatt's involvement in the Regional Theater Council for Northern California and Nevada, as well as related organizations.  It also includes a collection of playbills from around the United States dating from 1938 - 1979."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_1cba5636c0f00121c2887def4c300b0c\"\u003eR 50, C 4, S 5\u003c/physloc\u003e\n    "],"physloc_tesim":["R 50, C 4, S 5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)"],"names_coll_ssim":["ANTA (Organization)"],"persname_ssim":["Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","Rosenblatt, Bernard A. (Bernard Abraham), 1886-1969"],"language_ssim":["English\n."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":34,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:54:20.896Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_386"}},{"id":"vifgm_repositories_2_resources_521","type":"collection","attributes":{"title":"Robert and Wilva Breen papers, 1831/2000","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#creator","type":"document_value","attributes":{"value":"Breen, Robert","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#abstract_or_scope","type":"document_value","attributes":{"value":"The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3014,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:55:07.784Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"normalized_date_ssm":["1831/2000"],"normalized_title_ssm":["Robert and Wilva Breen papers, 1831/2000"],"text":["Robert and Wilva Breen papers, 1831/2000","C0004","/repositories/2/resources/521","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"collection_title_tesim":["Robert and Wilva Breen papers, 1831/2000"],"collection_ssim":["Robert and Wilva Breen papers, 1831/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"creators_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.  (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.  (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.  (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.  (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.","The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.","Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.","Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.","Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.","ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.\u003c/p\u003e  "],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the , the , the , and many other","The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the","The UCLA Library Special Collections, Charles E. Young Research Library holds the"],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e\n    "],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"persname_ssim":["Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3014,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:55:07.784Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_521"}},{"id":"vifgm_repositories_2_resources_156","type":"collection","attributes":{"title":"Robert C. Schnitzer papers","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_156#creator","type":"document_value","attributes":{"value":"Schnitzer, Robert C.","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_156#abstract_or_scope","type":"document_value","attributes":{"value":"Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \u003cspan\u003eSkin of Our Teeth\u003c/span\u003e starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_156#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_156","ead_ssi":"vifgm_repositories_2_resources_156","_root_":"vifgm_repositories_2_resources_156","_nest_parent_":"vifgm_repositories_2_resources_156","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_156.xml","title_filing_ssi":"Robert C. Schnitzer papers","title_ssm":["Robert C. Schnitzer papers"],"title_tesim":["Robert C. Schnitzer papers"],"unitdate_ssm":["1950-1980"],"unitdate_inclusive_ssm":["1950-1980"],"normalized_title_ssm":["Robert C. Schnitzer papers"],"text":["Robert C. Schnitzer papers","C0043","/repositories/2/resources/156","Theater","Theater -- Production and direction","Theater -- Europe","Performing arts","Theater programs","Performing arts posters","There are no access restrictions.","This collection is arranged according to subject.","Robert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma!, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Bernstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain.","In 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - The Skin of Our Teeth, The Miracle Worker, and The Glass Menagerie - to tour 28 countries in Europe and South America in 1961. The company included the actress Helen Hayes. During the 1970s Schnitzer was head of the University of Michigan's Professional Theatre Program. Schnitzer died on January 2, 2008.","Processed by Special Collections Research Center staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009. Finding aid updated by Amanda Menjivar in June 2023.","The Special Collections Research Center also holds the  and many collections on the","Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play Skin of Our Teeth starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","Youskeuitch, I., Meister, B., Kaye, N., Chapin, Lerie, N., Alouso, Schnitzer, R., Cannon","Ginder, C., Westermarm, T., Res, Breen, Doliymfle, J.","Cliou, H., Johnson, H.","Claire, L., Seldes, M., Lawrence, E., Anderson, J., McClintic, G., dal Porto, L., Breen, Res, Doliymfle, Gossner, Johnson, H.","Holm, C., McClintick, G., Anderson, J., McCloy, J.","Johnson, P., Holm, C., Asond, R., Marlo, M.,Grinder,P., Libmoll, M., Mathewson, Anderson, J.,","Schmoll, W., Johnson, P., Rawlings, J., Austin, H., Platz, Res, Enters, A.,Doliymfle, J.","Anderson, J., Res","Innes-Brown, V.,","Dowling, R., Inner-Brown, V.","Cirmey and Schnitzer","Havoc, J., Julien, A., Dillon, Schnitzer, Cizney","Breen, R.","Farewell, I., Schnitzer, W.","Litori, Heller, Cisney, Schnitzer, Williams, C., Ilinski, J.","Dalnymple, J., Res","Daleymfle, J.","Denwent, C., Schonceit,L., Breen, R., Callowdway, C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C., Martin, M.,Ormandy, E.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play Skin of Our Teeth starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","R20, C3, S1 \nR20, C3, S4-S7","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program","Schnitzer, Robert C.","English"],"collection_title_tesim":["Robert C. Schnitzer papers"],"collection_ssim":["Robert C. Schnitzer papers"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0043","/repositories/2/resources/156"],"unitid_tesim":["C0043","/repositories/2/resources/156"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Schnitzer, Robert C."],"creator_ssim":["Schnitzer, Robert C."],"creator_persname_ssim":["Schnitzer, Robert C."],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program"],"creators_ssim":["Schnitzer, Robert C.","George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Collection donated by Robert Schnitzer in 1995-1996."],"access_subjects_ssim":["Theater","Theater -- Production and direction","Theater -- Europe","Performing arts","Theater programs","Performing arts posters"],"access_subjects_ssm":["Theater","Theater -- Production and direction","Theater -- Europe","Performing arts","Theater programs","Performing arts posters"],"has_online_content_ssim":["false"],"extent_ssm":["6.75 Linear Feet 9 boxes"],"extent_tesim":["6.75 Linear Feet 9 boxes"],"genreform_ssim":["Performing arts posters"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged according to subject.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged according to subject."],"bioghist_html_tesm":["\u003cp\u003eRobert C. 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The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of \u003ctitle\u003eHamlet\u003c/title\u003e to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's \u003ctitle\u003eOklahoma!,\u003c/title\u003e the Hall Johnson Choir, and the Julliard String Quartet. \u003c/p\u003e","\u003cp\u003eIn 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Bernstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain. \u003c/p\u003e","\u003cp\u003eIn 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - \u003ctitle\u003eThe Skin of Our Teeth,\u003c/title\u003e \u003ctitle\u003eThe Miracle Worker,\u003c/title\u003e and \u003ctitle\u003eThe Glass Menagerie\u003c/title\u003e - to tour 28 countries in Europe and South America in 1961. The company included the actress Helen Hayes. During the 1970s Schnitzer was head of the University of Michigan's Professional Theatre Program. Schnitzer died on January 2, 2008.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Robert C. Schnitzer is a former actor, producer, educator, and theater administrator. 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Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \u003ctitle\u003eSkin of Our Teeth\u003c/title\u003e starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.\u003c/abstract\u003e\n    "],"abstract_tesim":["Included in the Robert C. 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From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma!, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. 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Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play Skin of Our Teeth starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","Youskeuitch, I., Meister, B., Kaye, N., Chapin, Lerie, N., Alouso, Schnitzer, R., Cannon","Ginder, C., Westermarm, T., Res, Breen, Doliymfle, J.","Cliou, H., Johnson, H.","Claire, L., Seldes, M., Lawrence, E., Anderson, J., McClintic, G., dal Porto, L., Breen, Res, Doliymfle, Gossner, Johnson, H.","Holm, C., McClintick, G., Anderson, J., McCloy, J.","Johnson, P., Holm, C., Asond, R., Marlo, M.,Grinder,P., Libmoll, M., Mathewson, Anderson, J.,","Schmoll, W., Johnson, P., Rawlings, J., Austin, H., Platz, Res, Enters, A.,Doliymfle, J.","Anderson, J., Res","Innes-Brown, V.,","Dowling, R., Inner-Brown, V.","Cirmey and Schnitzer","Havoc, J., Julien, A., Dillon, Schnitzer, Cizney","Breen, R.","Farewell, I., Schnitzer, W.","Litori, Heller, Cisney, Schnitzer, Williams, C., Ilinski, J.","Dalnymple, J., Res","Daleymfle, J.","Denwent, C., Schonceit,L., Breen, R., Callowdway, C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C., Martin, M.,Ormandy, E."],"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_f2ec5bd4a4c2e74a55aa2ab956513da0\" label=\"Abstract\"\u003eIncluded in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \u003ctitle\u003eSkin of Our Teeth\u003c/title\u003e starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.\u003c/abstract\u003e\n    "],"abstract_tesim":["Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play Skin of Our Teeth starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_d7d3d62f64fdecd482169ffa47533e2a\"\u003eR20, C3, S1 \nR20, C3, S4-S7\u003c/physloc\u003e\n    "],"physloc_tesim":["R20, C3, S1 \nR20, C3, S4-S7"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program"],"names_coll_ssim":["ANTA (Organization)","University of Michigan. 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","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00012#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_vifgm00012","ead_ssi":"vifgm_vifgm00012","_root_":"vifgm_vifgm00012","_nest_parent_":"vifgm_vifgm00012","ead_source_url_ssi":"data/gmu/vifgm00012.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Robert C. Schnitzer papers"],"title_tesim":["Robert C. Schnitzer papers"],"unitdate_ssm":["1950-1980"],"unitdate_inclusive_ssm":["1950-1980"],"normalized_date_ssm":["1950/1980"],"normalized_title_ssm":["Robert C. Schnitzer papers, 1950/1980"],"text":["Robert C. Schnitzer papers, 1950/1980","C0043","Theater.","Collection is open to research.","This collection is arranged according to subject.","Robert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Berstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain.","In 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - The Skin of Our Teeth, The Miracle Worker, and The Glass Menagerie - to tour 28 countries in Europe and South America in 1961. The company included the famous actress Helen Hayes. During the 1970s he was head of the University of Michigan's Professional Theatre Program.","Processed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009.","Special Collections and Archives also holds many other","Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","Youskeuitch, I., Meister, B., Kaye, N., Chapin,\n                  Lerie, N., Alouso, Schnitzer, R., Cannon","Ginder, C., Westermarm, T., Res, Breen, Doliymfle,\n                  J.","Cliou, H., Johnson, H.","Claire, L., Seldes, M., Lawrence, E., Anderson,\n                  J., McClintic, G., dal Porto, L., Breen, Res,\n                  Doliymfle, Gossner, Johnson, H.","Holm, C., McClintick, G., Anderson, J., McCloy,\n                  J.","Johnson, P., Holm, C., Asond, R., Marlo,\n                  M.,Grinder,P., Libmoll, M., Mathewson, Anderson,\n                  J.,","Schmoll, W., Johnson, P., Rawlings, J., Austin,\n                  H., Platz, Res, Enters, A.,Doliymfle, J.","Anderson, J., Res","Innes-Brown, V.,","Dowling, R., Inner-Brown, V.","Cirmey and Schnitzer","Havoc, J., Julien, A., Dillon, Schnitzer,\n                  Cizney","Breen, R.","Farewell, I., Schnitzer, W.","Litori, Heller, Cisney, Schnitzer, Williams, C.,\n                  Ilinski, J.","Dalnymple, J., Res","Daleymfle, J.","Denwent, C., Schonceit,L., Breen, R., Callowdway,\n                  C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C.,\n                  Martin, M.,Ormandy, E.","There are no restrictions.","Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program.","Robert C. Schnitzer, 1906-","Schnitzer, Robert C.","English"],"collection_title_tesim":["Robert C. Schnitzer papers, 1950/1980"],"collection_ssim":["Robert C. Schnitzer papers, 1950/1980"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0043"],"unitid_tesim":["C0043"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Robert C. Schnitzer, 1906-"],"creator_ssim":["Robert C. Schnitzer, 1906-"],"creator_persname_ssim":["Robert C. Schnitzer, 1906-","Schnitzer, Robert C."],"creator_corpname_ssim":["George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program."],"creators_ssim":["Robert C. Schnitzer, 1906-","Schnitzer, Robert C.","George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program."],"acqinfo_ssim":["Collection donated by Robert Schnitzer in 1995-1996."],"access_subjects_ssim":["Theater."],"access_subjects_ssm":["Theater."],"has_online_content_ssim":["false"],"extent_ssm":["6.75 linear feet (9 boxes)"],"extent_tesim":["6.75 linear feet (9 boxes)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged according to subject.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged according to subject."],"bioghist_html_tesm":["\u003cp\u003eRobert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.\n\u003c/p\u003e\n      ","\u003cp\u003eSchnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma, the Hall Johnson Choir, and the Julliard String Quartet.\n\u003c/p\u003e\n      ","\u003cp\u003eIn 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Berstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain.\n\u003c/p\u003e\n      ","\u003cp\u003eIn 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - The Skin of Our Teeth, The Miracle Worker, and The Glass Menagerie - to tour 28 countries in Europe and South America in 1961. The company included the famous actress Helen Hayes. During the 1970s he was head of the University of Michigan's Professional Theatre Program.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Robert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Berstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain.","In 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - The Skin of Our Teeth, The Miracle Worker, and The Glass Menagerie - to tour 28 countries in Europe and South America in 1961. The company included the famous actress Helen Hayes. During the 1970s he was head of the University of Michigan's Professional Theatre Program."],"prefercite_html_tesm":["\u003cp\u003eRobert C. Schnitzer papers, Collection #C0043, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Robert C. Schnitzer papers, Collection #C0043, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff. 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Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.\n\u003c/p\u003e\n    ","\u003cp\u003eYouskeuitch, I., Meister, B., Kaye, N., Chapin,\n                  Lerie, N., Alouso, Schnitzer, R., Cannon\u003c/p\u003e\n          ","\u003cp\u003eGinder, C., Westermarm, T., Res, Breen, Doliymfle,\n                  J.\u003c/p\u003e\n          ","\u003cp\u003eCliou, H., Johnson, H.\u003c/p\u003e\n          ","\u003cp\u003eClaire, L., Seldes, M., Lawrence, E., Anderson,\n                  J., McClintic, G., dal Porto, L., Breen, Res,\n                  Doliymfle, Gossner, Johnson, H.\u003c/p\u003e\n          ","\u003cp\u003eHolm, C., McClintick, G., Anderson, J., McCloy,\n                  J.\u003c/p\u003e\n          ","\u003cp\u003eJohnson, P., Holm, C., Asond, R., Marlo,\n                  M.,Grinder,P., Libmoll, M., Mathewson, Anderson,\n                  J.,\u003c/p\u003e\n          ","\u003cp\u003eSchmoll, W., Johnson, P., Rawlings, J., Austin,\n                  H., Platz, Res, Enters, A.,Doliymfle, J.\u003c/p\u003e\n          ","\u003cp\u003eAnderson, J., Res\u003c/p\u003e\n          ","\u003cp\u003eInnes-Brown, V.,\u003c/p\u003e\n          ","\u003cp\u003eDowling, R., Inner-Brown, V.\u003c/p\u003e\n          ","\u003cp\u003eCirmey and Schnitzer\u003c/p\u003e\n          ","\u003cp\u003eHavoc, J., Julien, A., Dillon, Schnitzer,\n                  Cizney\u003c/p\u003e\n          ","\u003cp\u003eBreen, R.\u003c/p\u003e\n          ","\u003cp\u003eFarewell, I., Schnitzer, W.\u003c/p\u003e\n          ","\u003cp\u003eLitori, Heller, Cisney, Schnitzer, Williams, C.,\n                  Ilinski, J.\u003c/p\u003e\n          ","\u003cp\u003eDalnymple, J., Res\u003c/p\u003e\n          ","\u003cp\u003eDaleymfle, J.\u003c/p\u003e\n          ","\u003cp\u003eDenwent, C., Schonceit,L., Breen, R., Callowdway,\n                  C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C.,\n                  Martin, M.,Ormandy, E.\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","Youskeuitch, I., Meister, B., Kaye, N., Chapin,\n                  Lerie, N., Alouso, Schnitzer, R., Cannon","Ginder, C., Westermarm, T., Res, Breen, Doliymfle,\n                  J.","Cliou, H., Johnson, H.","Claire, L., Seldes, M., Lawrence, E., Anderson,\n                  J., McClintic, G., dal Porto, L., Breen, Res,\n                  Doliymfle, Gossner, Johnson, H.","Holm, C., McClintick, G., Anderson, J., McCloy,\n                  J.","Johnson, P., Holm, C., Asond, R., Marlo,\n                  M.,Grinder,P., Libmoll, M., Mathewson, Anderson,\n                  J.,","Schmoll, W., Johnson, P., Rawlings, J., Austin,\n                  H., Platz, Res, Enters, A.,Doliymfle, J.","Anderson, J., Res","Innes-Brown, V.,","Dowling, R., Inner-Brown, V.","Cirmey and Schnitzer","Havoc, J., Julien, A., Dillon, Schnitzer,\n                  Cizney","Breen, R.","Farewell, I., Schnitzer, W.","Litori, Heller, Cisney, Schnitzer, Williams, C.,\n                  Ilinski, J.","Dalnymple, J., Res","Daleymfle, J.","Denwent, C., Schonceit,L., Breen, R., Callowdway,\n                  C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C.,\n                  Martin, M.,Ormandy, E."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eIncluded in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program."],"corpname_ssim":["George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program."],"persname_ssim":["Robert C. Schnitzer, 1906-","Schnitzer, Robert C."],"names_ssim":["George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program.","Robert C. Schnitzer, 1906-","Schnitzer, Robert C."],"language_ssim":["English"],"total_component_count_is":97,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:56:35.785Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_vifgm00012","ead_ssi":"vifgm_vifgm00012","_root_":"vifgm_vifgm00012","_nest_parent_":"vifgm_vifgm00012","ead_source_url_ssi":"data/gmu/vifgm00012.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Robert C. Schnitzer papers"],"title_tesim":["Robert C. Schnitzer papers"],"unitdate_ssm":["1950-1980"],"unitdate_inclusive_ssm":["1950-1980"],"normalized_date_ssm":["1950/1980"],"normalized_title_ssm":["Robert C. Schnitzer papers, 1950/1980"],"text":["Robert C. Schnitzer papers, 1950/1980","C0043","Theater.","Collection is open to research.","This collection is arranged according to subject.","Robert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Berstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain.","In 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - The Skin of Our Teeth, The Miracle Worker, and The Glass Menagerie - to tour 28 countries in Europe and South America in 1961. The company included the famous actress Helen Hayes. During the 1970s he was head of the University of Michigan's Professional Theatre Program.","Processed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009.","Special Collections and Archives also holds many other","Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","Youskeuitch, I., Meister, B., Kaye, N., Chapin,\n                  Lerie, N., Alouso, Schnitzer, R., Cannon","Ginder, C., Westermarm, T., Res, Breen, Doliymfle,\n                  J.","Cliou, H., Johnson, H.","Claire, L., Seldes, M., Lawrence, E., Anderson,\n                  J., McClintic, G., dal Porto, L., Breen, Res,\n                  Doliymfle, Gossner, Johnson, H.","Holm, C., McClintick, G., Anderson, J., McCloy,\n                  J.","Johnson, P., Holm, C., Asond, R., Marlo,\n                  M.,Grinder,P., Libmoll, M., Mathewson, Anderson,\n                  J.,","Schmoll, W., Johnson, P., Rawlings, J., Austin,\n                  H., Platz, Res, Enters, A.,Doliymfle, J.","Anderson, J., Res","Innes-Brown, V.,","Dowling, R., Inner-Brown, V.","Cirmey and Schnitzer","Havoc, J., Julien, A., Dillon, Schnitzer,\n                  Cizney","Breen, R.","Farewell, I., Schnitzer, W.","Litori, Heller, Cisney, Schnitzer, Williams, C.,\n                  Ilinski, J.","Dalnymple, J., Res","Daleymfle, J.","Denwent, C., Schonceit,L., Breen, R., Callowdway,\n                  C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C.,\n                  Martin, M.,Ormandy, E.","There are no restrictions.","Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program.","Robert C. Schnitzer, 1906-","Schnitzer, Robert C.","English"],"collection_title_tesim":["Robert C. Schnitzer papers, 1950/1980"],"collection_ssim":["Robert C. Schnitzer papers, 1950/1980"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0043"],"unitid_tesim":["C0043"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Robert C. Schnitzer, 1906-"],"creator_ssim":["Robert C. Schnitzer, 1906-"],"creator_persname_ssim":["Robert C. Schnitzer, 1906-","Schnitzer, Robert C."],"creator_corpname_ssim":["George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program."],"creators_ssim":["Robert C. Schnitzer, 1906-","Schnitzer, Robert C.","George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program."],"acqinfo_ssim":["Collection donated by Robert Schnitzer in 1995-1996."],"access_subjects_ssim":["Theater."],"access_subjects_ssm":["Theater."],"has_online_content_ssim":["false"],"extent_ssm":["6.75 linear feet (9 boxes)"],"extent_tesim":["6.75 linear feet (9 boxes)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged according to subject.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged according to subject."],"bioghist_html_tesm":["\u003cp\u003eRobert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.\n\u003c/p\u003e\n      ","\u003cp\u003eSchnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma, the Hall Johnson Choir, and the Julliard String Quartet.\n\u003c/p\u003e\n      ","\u003cp\u003eIn 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Berstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain.\n\u003c/p\u003e\n      ","\u003cp\u003eIn 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - The Skin of Our Teeth, The Miracle Worker, and The Glass Menagerie - to tour 28 countries in Europe and South America in 1961. The company included the famous actress Helen Hayes. During the 1970s he was head of the University of Michigan's Professional Theatre Program.\n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Robert C. Schnitzer is a former actor, producer, educator, and theater administrator. As a young actor in New York City, Schnitzer appeared in or stage managed The Brothers Karamazov, Hamlet, An Enemy of the People, Richelieu, Henry V, Richard III, Caponsacchi, Macbeth, and Cyrano de Bergerac. From 1936 to 1939, Schnitzer was Delaware's State Director and Deputy National Director of the WPA's Federal Theatre Project.","Schnitzer later joined the American National Theater and Academy (ANTA) as general manager for the Experimental Theater in New York, which returned to the New York theater scene under the auspices of ANTA in 1947. The ANTA-sponsored performances managed by Mr. Schnitzer included the first American production of Hamlet to be presented at Elsinore, Denmark; the first European tour of the American Ballet Theatre in 1950; and from 1951 to 1953, three Berlin festivals that showcased American talent such as the Theatre Guild's Oklahoma, the Hall Johnson Choir, and the Julliard String Quartet.","In 1954, Mr. Schnitzer took over as general manager for the International Exchange Program through which ANTA helped promote and sponsor cultural exchanges in cooperation with the U.S. State Department. The hundreds of overseas productions arranged by Mr. Schnitzer ran the gamut from college choirs and athletes to notables such as Marian Anderson, the Dave Brubeck Quartet, and the New York Philharmonic Orchestra under the direction of Leonard Berstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain.","In 1960, Mr. Schnitzer became the general manager for the American Repertory Company, set up by the Theatre Guild at the request of the U.S. Government to export the best in American theater. He arranged for three plays - The Skin of Our Teeth, The Miracle Worker, and The Glass Menagerie - to tour 28 countries in Europe and South America in 1961. The company included the famous actress Helen Hayes. During the 1970s he was head of the University of Michigan's Professional Theatre Program."],"prefercite_html_tesm":["\u003cp\u003eRobert C. Schnitzer papers, Collection #C0043, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Robert C. Schnitzer papers, Collection #C0043, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff. EAD markup completed by Eron Ackerman and Jordan Patty in March 2009."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds many other \u003cextptr type=\"simple\" title=\"theatre collections\" show=\"new\" href=\"http://sca.gmu.edu/theater_collections.htm\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds many other"],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.\n\u003c/p\u003e\n    ","\u003cp\u003eYouskeuitch, I., Meister, B., Kaye, N., Chapin,\n                  Lerie, N., Alouso, Schnitzer, R., Cannon\u003c/p\u003e\n          ","\u003cp\u003eGinder, C., Westermarm, T., Res, Breen, Doliymfle,\n                  J.\u003c/p\u003e\n          ","\u003cp\u003eCliou, H., Johnson, H.\u003c/p\u003e\n          ","\u003cp\u003eClaire, L., Seldes, M., Lawrence, E., Anderson,\n                  J., McClintic, G., dal Porto, L., Breen, Res,\n                  Doliymfle, Gossner, Johnson, H.\u003c/p\u003e\n          ","\u003cp\u003eHolm, C., McClintick, G., Anderson, J., McCloy,\n                  J.\u003c/p\u003e\n          ","\u003cp\u003eJohnson, P., Holm, C., Asond, R., Marlo,\n                  M.,Grinder,P., Libmoll, M., Mathewson, Anderson,\n                  J.,\u003c/p\u003e\n          ","\u003cp\u003eSchmoll, W., Johnson, P., Rawlings, J., Austin,\n                  H., Platz, Res, Enters, A.,Doliymfle, J.\u003c/p\u003e\n          ","\u003cp\u003eAnderson, J., Res\u003c/p\u003e\n          ","\u003cp\u003eInnes-Brown, V.,\u003c/p\u003e\n          ","\u003cp\u003eDowling, R., Inner-Brown, V.\u003c/p\u003e\n          ","\u003cp\u003eCirmey and Schnitzer\u003c/p\u003e\n          ","\u003cp\u003eHavoc, J., Julien, A., Dillon, Schnitzer,\n                  Cizney\u003c/p\u003e\n          ","\u003cp\u003eBreen, R.\u003c/p\u003e\n          ","\u003cp\u003eFarewell, I., Schnitzer, W.\u003c/p\u003e\n          ","\u003cp\u003eLitori, Heller, Cisney, Schnitzer, Williams, C.,\n                  Ilinski, J.\u003c/p\u003e\n          ","\u003cp\u003eDalnymple, J., Res\u003c/p\u003e\n          ","\u003cp\u003eDaleymfle, J.\u003c/p\u003e\n          ","\u003cp\u003eDenwent, C., Schonceit,L., Breen, R., Callowdway,\n                  C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C.,\n                  Martin, M.,Ormandy, E.\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.","Youskeuitch, I., Meister, B., Kaye, N., Chapin,\n                  Lerie, N., Alouso, Schnitzer, R., Cannon","Ginder, C., Westermarm, T., Res, Breen, Doliymfle,\n                  J.","Cliou, H., Johnson, H.","Claire, L., Seldes, M., Lawrence, E., Anderson,\n                  J., McClintic, G., dal Porto, L., Breen, Res,\n                  Doliymfle, Gossner, Johnson, H.","Holm, C., McClintick, G., Anderson, J., McCloy,\n                  J.","Johnson, P., Holm, C., Asond, R., Marlo,\n                  M.,Grinder,P., Libmoll, M., Mathewson, Anderson,\n                  J.,","Schmoll, W., Johnson, P., Rawlings, J., Austin,\n                  H., Platz, Res, Enters, A.,Doliymfle, J.","Anderson, J., Res","Innes-Brown, V.,","Dowling, R., Inner-Brown, V.","Cirmey and Schnitzer","Havoc, J., Julien, A., Dillon, Schnitzer,\n                  Cizney","Breen, R.","Farewell, I., Schnitzer, W.","Litori, Heller, Cisney, Schnitzer, Williams, C.,\n                  Ilinski, J.","Dalnymple, J., Res","Daleymfle, J.","Denwent, C., Schonceit,L., Breen, R., Callowdway,\n                  C., Schnitzer, R., Hayes, H., Anderson, J.,Holm, C.,\n                  Martin, M.,Ormandy, E."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eIncluded in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["Included in the Robert C. Schnitzer Papers are textual materials (subject files, correspondence, memoranda) about ANTA overseas productions, photographs of ANTA theater troupe and other ANTA personnel in Europe 1951 and 1955, 1950s and 1960s promotional posters for ANTA overseas productions, newspaper clippings about ANTA performances in Europe, prompt script to the play \"Skin of Our Teeth\" starring Helen Hayes, and working papers and other materials about Schnitzer's work with the University of Michigan Professional Theatre Program."],"corpname_ssim":["George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program."],"persname_ssim":["Robert C. Schnitzer, 1906-","Schnitzer, Robert C."],"names_ssim":["George Mason University. Special Collections and Archives.","ANTA (Organization)","University of Michigan--Professional Theatre Program.","Robert C. Schnitzer, 1906-","Schnitzer, Robert C."],"language_ssim":["English"],"total_component_count_is":97,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:56:35.785Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_vifgm00012"}},{"id":"vifgm_vifgm00039","type":"collection","attributes":{"title":"Robert S. Breen papers, 1935/1973","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00039#creator","type":"document_value","attributes":{"value":"Robert S. Breen","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00039#abstract_or_scope","type":"document_value","attributes":{"value":"The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer. The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_vifgm00039#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_vifgm00039","ead_ssi":"vifgm_vifgm00039","_root_":"vifgm_vifgm00039","_nest_parent_":"vifgm_vifgm00039","ead_source_url_ssi":"data/gmu/vifgm00039.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Robert S. Breen papers"],"title_tesim":["Robert S. Breen papers"],"unitdate_ssm":["1935-1973"],"unitdate_inclusive_ssm":["1935-1973"],"normalized_date_ssm":["1935/1973"],"normalized_title_ssm":["Robert S. Breen papers, 1935/1973"],"text":["Robert S. Breen papers, 1935/1973","C0004","Theater--United States.","Collection is open to research.","Selections from the Robert Breen papers are also available in the .","In 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room.","Organized alphabetically according to subject and topic.","In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.","When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.","In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.","Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.","Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.","Part of the Robert Breen collection was donated to Ohio State University.","Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.","Special Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.","Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the .","The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.","1 - WIESBADEN ORCHESTRA; 3.75 IPS","2","3 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY","4","5","6 - ACT II FROM LEGALIZE TO END","7 - FROM BEGINNING OF SWANEE (RACIN FORMS[?]); 7.5 IPS","8 - DICTATION OF CORRESPONDENCE","9 - SIDE 1: IRENE AND W. W.; SIDE 2: PERSONAL PHONE CALLS","10 - BRAHMS: SYMPHONY 2 IN D MAJOR / HAROLD ARLEN (CONJURE MAN) BLUES VOCAL AND PIANO","11","12 - RB PERSONAL WORK TAPE","13 - STOP MY SHINING DREAM; I'LL WIND THIS WORLD; SEED STARS","14 - WORK TAPE BLUES OPERA 2, HAROLD ARLEN REEL 2, FROM \"LOOKING FOR SOMEBODY\"; 7.5 IPS","15 - CHORAL NY [RCHGZISZLS] BLOIS DE [ULVILLE] 238, 256; 3.75 IPS","16 - PORGY AND BESS, COMPANY ZURICH SOUND TRACK","17 - SIDE A: AMSTERDAM SOUND TRACK FOR 16MM FILMS; SIDE B: LAST HALF, CONTAINS ONLY 24 SECONDS OF AUDIO","18 - INTERVIEW FOR RADIO LIBERATION, MUNICH HUTCH, MARCH 1956","19 - BLEVINS AND ROBERT BREEN TELEPHONE CONVERSATION ON FILM RIGHTS AND BREEN DIRECTING A FILM WITH IRA GIRSHWIN; MUSIC: IRVING (SWIFTLY) LEZAR; SIDE B: ROBERT BREEN'S DICTATION OF MEMOS","20","21","22","23 - MISTITLED; TAPE ACTUALLY CONTAINS A MIX OF LATIN CHANTS AND HAROLD ARLEN SELECTIONS","24 - VOICE OF AMERICA ARMED FORCES NETWORK; BREEN AND FULLER INTERVIEW, STUTTGART, REGARDING PORGY AND BESS; 7.5 IPS","25A - 1 OF 3","25B - 2 OF 3","25C - 3 OF 3","26A - PART 1 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS","26B - PART 2 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS","27 - SCENE LIST AND OTHER DESCRIPTIONS ON TYPED PAGES IN BOX; TWO LOOSE PIECES OF TAPE IN BOX; RUNTIME: 1 HOUR 38 MINUTES; 3.75 IPS","28 - SIDE A: 1. LIFE FULL OF CONSEQUENCES, 2. HI LO, JACK AND A GAME, 3. A MAN'S GOTTA FIGHT, 4. SOMETHIN YOU GOTTA FIND OUT YOSELF, 5. THAT'S MY OPINION, 6. I WONDER WHAT BECAME OF ME, 7. RACIN FORMS, 8. SOW THE SEED AND REAP THE HARVEST, 9. LIMERICKS SIDE II: 1. ACCENTUATE THE POSITIVE, 2. LUCK COMING DOWN, 3. PAPER MOON, 4. ONE FOR THE ROAD, A SLEEPIN BEE, 5. COME RAIN OR COME SHINE, IVE GOT THE WORLD ON A STRING","29 - PIANO AND MALE VOICE","30","31 - LABEL INDICATES P AND B PERF, TAPE ACT II ONLY. CAB CALLOWAY STILL IN CAST ONLY CLUE TO DATE I.E. GENERAL. FOUND IN FILE CABINET 11-17-1956 BY RB","32 - LABEL READS BEGIN NONE OF FINAL SCENE ACT II","34 - 7.5 IPS","35","36A","36B","37 - 7.5 IPS","38 - REEL IS LABELED: ARLEN - SOBEL WABC, 6 SONGS DUBBED FROM ELLIOTT [ARTS RECORDER] ON BACK: ARLEN SPECIAL 6-26-59 6 NATURAL MAN, RIDIN MOON, CAKEWALK, PEACEFUL, WORK HARD, MANY KINDS LOVE - 3.75 IPS","39","33 - 10\" REEL 1/2 TRACK STEREO; 15 IPS","40 - WORK TAPE BLUES OPERA 3 ON FRONT OF BOX. ON BACK OF BOX: SONG LIST: OLD [?] TREAT YOU BAD, SLEEP PEACEFUL, TRUE LOVE, SOW SEED, CROSS THE RIVER, PIANO, I'LL WIND, RACIN FORM, BETTING FUGUE, ACCENTUATE, SUPPOSE HE LOSE, ROCK BOTTOM, EASY STREET, RACE, CHAPAIGN FO' THE LADY, HI - LOW JACK, LUCK JUST SO DOWN, WONDER WHAT BECAME, SOMETHING YOU GOTTA, ONE FOR MY BABY, BLUES IN NIGHT, LEAVIN TIME, COME RAIN OR, THIS MOMENT, [?] TIME [?]","41 - WORK TAPE BLUES OPERA 1 ON FRONT OF BOX","42 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY","43 - NBC DISCUSSION LEON PEARSON (MODERATOR) JEAN DALRYMPLE, DAVID MERRICK, ROBERT BREEN","44","45","46 - GREEN BOX MARKED: \"QUINCY JONES\" ALSO MARKED: FREE AND EASY CONVERSATION NEWS IRENE (FREE AND EASY)","47 - BACK OF BOX READS: KURT WEILL SEVEN DEEADLY SINS - MUNUET 3X, - HOWDY DO TO YOU - LEADING TO TURNS 1) SOFT SHOE 2X  3) GENTEEL 2X 6) BLUES 2X *ANOTHER TURN WE HAD - AND NOT CONTEMPLATEDUSING, BUT PERHAPS THE MUSIC FIT SOME OTHER TURN.","48 - INSIDE OF BOX IS A TYPEWRITTEN PAGE WITH SOME HANDWRITTEN NOTES","49 - GREENISH PAPER TAPED TO FRONT OF BOX READS: ACT II NOTES SIDE #2 MAY 30, 1959 4-17-59 STANLEY CHASE NOTES. BACK OF BOX READS: BLUES STANLEY CHASE NOTES APRIL 17 - MAY 30, 1959 ACT I SIDE 1, ACT II (SIDE) 2","50 - RED MARKING PENCIL ON ONE SIDE OF REEL: 3","51 - PAPER INSIDE OF BOX READS: 9-17-55 TV NOTES RB SHUFTAN / RB","52 - DECALS ON SIDE 1 OF TAPE READ: (TOP) DICTATION OF R.B. ORIENT TOUR 1955? TO HELLEN - LA SCALLA TICKETS FOR BLEVINS, TO WILVA - COMPLAIN [?] FROM [?] YUGOSLAVIA, TO LEONARD FIELD - MUSICIAN'S REHEARSALS (BOTTOM) DICTATION TO TOM MARTIN - ABOUT PARIS [?], ILYA MERN [?] (VENICE)","53","54 - BACK TO TAPE READS: REV JOHNSON'S DREAM [?] BLUES. OTHER TITLES ARE CROSSED OUT; 7.5 IPS","55 - BLUE TYPEWRITTEN PAPER INSIDE BOX CONTAINS SONG LIST AND COUNTER NUMBERS READS: TAPE II ACT II SCENE 1: PUT EVERY DOLLAR, TRUE LOVE, RIGHT ANSWER, TOP OF THE WORLD, RAIN OR SHINE, LEGALIZE MY NAME, LULLABY, CHINQUAPIN BUSH, WHAT YA SAYIN BIGELOW (RED WAGON) KILLING SEQUENCE, CURSE, SLEEP PEACEFUL, OL BIGELOW TREAT YOU BAD, SOW THE SEED, DIS LIL WHILE.  ACT II SCENE II: RACING FORMS, SNAKE EYES, ACCENTUATE, SUPPOSE WE LOSE (EASY STREET) CHAMPAGNE FOR THE LADY, 9RACE ** 570), HIGH LOW JACK AND THE GAME, LUCK JUST GO DOWN, SOMETHING YOU GOTTA FIND OUT YRSLF, WHERE IS THIS ROAD A LEADIN YOU TO, RIDIN ON THE MOON, LEAVING TIME","56 - NOTE INSIDE BOX READS: FALL 1954 RE: BOOKING MID EAST TOUR (STATE DEPARTMENT) ON SIDE I ONLY - 2 CONVOS LATER[?] RB + R. SCHNITZER; 7.5 IPS","57 - NOTE ON TOP OF BOX READS: FREE AND EASY AMSTERDAM APPROX DEC 15, 1959 UNEDITED; 3.75 IPS","58 - NOTE INSIDE BOX READS: MARCH 29, 56 STANLEY MEYER TO RB RE RB DIRECTING Pand B FILM MARCH 31, 1956 RB TO STANLEY MEYER","59","60 - EDITED BACK OF BOX READS: (H. ARLEN) FREE and  EASY (BLUES OPERA) DEC 59 SIDES 1 and  2 (SNATCHES) (RECORDED FROM SMALL PROPERTY ROOM - BACKSTAGE CARRE THEATRE - AMSTERDAM DEC 1959 - DURING REHEARSING and  ONE \"PREVIEW\" SIDE #1 - 65 MINUTES, SIDE #2 - 69 MINUTES; 3.75 IPS","61","62","63 - LOW QUALITY RECORDING","64 - STICKER ON REEL READS: SEPTEMBER 24, 1955 CALL FROM MR. BLAKE (STATE) TO RB ? ?, RUSSIA LETTERS TO CITY ? TO SCHNITZER, TO IEP (?) EXCELLENT","65","66","67","44 cassette audiotapes of interviews with and about Robert Breen. Subjects include ANTA, Porgy and Bess, and the Federal Theatre Project. Mike Davis was involved with most of the recordings. Accession 2011-001","30 black and white photographic prints of Robert Breen and his 1952 production of Porgy and Bess, including a photograph of Cab Calloway. Some of the photographs are of Robert Breen from 1986.  There are also 14 color slides of Robert Breen and Wilva Breen taken in 1986. Also, included are programs for the 1949 Hamlet production at Kronborg Castle in Elsinore, Denamrk, Hamlet theatre cards, and newsletters and clippings. Accession 2011-002","There are no restrictions.","The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.","George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)","Robert S. Breen","Breen, Robert S.","English."],"collection_title_tesim":["Robert S. Breen papers, 1935/1973"],"collection_ssim":["Robert S. Breen papers, 1935/1973"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004"],"unitid_tesim":["C0004"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Robert S. Breen"],"creator_ssim":["Robert S. Breen"],"creator_persname_ssim":["Robert S. Breen","Breen, Robert S."],"creator_corpname_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"creators_ssim":["Robert S. Breen","Breen, Robert S.","George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"acqinfo_ssim":["Donated by the trustees of the Robert Breen Collection in 1988 and Wilva Breen and Ohio State University in 1989.","Additional donations from Diana Lawrence and Mike Timoney in 2010."],"access_subjects_ssim":["Theater--United States."],"access_subjects_ssm":["Theater--United States."],"has_online_content_ssim":["false"],"extent_ssm":["67.5 linear feet (139 boxes)"],"extent_tesim":["67.5 linear feet (139 boxes)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert Breen papers are also available in the \u003cextptr type=\"simple\" title=\"Robert Breen/ANTA digital collection\" show=\"new\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/bren/bren.shtml\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n        ","\u003cp\u003eIn 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room.\u003c/p\u003e\n      "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert Breen papers are also available in the .","In 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room."],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically according to subject and topic.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized alphabetically according to subject and topic."],"bioghist_html_tesm":["\u003cp\u003eIn the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.\u003c/p\u003e\n      ","\u003cp\u003eWhen the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.\u003c/p\u003e\n      ","\u003cp\u003eIn 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.\u003c/p\u003e\n      ","\u003cp\u003eRobert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.\u003c/p\u003e\n      ","\u003cp\u003eThus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.  \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.","When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.","In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.","Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.","Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert Breen collection was donated to Ohio State University. \u003c/p\u003e\n      "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert Breen collection was donated to Ohio State University."],"prefercite_html_tesm":["\u003cp\u003eRobert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Robert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.\n\u003c/p\u003e\n        ","\u003cp\u003eOhio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the \u003cextptr type=\"simple\" title=\"Robert Breen collection\" show=\"new\" href=\"http://library.osu.edu/find/collections/theater-research-institute/personal-papers-and-special-collections/robert-breen-papers/\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.","Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the ."],"scopecontent_html_tesm":["\u003cp\u003eThe Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.\n\u003c/p\u003e\n    ","\u003cp\u003e1 - WIESBADEN ORCHESTRA; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e2\n\t\u003c/p\u003e\n          ","\u003cp\u003e3 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY\n\t\u003c/p\u003e\n          ","\u003cp\u003e4\n\t\u003c/p\u003e\n          ","\u003cp\u003e5\n\t\u003c/p\u003e\n          ","\u003cp\u003e6 - ACT II FROM LEGALIZE TO END\n\t\u003c/p\u003e\n          ","\u003cp\u003e7 - FROM BEGINNING OF SWANEE (RACIN FORMS[?]); 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e8 - DICTATION OF CORRESPONDENCE\n\t\u003c/p\u003e\n          ","\u003cp\u003e9 - SIDE 1: IRENE AND W. W.; SIDE 2: PERSONAL PHONE CALLS\n\t\u003c/p\u003e\n          ","\u003cp\u003e10 - BRAHMS: SYMPHONY 2 IN D MAJOR / HAROLD ARLEN (CONJURE MAN) BLUES VOCAL AND PIANO\n\t\u003c/p\u003e\n          ","\u003cp\u003e11\n\t\u003c/p\u003e\n          ","\u003cp\u003e12 - RB PERSONAL WORK TAPE\n\t\u003c/p\u003e\n          ","\u003cp\u003e13 - STOP MY SHINING DREAM; I'LL WIND THIS WORLD; SEED STARS\n\t\u003c/p\u003e\n          ","\u003cp\u003e14 - WORK TAPE BLUES OPERA 2, HAROLD ARLEN REEL 2, FROM \"LOOKING FOR SOMEBODY\"; 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e15 - CHORAL NY [RCHGZISZLS] BLOIS DE [ULVILLE] 238, 256; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e16 - PORGY AND BESS, COMPANY ZURICH SOUND TRACK\n\t\u003c/p\u003e\n          ","\u003cp\u003e17 - SIDE A: AMSTERDAM SOUND TRACK FOR 16MM FILMS; SIDE B: LAST HALF, CONTAINS ONLY 24 SECONDS OF AUDIO\u003c/p\u003e\n          ","\u003cp\u003e18 - INTERVIEW FOR RADIO LIBERATION, MUNICH HUTCH, MARCH 1956\n\t\u003c/p\u003e\n          ","\u003cp\u003e19 - BLEVINS AND ROBERT BREEN TELEPHONE CONVERSATION ON FILM RIGHTS AND BREEN DIRECTING A FILM WITH IRA GIRSHWIN; MUSIC: IRVING (SWIFTLY) LEZAR; SIDE B: ROBERT BREEN'S DICTATION OF MEMOS\n\t\u003c/p\u003e\n          ","\u003cp\u003e20\n\t\u003c/p\u003e\n          ","\u003cp\u003e21\n\t\u003c/p\u003e\n          ","\u003cp\u003e22\n\t\u003c/p\u003e\n          ","\u003cp\u003e23 - MISTITLED; TAPE ACTUALLY CONTAINS A MIX OF LATIN CHANTS AND HAROLD ARLEN SELECTIONS\n\t\u003c/p\u003e\n          ","\u003cp\u003e24 - VOICE OF AMERICA ARMED FORCES NETWORK; BREEN AND FULLER INTERVIEW, STUTTGART, REGARDING PORGY AND BESS; 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e25A - 1 OF 3 \n\t\u003c/p\u003e\n          ","\u003cp\u003e25B - 2 OF 3 \n\t\u003c/p\u003e\n          ","\u003cp\u003e25C - 3 OF 3 \n\t\u003c/p\u003e\n          ","\u003cp\u003e26A - PART 1 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e26B - PART 2 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e27 - SCENE LIST AND OTHER DESCRIPTIONS ON TYPED PAGES IN BOX; TWO LOOSE PIECES OF TAPE IN BOX; RUNTIME: 1 HOUR 38 MINUTES; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e28 - SIDE A: 1. LIFE FULL OF CONSEQUENCES, 2. HI LO, JACK AND A GAME, 3. A MAN'S GOTTA FIGHT, 4. SOMETHIN YOU GOTTA FIND OUT YOSELF, 5. THAT'S MY OPINION, 6. I WONDER WHAT BECAME OF ME, 7. RACIN FORMS, 8. SOW THE SEED AND REAP THE HARVEST, 9. LIMERICKS SIDE II: 1. ACCENTUATE THE POSITIVE, 2. LUCK COMING DOWN, 3. PAPER MOON, 4. ONE FOR THE ROAD, A SLEEPIN BEE, 5. COME RAIN OR COME SHINE, IVE GOT THE WORLD ON A STRING\n\t\u003c/p\u003e\n          ","\u003cp\u003e29 - PIANO AND MALE VOICE\n\t\u003c/p\u003e\n          ","\u003cp\u003e30\n\t\u003c/p\u003e\n          ","\u003cp\u003e31 - LABEL INDICATES P AND B PERF, TAPE ACT II ONLY. CAB CALLOWAY STILL IN CAST ONLY CLUE TO DATE I.E. GENERAL. FOUND IN FILE CABINET 11-17-1956 BY RB\n\t\u003c/p\u003e\n          ","\u003cp\u003e32 - LABEL READS BEGIN NONE OF FINAL SCENE ACT II\n\t\u003c/p\u003e\n          ","\u003cp\u003e34 - 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e35\n\t\u003c/p\u003e\n          ","\u003cp\u003e36A\n\t\u003c/p\u003e\n          ","\u003cp\u003e36B\n\t\u003c/p\u003e\n          ","\u003cp\u003e37 - 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e38 - REEL IS LABELED: ARLEN - SOBEL WABC, 6 SONGS DUBBED FROM ELLIOTT [ARTS RECORDER] ON BACK: ARLEN SPECIAL 6-26-59 6 NATURAL MAN, RIDIN MOON, CAKEWALK, PEACEFUL, WORK HARD, MANY KINDS LOVE - 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e39\n\t\u003c/p\u003e\n          ","\u003cp\u003e33 - 10\" REEL 1/2 TRACK STEREO; 15 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e40 - WORK TAPE BLUES OPERA 3 ON FRONT OF BOX. ON BACK OF BOX: SONG LIST: OLD [?] TREAT YOU BAD, SLEEP PEACEFUL, TRUE LOVE, SOW SEED, CROSS THE RIVER, PIANO, I'LL WIND, RACIN FORM, BETTING FUGUE, ACCENTUATE, SUPPOSE HE LOSE, ROCK BOTTOM, EASY STREET, RACE, CHAPAIGN FO' THE LADY, HI - LOW JACK, LUCK JUST SO DOWN, WONDER WHAT BECAME, SOMETHING YOU GOTTA, ONE FOR MY BABY, BLUES IN NIGHT, LEAVIN TIME, COME RAIN OR, THIS MOMENT, [?] TIME [?] \n\t\u003c/p\u003e\n          ","\u003cp\u003e41 - WORK TAPE BLUES OPERA 1 ON FRONT OF BOX\n\t\u003c/p\u003e\n          ","\u003cp\u003e42 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY\n\t\u003c/p\u003e\n          ","\u003cp\u003e43 - NBC DISCUSSION LEON PEARSON (MODERATOR) JEAN DALRYMPLE, DAVID MERRICK, ROBERT BREEN\n\t\u003c/p\u003e\n          ","\u003cp\u003e44\n\t\u003c/p\u003e\n          ","\u003cp\u003e45\n\t\u003c/p\u003e\n          ","\u003cp\u003e46 - GREEN BOX MARKED: \"QUINCY JONES\" ALSO MARKED: FREE AND EASY CONVERSATION NEWS IRENE (FREE AND EASY)\n\t\u003c/p\u003e\n          ","\u003cp\u003e47 - BACK OF BOX READS: KURT WEILL SEVEN DEEADLY SINS - MUNUET 3X, - HOWDY DO TO YOU - LEADING TO TURNS 1) SOFT SHOE 2X  3) GENTEEL 2X 6) BLUES 2X *ANOTHER TURN WE HAD - AND NOT CONTEMPLATEDUSING, BUT PERHAPS THE MUSIC FIT SOME OTHER TURN.\n\t\u003c/p\u003e\n          ","\u003cp\u003e48 - INSIDE OF BOX IS A TYPEWRITTEN PAGE WITH SOME HANDWRITTEN NOTES\n\t\u003c/p\u003e\n          ","\u003cp\u003e49 - GREENISH PAPER TAPED TO FRONT OF BOX READS: ACT II NOTES SIDE #2 MAY 30, 1959 4-17-59 STANLEY CHASE NOTES. BACK OF BOX READS: BLUES STANLEY CHASE NOTES APRIL 17 - MAY 30, 1959 ACT I SIDE 1, ACT II (SIDE) 2\n\t\u003c/p\u003e\n          ","\u003cp\u003e50 - RED MARKING PENCIL ON ONE SIDE OF REEL: 3\n\t\u003c/p\u003e\n          ","\u003cp\u003e51 - PAPER INSIDE OF BOX READS: 9-17-55 TV NOTES RB SHUFTAN / RB \n\t\u003c/p\u003e\n          ","\u003cp\u003e52 - DECALS ON SIDE 1 OF TAPE READ: (TOP) DICTATION OF R.B. ORIENT TOUR 1955? TO HELLEN - LA SCALLA TICKETS FOR BLEVINS, TO WILVA - COMPLAIN [?] FROM [?] YUGOSLAVIA, TO LEONARD FIELD - MUSICIAN'S REHEARSALS (BOTTOM) DICTATION TO TOM MARTIN - ABOUT PARIS [?], ILYA MERN [?] (VENICE)\n\t\u003c/p\u003e\n          ","\u003cp\u003e53\n\t\u003c/p\u003e\n          ","\u003cp\u003e54 - BACK TO TAPE READS: REV JOHNSON'S DREAM [?] BLUES. OTHER TITLES ARE CROSSED OUT; 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e55 - BLUE TYPEWRITTEN PAPER INSIDE BOX CONTAINS SONG LIST AND COUNTER NUMBERS READS: TAPE II ACT II SCENE 1: PUT EVERY DOLLAR, TRUE LOVE, RIGHT ANSWER, TOP OF THE WORLD, RAIN OR SHINE, LEGALIZE MY NAME, LULLABY, CHINQUAPIN BUSH, WHAT YA SAYIN BIGELOW (RED WAGON) KILLING SEQUENCE, CURSE, SLEEP PEACEFUL, OL BIGELOW TREAT YOU BAD, SOW THE SEED, DIS LIL WHILE.  ACT II SCENE II: RACING FORMS, SNAKE EYES, ACCENTUATE, SUPPOSE WE LOSE (EASY STREET) CHAMPAGNE FOR THE LADY, 9RACE ** 570), HIGH LOW JACK AND THE GAME, LUCK JUST GO DOWN, SOMETHING YOU GOTTA FIND OUT YRSLF, WHERE IS THIS ROAD A LEADIN YOU TO, RIDIN ON THE MOON, LEAVING TIME\n\t\u003c/p\u003e\n          ","\u003cp\u003e56 - NOTE INSIDE BOX READS: FALL 1954 RE: BOOKING MID EAST TOUR (STATE DEPARTMENT) ON SIDE I ONLY - 2 CONVOS LATER[?] RB + R. SCHNITZER; 7.5 IPS\u003c/p\u003e\n          ","\u003cp\u003e57 - NOTE ON TOP OF BOX READS: FREE AND EASY AMSTERDAM APPROX DEC 15, 1959 UNEDITED; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e58 - NOTE INSIDE BOX READS: MARCH 29, 56 STANLEY MEYER TO RB RE RB DIRECTING Pand B FILM MARCH 31, 1956 RB TO STANLEY MEYER\n\t\u003c/p\u003e\n          ","\u003cp\u003e59\n\t\u003c/p\u003e\n          ","\u003cp\u003e60 - EDITED BACK OF BOX READS: (H. ARLEN) FREE and  EASY (BLUES OPERA) DEC 59 SIDES 1 and  2 (SNATCHES) (RECORDED FROM SMALL PROPERTY ROOM - BACKSTAGE CARRE THEATRE - AMSTERDAM DEC 1959 - DURING REHEARSING and  ONE \"PREVIEW\" SIDE #1 - 65 MINUTES, SIDE #2 - 69 MINUTES; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e61\n\t\u003c/p\u003e\n          ","\u003cp\u003e62\n\t\u003c/p\u003e\n          ","\u003cp\u003e63 - LOW QUALITY RECORDING\n\t\u003c/p\u003e\n          ","\u003cp\u003e64 - STICKER ON REEL READS: SEPTEMBER 24, 1955 CALL FROM MR. BLAKE (STATE) TO RB ? ?, RUSSIA LETTERS TO CITY ? TO SCHNITZER, TO IEP (?) EXCELLENT\n\t\u003c/p\u003e\n          ","\u003cp\u003e65\n\t\u003c/p\u003e\n          ","\u003cp\u003e66\n\t\u003c/p\u003e\n          ","\u003cp\u003e67\n\t\u003c/p\u003e\n          ","\u003cp\u003e44 cassette audiotapes of interviews with and about Robert Breen. Subjects include ANTA, Porgy and Bess, and the Federal Theatre Project. Mike Davis was involved with most of the recordings. Accession 2011-001\n\t\u003c/p\u003e\n          ","\u003cp\u003e30 black and white photographic prints of Robert Breen and his 1952 production of Porgy and Bess, including a photograph of Cab Calloway. Some of the photographs are of Robert Breen from 1986.  There are also 14 color slides of Robert Breen and Wilva Breen taken in 1986. Also, included are programs for the 1949 Hamlet production at Kronborg Castle in Elsinore, Denamrk, Hamlet theatre cards, and newsletters and clippings. Accession 2011-002\n\t\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.","1 - WIESBADEN ORCHESTRA; 3.75 IPS","2","3 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY","4","5","6 - ACT II FROM LEGALIZE TO END","7 - FROM BEGINNING OF SWANEE (RACIN FORMS[?]); 7.5 IPS","8 - DICTATION OF CORRESPONDENCE","9 - SIDE 1: IRENE AND W. W.; SIDE 2: PERSONAL PHONE CALLS","10 - BRAHMS: SYMPHONY 2 IN D MAJOR / HAROLD ARLEN (CONJURE MAN) BLUES VOCAL AND PIANO","11","12 - RB PERSONAL WORK TAPE","13 - STOP MY SHINING DREAM; I'LL WIND THIS WORLD; SEED STARS","14 - WORK TAPE BLUES OPERA 2, HAROLD ARLEN REEL 2, FROM \"LOOKING FOR SOMEBODY\"; 7.5 IPS","15 - CHORAL NY [RCHGZISZLS] BLOIS DE [ULVILLE] 238, 256; 3.75 IPS","16 - PORGY AND BESS, COMPANY ZURICH SOUND TRACK","17 - SIDE A: AMSTERDAM SOUND TRACK FOR 16MM FILMS; SIDE B: LAST HALF, CONTAINS ONLY 24 SECONDS OF AUDIO","18 - INTERVIEW FOR RADIO LIBERATION, MUNICH HUTCH, MARCH 1956","19 - BLEVINS AND ROBERT BREEN TELEPHONE CONVERSATION ON FILM RIGHTS AND BREEN DIRECTING A FILM WITH IRA GIRSHWIN; MUSIC: IRVING (SWIFTLY) LEZAR; SIDE B: ROBERT BREEN'S DICTATION OF MEMOS","20","21","22","23 - MISTITLED; TAPE ACTUALLY CONTAINS A MIX OF LATIN CHANTS AND HAROLD ARLEN SELECTIONS","24 - VOICE OF AMERICA ARMED FORCES NETWORK; BREEN AND FULLER INTERVIEW, STUTTGART, REGARDING PORGY AND BESS; 7.5 IPS","25A - 1 OF 3","25B - 2 OF 3","25C - 3 OF 3","26A - PART 1 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS","26B - PART 2 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS","27 - SCENE LIST AND OTHER DESCRIPTIONS ON TYPED PAGES IN BOX; TWO LOOSE PIECES OF TAPE IN BOX; RUNTIME: 1 HOUR 38 MINUTES; 3.75 IPS","28 - SIDE A: 1. LIFE FULL OF CONSEQUENCES, 2. HI LO, JACK AND A GAME, 3. A MAN'S GOTTA FIGHT, 4. SOMETHIN YOU GOTTA FIND OUT YOSELF, 5. THAT'S MY OPINION, 6. I WONDER WHAT BECAME OF ME, 7. RACIN FORMS, 8. SOW THE SEED AND REAP THE HARVEST, 9. LIMERICKS SIDE II: 1. ACCENTUATE THE POSITIVE, 2. LUCK COMING DOWN, 3. PAPER MOON, 4. ONE FOR THE ROAD, A SLEEPIN BEE, 5. COME RAIN OR COME SHINE, IVE GOT THE WORLD ON A STRING","29 - PIANO AND MALE VOICE","30","31 - LABEL INDICATES P AND B PERF, TAPE ACT II ONLY. CAB CALLOWAY STILL IN CAST ONLY CLUE TO DATE I.E. GENERAL. FOUND IN FILE CABINET 11-17-1956 BY RB","32 - LABEL READS BEGIN NONE OF FINAL SCENE ACT II","34 - 7.5 IPS","35","36A","36B","37 - 7.5 IPS","38 - REEL IS LABELED: ARLEN - SOBEL WABC, 6 SONGS DUBBED FROM ELLIOTT [ARTS RECORDER] ON BACK: ARLEN SPECIAL 6-26-59 6 NATURAL MAN, RIDIN MOON, CAKEWALK, PEACEFUL, WORK HARD, MANY KINDS LOVE - 3.75 IPS","39","33 - 10\" REEL 1/2 TRACK STEREO; 15 IPS","40 - WORK TAPE BLUES OPERA 3 ON FRONT OF BOX. ON BACK OF BOX: SONG LIST: OLD [?] TREAT YOU BAD, SLEEP PEACEFUL, TRUE LOVE, SOW SEED, CROSS THE RIVER, PIANO, I'LL WIND, RACIN FORM, BETTING FUGUE, ACCENTUATE, SUPPOSE HE LOSE, ROCK BOTTOM, EASY STREET, RACE, CHAPAIGN FO' THE LADY, HI - LOW JACK, LUCK JUST SO DOWN, WONDER WHAT BECAME, SOMETHING YOU GOTTA, ONE FOR MY BABY, BLUES IN NIGHT, LEAVIN TIME, COME RAIN OR, THIS MOMENT, [?] TIME [?]","41 - WORK TAPE BLUES OPERA 1 ON FRONT OF BOX","42 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY","43 - NBC DISCUSSION LEON PEARSON (MODERATOR) JEAN DALRYMPLE, DAVID MERRICK, ROBERT BREEN","44","45","46 - GREEN BOX MARKED: \"QUINCY JONES\" ALSO MARKED: FREE AND EASY CONVERSATION NEWS IRENE (FREE AND EASY)","47 - BACK OF BOX READS: KURT WEILL SEVEN DEEADLY SINS - MUNUET 3X, - HOWDY DO TO YOU - LEADING TO TURNS 1) SOFT SHOE 2X  3) GENTEEL 2X 6) BLUES 2X *ANOTHER TURN WE HAD - AND NOT CONTEMPLATEDUSING, BUT PERHAPS THE MUSIC FIT SOME OTHER TURN.","48 - INSIDE OF BOX IS A TYPEWRITTEN PAGE WITH SOME HANDWRITTEN NOTES","49 - GREENISH PAPER TAPED TO FRONT OF BOX READS: ACT II NOTES SIDE #2 MAY 30, 1959 4-17-59 STANLEY CHASE NOTES. BACK OF BOX READS: BLUES STANLEY CHASE NOTES APRIL 17 - MAY 30, 1959 ACT I SIDE 1, ACT II (SIDE) 2","50 - RED MARKING PENCIL ON ONE SIDE OF REEL: 3","51 - PAPER INSIDE OF BOX READS: 9-17-55 TV NOTES RB SHUFTAN / RB","52 - DECALS ON SIDE 1 OF TAPE READ: (TOP) DICTATION OF R.B. ORIENT TOUR 1955? TO HELLEN - LA SCALLA TICKETS FOR BLEVINS, TO WILVA - COMPLAIN [?] FROM [?] YUGOSLAVIA, TO LEONARD FIELD - MUSICIAN'S REHEARSALS (BOTTOM) DICTATION TO TOM MARTIN - ABOUT PARIS [?], ILYA MERN [?] (VENICE)","53","54 - BACK TO TAPE READS: REV JOHNSON'S DREAM [?] BLUES. OTHER TITLES ARE CROSSED OUT; 7.5 IPS","55 - BLUE TYPEWRITTEN PAPER INSIDE BOX CONTAINS SONG LIST AND COUNTER NUMBERS READS: TAPE II ACT II SCENE 1: PUT EVERY DOLLAR, TRUE LOVE, RIGHT ANSWER, TOP OF THE WORLD, RAIN OR SHINE, LEGALIZE MY NAME, LULLABY, CHINQUAPIN BUSH, WHAT YA SAYIN BIGELOW (RED WAGON) KILLING SEQUENCE, CURSE, SLEEP PEACEFUL, OL BIGELOW TREAT YOU BAD, SOW THE SEED, DIS LIL WHILE.  ACT II SCENE II: RACING FORMS, SNAKE EYES, ACCENTUATE, SUPPOSE WE LOSE (EASY STREET) CHAMPAGNE FOR THE LADY, 9RACE ** 570), HIGH LOW JACK AND THE GAME, LUCK JUST GO DOWN, SOMETHING YOU GOTTA FIND OUT YRSLF, WHERE IS THIS ROAD A LEADIN YOU TO, RIDIN ON THE MOON, LEAVING TIME","56 - NOTE INSIDE BOX READS: FALL 1954 RE: BOOKING MID EAST TOUR (STATE DEPARTMENT) ON SIDE I ONLY - 2 CONVOS LATER[?] RB + R. SCHNITZER; 7.5 IPS","57 - NOTE ON TOP OF BOX READS: FREE AND EASY AMSTERDAM APPROX DEC 15, 1959 UNEDITED; 3.75 IPS","58 - NOTE INSIDE BOX READS: MARCH 29, 56 STANLEY MEYER TO RB RE RB DIRECTING Pand B FILM MARCH 31, 1956 RB TO STANLEY MEYER","59","60 - EDITED BACK OF BOX READS: (H. ARLEN) FREE and  EASY (BLUES OPERA) DEC 59 SIDES 1 and  2 (SNATCHES) (RECORDED FROM SMALL PROPERTY ROOM - BACKSTAGE CARRE THEATRE - AMSTERDAM DEC 1959 - DURING REHEARSING and  ONE \"PREVIEW\" SIDE #1 - 65 MINUTES, SIDE #2 - 69 MINUTES; 3.75 IPS","61","62","63 - LOW QUALITY RECORDING","64 - STICKER ON REEL READS: SEPTEMBER 24, 1955 CALL FROM MR. BLAKE (STATE) TO RB ? ?, RUSSIA LETTERS TO CITY ? TO SCHNITZER, TO IEP (?) EXCELLENT","65","66","67","44 cassette audiotapes of interviews with and about Robert Breen. Subjects include ANTA, Porgy and Bess, and the Federal Theatre Project. Mike Davis was involved with most of the recordings. Accession 2011-001","30 black and white photographic prints of Robert Breen and his 1952 production of Porgy and Bess, including a photograph of Cab Calloway. Some of the photographs are of Robert Breen from 1986.  There are also 14 color slides of Robert Breen and Wilva Breen taken in 1986. Also, included are programs for the 1949 Hamlet production at Kronborg Castle in Elsinore, Denamrk, Hamlet theatre cards, and newsletters and clippings. Accession 2011-002"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy."],"corpname_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"persname_ssim":["Robert S. Breen","Breen, Robert S."],"names_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)","Robert S. Breen","Breen, Robert S."],"language_ssim":["English."],"total_component_count_is":1398,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T06:56:48.151Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_vifgm00039","ead_ssi":"vifgm_vifgm00039","_root_":"vifgm_vifgm00039","_nest_parent_":"vifgm_vifgm00039","ead_source_url_ssi":"data/gmu/vifgm00039.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Robert S. Breen papers"],"title_tesim":["Robert S. Breen papers"],"unitdate_ssm":["1935-1973"],"unitdate_inclusive_ssm":["1935-1973"],"normalized_date_ssm":["1935/1973"],"normalized_title_ssm":["Robert S. Breen papers, 1935/1973"],"text":["Robert S. Breen papers, 1935/1973","C0004","Theater--United States.","Collection is open to research.","Selections from the Robert Breen papers are also available in the .","In 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room.","Organized alphabetically according to subject and topic.","In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.","When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.","In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.","Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.","Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.","Part of the Robert Breen collection was donated to Ohio State University.","Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.","Special Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.","Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the .","The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.","1 - WIESBADEN ORCHESTRA; 3.75 IPS","2","3 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY","4","5","6 - ACT II FROM LEGALIZE TO END","7 - FROM BEGINNING OF SWANEE (RACIN FORMS[?]); 7.5 IPS","8 - DICTATION OF CORRESPONDENCE","9 - SIDE 1: IRENE AND W. W.; SIDE 2: PERSONAL PHONE CALLS","10 - BRAHMS: SYMPHONY 2 IN D MAJOR / HAROLD ARLEN (CONJURE MAN) BLUES VOCAL AND PIANO","11","12 - RB PERSONAL WORK TAPE","13 - STOP MY SHINING DREAM; I'LL WIND THIS WORLD; SEED STARS","14 - WORK TAPE BLUES OPERA 2, HAROLD ARLEN REEL 2, FROM \"LOOKING FOR SOMEBODY\"; 7.5 IPS","15 - CHORAL NY [RCHGZISZLS] BLOIS DE [ULVILLE] 238, 256; 3.75 IPS","16 - PORGY AND BESS, COMPANY ZURICH SOUND TRACK","17 - SIDE A: AMSTERDAM SOUND TRACK FOR 16MM FILMS; SIDE B: LAST HALF, CONTAINS ONLY 24 SECONDS OF AUDIO","18 - INTERVIEW FOR RADIO LIBERATION, MUNICH HUTCH, MARCH 1956","19 - BLEVINS AND ROBERT BREEN TELEPHONE CONVERSATION ON FILM RIGHTS AND BREEN DIRECTING A FILM WITH IRA GIRSHWIN; MUSIC: IRVING (SWIFTLY) LEZAR; SIDE B: ROBERT BREEN'S DICTATION OF MEMOS","20","21","22","23 - MISTITLED; TAPE ACTUALLY CONTAINS A MIX OF LATIN CHANTS AND HAROLD ARLEN SELECTIONS","24 - VOICE OF AMERICA ARMED FORCES NETWORK; BREEN AND FULLER INTERVIEW, STUTTGART, REGARDING PORGY AND BESS; 7.5 IPS","25A - 1 OF 3","25B - 2 OF 3","25C - 3 OF 3","26A - PART 1 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS","26B - PART 2 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS","27 - SCENE LIST AND OTHER DESCRIPTIONS ON TYPED PAGES IN BOX; TWO LOOSE PIECES OF TAPE IN BOX; RUNTIME: 1 HOUR 38 MINUTES; 3.75 IPS","28 - SIDE A: 1. LIFE FULL OF CONSEQUENCES, 2. HI LO, JACK AND A GAME, 3. A MAN'S GOTTA FIGHT, 4. SOMETHIN YOU GOTTA FIND OUT YOSELF, 5. THAT'S MY OPINION, 6. I WONDER WHAT BECAME OF ME, 7. RACIN FORMS, 8. SOW THE SEED AND REAP THE HARVEST, 9. LIMERICKS SIDE II: 1. ACCENTUATE THE POSITIVE, 2. LUCK COMING DOWN, 3. PAPER MOON, 4. ONE FOR THE ROAD, A SLEEPIN BEE, 5. COME RAIN OR COME SHINE, IVE GOT THE WORLD ON A STRING","29 - PIANO AND MALE VOICE","30","31 - LABEL INDICATES P AND B PERF, TAPE ACT II ONLY. CAB CALLOWAY STILL IN CAST ONLY CLUE TO DATE I.E. GENERAL. FOUND IN FILE CABINET 11-17-1956 BY RB","32 - LABEL READS BEGIN NONE OF FINAL SCENE ACT II","34 - 7.5 IPS","35","36A","36B","37 - 7.5 IPS","38 - REEL IS LABELED: ARLEN - SOBEL WABC, 6 SONGS DUBBED FROM ELLIOTT [ARTS RECORDER] ON BACK: ARLEN SPECIAL 6-26-59 6 NATURAL MAN, RIDIN MOON, CAKEWALK, PEACEFUL, WORK HARD, MANY KINDS LOVE - 3.75 IPS","39","33 - 10\" REEL 1/2 TRACK STEREO; 15 IPS","40 - WORK TAPE BLUES OPERA 3 ON FRONT OF BOX. ON BACK OF BOX: SONG LIST: OLD [?] TREAT YOU BAD, SLEEP PEACEFUL, TRUE LOVE, SOW SEED, CROSS THE RIVER, PIANO, I'LL WIND, RACIN FORM, BETTING FUGUE, ACCENTUATE, SUPPOSE HE LOSE, ROCK BOTTOM, EASY STREET, RACE, CHAPAIGN FO' THE LADY, HI - LOW JACK, LUCK JUST SO DOWN, WONDER WHAT BECAME, SOMETHING YOU GOTTA, ONE FOR MY BABY, BLUES IN NIGHT, LEAVIN TIME, COME RAIN OR, THIS MOMENT, [?] TIME [?]","41 - WORK TAPE BLUES OPERA 1 ON FRONT OF BOX","42 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY","43 - NBC DISCUSSION LEON PEARSON (MODERATOR) JEAN DALRYMPLE, DAVID MERRICK, ROBERT BREEN","44","45","46 - GREEN BOX MARKED: \"QUINCY JONES\" ALSO MARKED: FREE AND EASY CONVERSATION NEWS IRENE (FREE AND EASY)","47 - BACK OF BOX READS: KURT WEILL SEVEN DEEADLY SINS - MUNUET 3X, - HOWDY DO TO YOU - LEADING TO TURNS 1) SOFT SHOE 2X  3) GENTEEL 2X 6) BLUES 2X *ANOTHER TURN WE HAD - AND NOT CONTEMPLATEDUSING, BUT PERHAPS THE MUSIC FIT SOME OTHER TURN.","48 - INSIDE OF BOX IS A TYPEWRITTEN PAGE WITH SOME HANDWRITTEN NOTES","49 - GREENISH PAPER TAPED TO FRONT OF BOX READS: ACT II NOTES SIDE #2 MAY 30, 1959 4-17-59 STANLEY CHASE NOTES. BACK OF BOX READS: BLUES STANLEY CHASE NOTES APRIL 17 - MAY 30, 1959 ACT I SIDE 1, ACT II (SIDE) 2","50 - RED MARKING PENCIL ON ONE SIDE OF REEL: 3","51 - PAPER INSIDE OF BOX READS: 9-17-55 TV NOTES RB SHUFTAN / RB","52 - DECALS ON SIDE 1 OF TAPE READ: (TOP) DICTATION OF R.B. ORIENT TOUR 1955? TO HELLEN - LA SCALLA TICKETS FOR BLEVINS, TO WILVA - COMPLAIN [?] FROM [?] YUGOSLAVIA, TO LEONARD FIELD - MUSICIAN'S REHEARSALS (BOTTOM) DICTATION TO TOM MARTIN - ABOUT PARIS [?], ILYA MERN [?] (VENICE)","53","54 - BACK TO TAPE READS: REV JOHNSON'S DREAM [?] BLUES. OTHER TITLES ARE CROSSED OUT; 7.5 IPS","55 - BLUE TYPEWRITTEN PAPER INSIDE BOX CONTAINS SONG LIST AND COUNTER NUMBERS READS: TAPE II ACT II SCENE 1: PUT EVERY DOLLAR, TRUE LOVE, RIGHT ANSWER, TOP OF THE WORLD, RAIN OR SHINE, LEGALIZE MY NAME, LULLABY, CHINQUAPIN BUSH, WHAT YA SAYIN BIGELOW (RED WAGON) KILLING SEQUENCE, CURSE, SLEEP PEACEFUL, OL BIGELOW TREAT YOU BAD, SOW THE SEED, DIS LIL WHILE.  ACT II SCENE II: RACING FORMS, SNAKE EYES, ACCENTUATE, SUPPOSE WE LOSE (EASY STREET) CHAMPAGNE FOR THE LADY, 9RACE ** 570), HIGH LOW JACK AND THE GAME, LUCK JUST GO DOWN, SOMETHING YOU GOTTA FIND OUT YRSLF, WHERE IS THIS ROAD A LEADIN YOU TO, RIDIN ON THE MOON, LEAVING TIME","56 - NOTE INSIDE BOX READS: FALL 1954 RE: BOOKING MID EAST TOUR (STATE DEPARTMENT) ON SIDE I ONLY - 2 CONVOS LATER[?] RB + R. SCHNITZER; 7.5 IPS","57 - NOTE ON TOP OF BOX READS: FREE AND EASY AMSTERDAM APPROX DEC 15, 1959 UNEDITED; 3.75 IPS","58 - NOTE INSIDE BOX READS: MARCH 29, 56 STANLEY MEYER TO RB RE RB DIRECTING Pand B FILM MARCH 31, 1956 RB TO STANLEY MEYER","59","60 - EDITED BACK OF BOX READS: (H. ARLEN) FREE and  EASY (BLUES OPERA) DEC 59 SIDES 1 and  2 (SNATCHES) (RECORDED FROM SMALL PROPERTY ROOM - BACKSTAGE CARRE THEATRE - AMSTERDAM DEC 1959 - DURING REHEARSING and  ONE \"PREVIEW\" SIDE #1 - 65 MINUTES, SIDE #2 - 69 MINUTES; 3.75 IPS","61","62","63 - LOW QUALITY RECORDING","64 - STICKER ON REEL READS: SEPTEMBER 24, 1955 CALL FROM MR. BLAKE (STATE) TO RB ? ?, RUSSIA LETTERS TO CITY ? TO SCHNITZER, TO IEP (?) EXCELLENT","65","66","67","44 cassette audiotapes of interviews with and about Robert Breen. Subjects include ANTA, Porgy and Bess, and the Federal Theatre Project. Mike Davis was involved with most of the recordings. Accession 2011-001","30 black and white photographic prints of Robert Breen and his 1952 production of Porgy and Bess, including a photograph of Cab Calloway. Some of the photographs are of Robert Breen from 1986.  There are also 14 color slides of Robert Breen and Wilva Breen taken in 1986. Also, included are programs for the 1949 Hamlet production at Kronborg Castle in Elsinore, Denamrk, Hamlet theatre cards, and newsletters and clippings. Accession 2011-002","There are no restrictions.","The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.","George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)","Robert S. Breen","Breen, Robert S.","English."],"collection_title_tesim":["Robert S. Breen papers, 1935/1973"],"collection_ssim":["Robert S. Breen papers, 1935/1973"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004"],"unitid_tesim":["C0004"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Robert S. Breen"],"creator_ssim":["Robert S. Breen"],"creator_persname_ssim":["Robert S. Breen","Breen, Robert S."],"creator_corpname_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"creators_ssim":["Robert S. Breen","Breen, Robert S.","George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"acqinfo_ssim":["Donated by the trustees of the Robert Breen Collection in 1988 and Wilva Breen and Ohio State University in 1989.","Additional donations from Diana Lawrence and Mike Timoney in 2010."],"access_subjects_ssim":["Theater--United States."],"access_subjects_ssm":["Theater--United States."],"has_online_content_ssim":["false"],"extent_ssm":["67.5 linear feet (139 boxes)"],"extent_tesim":["67.5 linear feet (139 boxes)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert Breen papers are also available in the \u003cextptr type=\"simple\" title=\"Robert Breen/ANTA digital collection\" show=\"new\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/bren/bren.shtml\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n        ","\u003cp\u003eIn 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room.\u003c/p\u003e\n      "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert Breen papers are also available in the .","In 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room."],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically according to subject and topic.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized alphabetically according to subject and topic."],"bioghist_html_tesm":["\u003cp\u003eIn the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.\u003c/p\u003e\n      ","\u003cp\u003eWhen the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.\u003c/p\u003e\n      ","\u003cp\u003eIn 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.\u003c/p\u003e\n      ","\u003cp\u003eRobert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.\u003c/p\u003e\n      ","\u003cp\u003eThus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.  \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.","When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.","In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.","Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.","Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert Breen collection was donated to Ohio State University. \u003c/p\u003e\n      "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert Breen collection was donated to Ohio State University."],"prefercite_html_tesm":["\u003cp\u003eRobert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Robert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.\n\u003c/p\u003e\n        ","\u003cp\u003eOhio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the \u003cextptr type=\"simple\" title=\"Robert Breen collection\" show=\"new\" href=\"http://library.osu.edu/find/collections/theater-research-institute/personal-papers-and-special-collections/robert-breen-papers/\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.","Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the ."],"scopecontent_html_tesm":["\u003cp\u003eThe Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.\n\u003c/p\u003e\n    ","\u003cp\u003e1 - WIESBADEN ORCHESTRA; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e2\n\t\u003c/p\u003e\n          ","\u003cp\u003e3 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY\n\t\u003c/p\u003e\n          ","\u003cp\u003e4\n\t\u003c/p\u003e\n          ","\u003cp\u003e5\n\t\u003c/p\u003e\n          ","\u003cp\u003e6 - ACT II FROM LEGALIZE TO END\n\t\u003c/p\u003e\n          ","\u003cp\u003e7 - FROM BEGINNING OF SWANEE (RACIN FORMS[?]); 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e8 - DICTATION OF CORRESPONDENCE\n\t\u003c/p\u003e\n          ","\u003cp\u003e9 - SIDE 1: IRENE AND W. W.; SIDE 2: PERSONAL PHONE CALLS\n\t\u003c/p\u003e\n          ","\u003cp\u003e10 - BRAHMS: SYMPHONY 2 IN D MAJOR / HAROLD ARLEN (CONJURE MAN) BLUES VOCAL AND PIANO\n\t\u003c/p\u003e\n          ","\u003cp\u003e11\n\t\u003c/p\u003e\n          ","\u003cp\u003e12 - RB PERSONAL WORK TAPE\n\t\u003c/p\u003e\n          ","\u003cp\u003e13 - STOP MY SHINING DREAM; I'LL WIND THIS WORLD; SEED STARS\n\t\u003c/p\u003e\n          ","\u003cp\u003e14 - WORK TAPE BLUES OPERA 2, HAROLD ARLEN REEL 2, FROM \"LOOKING FOR SOMEBODY\"; 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e15 - CHORAL NY [RCHGZISZLS] BLOIS DE [ULVILLE] 238, 256; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e16 - PORGY AND BESS, COMPANY ZURICH SOUND TRACK\n\t\u003c/p\u003e\n          ","\u003cp\u003e17 - SIDE A: AMSTERDAM SOUND TRACK FOR 16MM FILMS; SIDE B: LAST HALF, CONTAINS ONLY 24 SECONDS OF AUDIO\u003c/p\u003e\n          ","\u003cp\u003e18 - INTERVIEW FOR RADIO LIBERATION, MUNICH HUTCH, MARCH 1956\n\t\u003c/p\u003e\n          ","\u003cp\u003e19 - BLEVINS AND ROBERT BREEN TELEPHONE CONVERSATION ON FILM RIGHTS AND BREEN DIRECTING A FILM WITH IRA GIRSHWIN; MUSIC: IRVING (SWIFTLY) LEZAR; SIDE B: ROBERT BREEN'S DICTATION OF MEMOS\n\t\u003c/p\u003e\n          ","\u003cp\u003e20\n\t\u003c/p\u003e\n          ","\u003cp\u003e21\n\t\u003c/p\u003e\n          ","\u003cp\u003e22\n\t\u003c/p\u003e\n          ","\u003cp\u003e23 - MISTITLED; TAPE ACTUALLY CONTAINS A MIX OF LATIN CHANTS AND HAROLD ARLEN SELECTIONS\n\t\u003c/p\u003e\n          ","\u003cp\u003e24 - VOICE OF AMERICA ARMED FORCES NETWORK; BREEN AND FULLER INTERVIEW, STUTTGART, REGARDING PORGY AND BESS; 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e25A - 1 OF 3 \n\t\u003c/p\u003e\n          ","\u003cp\u003e25B - 2 OF 3 \n\t\u003c/p\u003e\n          ","\u003cp\u003e25C - 3 OF 3 \n\t\u003c/p\u003e\n          ","\u003cp\u003e26A - PART 1 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e26B - PART 2 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e27 - SCENE LIST AND OTHER DESCRIPTIONS ON TYPED PAGES IN BOX; TWO LOOSE PIECES OF TAPE IN BOX; RUNTIME: 1 HOUR 38 MINUTES; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e28 - SIDE A: 1. LIFE FULL OF CONSEQUENCES, 2. HI LO, JACK AND A GAME, 3. A MAN'S GOTTA FIGHT, 4. SOMETHIN YOU GOTTA FIND OUT YOSELF, 5. THAT'S MY OPINION, 6. I WONDER WHAT BECAME OF ME, 7. RACIN FORMS, 8. SOW THE SEED AND REAP THE HARVEST, 9. LIMERICKS SIDE II: 1. ACCENTUATE THE POSITIVE, 2. LUCK COMING DOWN, 3. PAPER MOON, 4. ONE FOR THE ROAD, A SLEEPIN BEE, 5. COME RAIN OR COME SHINE, IVE GOT THE WORLD ON A STRING\n\t\u003c/p\u003e\n          ","\u003cp\u003e29 - PIANO AND MALE VOICE\n\t\u003c/p\u003e\n          ","\u003cp\u003e30\n\t\u003c/p\u003e\n          ","\u003cp\u003e31 - LABEL INDICATES P AND B PERF, TAPE ACT II ONLY. CAB CALLOWAY STILL IN CAST ONLY CLUE TO DATE I.E. GENERAL. FOUND IN FILE CABINET 11-17-1956 BY RB\n\t\u003c/p\u003e\n          ","\u003cp\u003e32 - LABEL READS BEGIN NONE OF FINAL SCENE ACT II\n\t\u003c/p\u003e\n          ","\u003cp\u003e34 - 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e35\n\t\u003c/p\u003e\n          ","\u003cp\u003e36A\n\t\u003c/p\u003e\n          ","\u003cp\u003e36B\n\t\u003c/p\u003e\n          ","\u003cp\u003e37 - 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e38 - REEL IS LABELED: ARLEN - SOBEL WABC, 6 SONGS DUBBED FROM ELLIOTT [ARTS RECORDER] ON BACK: ARLEN SPECIAL 6-26-59 6 NATURAL MAN, RIDIN MOON, CAKEWALK, PEACEFUL, WORK HARD, MANY KINDS LOVE - 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e39\n\t\u003c/p\u003e\n          ","\u003cp\u003e33 - 10\" REEL 1/2 TRACK STEREO; 15 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e40 - WORK TAPE BLUES OPERA 3 ON FRONT OF BOX. ON BACK OF BOX: SONG LIST: OLD [?] TREAT YOU BAD, SLEEP PEACEFUL, TRUE LOVE, SOW SEED, CROSS THE RIVER, PIANO, I'LL WIND, RACIN FORM, BETTING FUGUE, ACCENTUATE, SUPPOSE HE LOSE, ROCK BOTTOM, EASY STREET, RACE, CHAPAIGN FO' THE LADY, HI - LOW JACK, LUCK JUST SO DOWN, WONDER WHAT BECAME, SOMETHING YOU GOTTA, ONE FOR MY BABY, BLUES IN NIGHT, LEAVIN TIME, COME RAIN OR, THIS MOMENT, [?] TIME [?] \n\t\u003c/p\u003e\n          ","\u003cp\u003e41 - WORK TAPE BLUES OPERA 1 ON FRONT OF BOX\n\t\u003c/p\u003e\n          ","\u003cp\u003e42 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY\n\t\u003c/p\u003e\n          ","\u003cp\u003e43 - NBC DISCUSSION LEON PEARSON (MODERATOR) JEAN DALRYMPLE, DAVID MERRICK, ROBERT BREEN\n\t\u003c/p\u003e\n          ","\u003cp\u003e44\n\t\u003c/p\u003e\n          ","\u003cp\u003e45\n\t\u003c/p\u003e\n          ","\u003cp\u003e46 - GREEN BOX MARKED: \"QUINCY JONES\" ALSO MARKED: FREE AND EASY CONVERSATION NEWS IRENE (FREE AND EASY)\n\t\u003c/p\u003e\n          ","\u003cp\u003e47 - BACK OF BOX READS: KURT WEILL SEVEN DEEADLY SINS - MUNUET 3X, - HOWDY DO TO YOU - LEADING TO TURNS 1) SOFT SHOE 2X  3) GENTEEL 2X 6) BLUES 2X *ANOTHER TURN WE HAD - AND NOT CONTEMPLATEDUSING, BUT PERHAPS THE MUSIC FIT SOME OTHER TURN.\n\t\u003c/p\u003e\n          ","\u003cp\u003e48 - INSIDE OF BOX IS A TYPEWRITTEN PAGE WITH SOME HANDWRITTEN NOTES\n\t\u003c/p\u003e\n          ","\u003cp\u003e49 - GREENISH PAPER TAPED TO FRONT OF BOX READS: ACT II NOTES SIDE #2 MAY 30, 1959 4-17-59 STANLEY CHASE NOTES. BACK OF BOX READS: BLUES STANLEY CHASE NOTES APRIL 17 - MAY 30, 1959 ACT I SIDE 1, ACT II (SIDE) 2\n\t\u003c/p\u003e\n          ","\u003cp\u003e50 - RED MARKING PENCIL ON ONE SIDE OF REEL: 3\n\t\u003c/p\u003e\n          ","\u003cp\u003e51 - PAPER INSIDE OF BOX READS: 9-17-55 TV NOTES RB SHUFTAN / RB \n\t\u003c/p\u003e\n          ","\u003cp\u003e52 - DECALS ON SIDE 1 OF TAPE READ: (TOP) DICTATION OF R.B. ORIENT TOUR 1955? TO HELLEN - LA SCALLA TICKETS FOR BLEVINS, TO WILVA - COMPLAIN [?] FROM [?] YUGOSLAVIA, TO LEONARD FIELD - MUSICIAN'S REHEARSALS (BOTTOM) DICTATION TO TOM MARTIN - ABOUT PARIS [?], ILYA MERN [?] (VENICE)\n\t\u003c/p\u003e\n          ","\u003cp\u003e53\n\t\u003c/p\u003e\n          ","\u003cp\u003e54 - BACK TO TAPE READS: REV JOHNSON'S DREAM [?] BLUES. OTHER TITLES ARE CROSSED OUT; 7.5 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e55 - BLUE TYPEWRITTEN PAPER INSIDE BOX CONTAINS SONG LIST AND COUNTER NUMBERS READS: TAPE II ACT II SCENE 1: PUT EVERY DOLLAR, TRUE LOVE, RIGHT ANSWER, TOP OF THE WORLD, RAIN OR SHINE, LEGALIZE MY NAME, LULLABY, CHINQUAPIN BUSH, WHAT YA SAYIN BIGELOW (RED WAGON) KILLING SEQUENCE, CURSE, SLEEP PEACEFUL, OL BIGELOW TREAT YOU BAD, SOW THE SEED, DIS LIL WHILE.  ACT II SCENE II: RACING FORMS, SNAKE EYES, ACCENTUATE, SUPPOSE WE LOSE (EASY STREET) CHAMPAGNE FOR THE LADY, 9RACE ** 570), HIGH LOW JACK AND THE GAME, LUCK JUST GO DOWN, SOMETHING YOU GOTTA FIND OUT YRSLF, WHERE IS THIS ROAD A LEADIN YOU TO, RIDIN ON THE MOON, LEAVING TIME\n\t\u003c/p\u003e\n          ","\u003cp\u003e56 - NOTE INSIDE BOX READS: FALL 1954 RE: BOOKING MID EAST TOUR (STATE DEPARTMENT) ON SIDE I ONLY - 2 CONVOS LATER[?] RB + R. SCHNITZER; 7.5 IPS\u003c/p\u003e\n          ","\u003cp\u003e57 - NOTE ON TOP OF BOX READS: FREE AND EASY AMSTERDAM APPROX DEC 15, 1959 UNEDITED; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e58 - NOTE INSIDE BOX READS: MARCH 29, 56 STANLEY MEYER TO RB RE RB DIRECTING Pand B FILM MARCH 31, 1956 RB TO STANLEY MEYER\n\t\u003c/p\u003e\n          ","\u003cp\u003e59\n\t\u003c/p\u003e\n          ","\u003cp\u003e60 - EDITED BACK OF BOX READS: (H. ARLEN) FREE and  EASY (BLUES OPERA) DEC 59 SIDES 1 and  2 (SNATCHES) (RECORDED FROM SMALL PROPERTY ROOM - BACKSTAGE CARRE THEATRE - AMSTERDAM DEC 1959 - DURING REHEARSING and  ONE \"PREVIEW\" SIDE #1 - 65 MINUTES, SIDE #2 - 69 MINUTES; 3.75 IPS\n\t\u003c/p\u003e\n          ","\u003cp\u003e61\n\t\u003c/p\u003e\n          ","\u003cp\u003e62\n\t\u003c/p\u003e\n          ","\u003cp\u003e63 - LOW QUALITY RECORDING\n\t\u003c/p\u003e\n          ","\u003cp\u003e64 - STICKER ON REEL READS: SEPTEMBER 24, 1955 CALL FROM MR. BLAKE (STATE) TO RB ? ?, RUSSIA LETTERS TO CITY ? TO SCHNITZER, TO IEP (?) EXCELLENT\n\t\u003c/p\u003e\n          ","\u003cp\u003e65\n\t\u003c/p\u003e\n          ","\u003cp\u003e66\n\t\u003c/p\u003e\n          ","\u003cp\u003e67\n\t\u003c/p\u003e\n          ","\u003cp\u003e44 cassette audiotapes of interviews with and about Robert Breen. Subjects include ANTA, Porgy and Bess, and the Federal Theatre Project. Mike Davis was involved with most of the recordings. Accession 2011-001\n\t\u003c/p\u003e\n          ","\u003cp\u003e30 black and white photographic prints of Robert Breen and his 1952 production of Porgy and Bess, including a photograph of Cab Calloway. Some of the photographs are of Robert Breen from 1986.  There are also 14 color slides of Robert Breen and Wilva Breen taken in 1986. Also, included are programs for the 1949 Hamlet production at Kronborg Castle in Elsinore, Denamrk, Hamlet theatre cards, and newsletters and clippings. Accession 2011-002\n\t\u003c/p\u003e\n          "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.","1 - WIESBADEN ORCHESTRA; 3.75 IPS","2","3 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY","4","5","6 - ACT II FROM LEGALIZE TO END","7 - FROM BEGINNING OF SWANEE (RACIN FORMS[?]); 7.5 IPS","8 - DICTATION OF CORRESPONDENCE","9 - SIDE 1: IRENE AND W. W.; SIDE 2: PERSONAL PHONE CALLS","10 - BRAHMS: SYMPHONY 2 IN D MAJOR / HAROLD ARLEN (CONJURE MAN) BLUES VOCAL AND PIANO","11","12 - RB PERSONAL WORK TAPE","13 - STOP MY SHINING DREAM; I'LL WIND THIS WORLD; SEED STARS","14 - WORK TAPE BLUES OPERA 2, HAROLD ARLEN REEL 2, FROM \"LOOKING FOR SOMEBODY\"; 7.5 IPS","15 - CHORAL NY [RCHGZISZLS] BLOIS DE [ULVILLE] 238, 256; 3.75 IPS","16 - PORGY AND BESS, COMPANY ZURICH SOUND TRACK","17 - SIDE A: AMSTERDAM SOUND TRACK FOR 16MM FILMS; SIDE B: LAST HALF, CONTAINS ONLY 24 SECONDS OF AUDIO","18 - INTERVIEW FOR RADIO LIBERATION, MUNICH HUTCH, MARCH 1956","19 - BLEVINS AND ROBERT BREEN TELEPHONE CONVERSATION ON FILM RIGHTS AND BREEN DIRECTING A FILM WITH IRA GIRSHWIN; MUSIC: IRVING (SWIFTLY) LEZAR; SIDE B: ROBERT BREEN'S DICTATION OF MEMOS","20","21","22","23 - MISTITLED; TAPE ACTUALLY CONTAINS A MIX OF LATIN CHANTS AND HAROLD ARLEN SELECTIONS","24 - VOICE OF AMERICA ARMED FORCES NETWORK; BREEN AND FULLER INTERVIEW, STUTTGART, REGARDING PORGY AND BESS; 7.5 IPS","25A - 1 OF 3","25B - 2 OF 3","25C - 3 OF 3","26A - PART 1 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS","26B - PART 2 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS","27 - SCENE LIST AND OTHER DESCRIPTIONS ON TYPED PAGES IN BOX; TWO LOOSE PIECES OF TAPE IN BOX; RUNTIME: 1 HOUR 38 MINUTES; 3.75 IPS","28 - SIDE A: 1. LIFE FULL OF CONSEQUENCES, 2. HI LO, JACK AND A GAME, 3. A MAN'S GOTTA FIGHT, 4. SOMETHIN YOU GOTTA FIND OUT YOSELF, 5. THAT'S MY OPINION, 6. I WONDER WHAT BECAME OF ME, 7. RACIN FORMS, 8. SOW THE SEED AND REAP THE HARVEST, 9. LIMERICKS SIDE II: 1. ACCENTUATE THE POSITIVE, 2. LUCK COMING DOWN, 3. PAPER MOON, 4. ONE FOR THE ROAD, A SLEEPIN BEE, 5. COME RAIN OR COME SHINE, IVE GOT THE WORLD ON A STRING","29 - PIANO AND MALE VOICE","30","31 - LABEL INDICATES P AND B PERF, TAPE ACT II ONLY. CAB CALLOWAY STILL IN CAST ONLY CLUE TO DATE I.E. GENERAL. FOUND IN FILE CABINET 11-17-1956 BY RB","32 - LABEL READS BEGIN NONE OF FINAL SCENE ACT II","34 - 7.5 IPS","35","36A","36B","37 - 7.5 IPS","38 - REEL IS LABELED: ARLEN - SOBEL WABC, 6 SONGS DUBBED FROM ELLIOTT [ARTS RECORDER] ON BACK: ARLEN SPECIAL 6-26-59 6 NATURAL MAN, RIDIN MOON, CAKEWALK, PEACEFUL, WORK HARD, MANY KINDS LOVE - 3.75 IPS","39","33 - 10\" REEL 1/2 TRACK STEREO; 15 IPS","40 - WORK TAPE BLUES OPERA 3 ON FRONT OF BOX. ON BACK OF BOX: SONG LIST: OLD [?] TREAT YOU BAD, SLEEP PEACEFUL, TRUE LOVE, SOW SEED, CROSS THE RIVER, PIANO, I'LL WIND, RACIN FORM, BETTING FUGUE, ACCENTUATE, SUPPOSE HE LOSE, ROCK BOTTOM, EASY STREET, RACE, CHAPAIGN FO' THE LADY, HI - LOW JACK, LUCK JUST SO DOWN, WONDER WHAT BECAME, SOMETHING YOU GOTTA, ONE FOR MY BABY, BLUES IN NIGHT, LEAVIN TIME, COME RAIN OR, THIS MOMENT, [?] TIME [?]","41 - WORK TAPE BLUES OPERA 1 ON FRONT OF BOX","42 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY","43 - NBC DISCUSSION LEON PEARSON (MODERATOR) JEAN DALRYMPLE, DAVID MERRICK, ROBERT BREEN","44","45","46 - GREEN BOX MARKED: \"QUINCY JONES\" ALSO MARKED: FREE AND EASY CONVERSATION NEWS IRENE (FREE AND EASY)","47 - BACK OF BOX READS: KURT WEILL SEVEN DEEADLY SINS - MUNUET 3X, - HOWDY DO TO YOU - LEADING TO TURNS 1) SOFT SHOE 2X  3) GENTEEL 2X 6) BLUES 2X *ANOTHER TURN WE HAD - AND NOT CONTEMPLATEDUSING, BUT PERHAPS THE MUSIC FIT SOME OTHER TURN.","48 - INSIDE OF BOX IS A TYPEWRITTEN PAGE WITH SOME HANDWRITTEN NOTES","49 - GREENISH PAPER TAPED TO FRONT OF BOX READS: ACT II NOTES SIDE #2 MAY 30, 1959 4-17-59 STANLEY CHASE NOTES. BACK OF BOX READS: BLUES STANLEY CHASE NOTES APRIL 17 - MAY 30, 1959 ACT I SIDE 1, ACT II (SIDE) 2","50 - RED MARKING PENCIL ON ONE SIDE OF REEL: 3","51 - PAPER INSIDE OF BOX READS: 9-17-55 TV NOTES RB SHUFTAN / RB","52 - DECALS ON SIDE 1 OF TAPE READ: (TOP) DICTATION OF R.B. ORIENT TOUR 1955? TO HELLEN - LA SCALLA TICKETS FOR BLEVINS, TO WILVA - COMPLAIN [?] FROM [?] YUGOSLAVIA, TO LEONARD FIELD - MUSICIAN'S REHEARSALS (BOTTOM) DICTATION TO TOM MARTIN - ABOUT PARIS [?], ILYA MERN [?] (VENICE)","53","54 - BACK TO TAPE READS: REV JOHNSON'S DREAM [?] BLUES. OTHER TITLES ARE CROSSED OUT; 7.5 IPS","55 - BLUE TYPEWRITTEN PAPER INSIDE BOX CONTAINS SONG LIST AND COUNTER NUMBERS READS: TAPE II ACT II SCENE 1: PUT EVERY DOLLAR, TRUE LOVE, RIGHT ANSWER, TOP OF THE WORLD, RAIN OR SHINE, LEGALIZE MY NAME, LULLABY, CHINQUAPIN BUSH, WHAT YA SAYIN BIGELOW (RED WAGON) KILLING SEQUENCE, CURSE, SLEEP PEACEFUL, OL BIGELOW TREAT YOU BAD, SOW THE SEED, DIS LIL WHILE.  ACT II SCENE II: RACING FORMS, SNAKE EYES, ACCENTUATE, SUPPOSE WE LOSE (EASY STREET) CHAMPAGNE FOR THE LADY, 9RACE ** 570), HIGH LOW JACK AND THE GAME, LUCK JUST GO DOWN, SOMETHING YOU GOTTA FIND OUT YRSLF, WHERE IS THIS ROAD A LEADIN YOU TO, RIDIN ON THE MOON, LEAVING TIME","56 - NOTE INSIDE BOX READS: FALL 1954 RE: BOOKING MID EAST TOUR (STATE DEPARTMENT) ON SIDE I ONLY - 2 CONVOS LATER[?] RB + R. SCHNITZER; 7.5 IPS","57 - NOTE ON TOP OF BOX READS: FREE AND EASY AMSTERDAM APPROX DEC 15, 1959 UNEDITED; 3.75 IPS","58 - NOTE INSIDE BOX READS: MARCH 29, 56 STANLEY MEYER TO RB RE RB DIRECTING Pand B FILM MARCH 31, 1956 RB TO STANLEY MEYER","59","60 - EDITED BACK OF BOX READS: (H. ARLEN) FREE and  EASY (BLUES OPERA) DEC 59 SIDES 1 and  2 (SNATCHES) (RECORDED FROM SMALL PROPERTY ROOM - BACKSTAGE CARRE THEATRE - AMSTERDAM DEC 1959 - DURING REHEARSING and  ONE \"PREVIEW\" SIDE #1 - 65 MINUTES, SIDE #2 - 69 MINUTES; 3.75 IPS","61","62","63 - LOW QUALITY RECORDING","64 - STICKER ON REEL READS: SEPTEMBER 24, 1955 CALL FROM MR. BLAKE (STATE) TO RB ? ?, RUSSIA LETTERS TO CITY ? TO SCHNITZER, TO IEP (?) EXCELLENT","65","66","67","44 cassette audiotapes of interviews with and about Robert Breen. Subjects include ANTA, Porgy and Bess, and the Federal Theatre Project. Mike Davis was involved with most of the recordings. Accession 2011-001","30 black and white photographic prints of Robert Breen and his 1952 production of Porgy and Bess, including a photograph of Cab Calloway. Some of the photographs are of Robert Breen from 1986.  There are also 14 color slides of Robert Breen and Wilva Breen taken in 1986. Also, included are programs for the 1949 Hamlet production at Kronborg Castle in Elsinore, Denamrk, Hamlet theatre cards, and newsletters and clippings. Accession 2011-002"],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy."],"corpname_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"persname_ssim":["Robert S. Breen","Breen, Robert S."],"names_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)","Robert S. 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