{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+--+Europe\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=list","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater+--+Europe\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=1\u0026view=list"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":4,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_repositories_2_resources_187","type":"collection","attributes":{"title":"Jean-Louis Barrault photograph collection","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_187#creator","type":"document_value","attributes":{"value":"Jenkins, Paul, 1923-2012","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_187#abstract_or_scope","type":"document_value","attributes":{"value":"Contains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_187#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_187","ead_ssi":"vifgm_repositories_2_resources_187","_root_":"vifgm_repositories_2_resources_187","_nest_parent_":"vifgm_repositories_2_resources_187","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_187.xml","title_ssm":["Jean-Louis Barrault photograph collection"],"title_tesim":["Jean-Louis Barrault photograph collection"],"unitdate_ssm":["1947-1979"],"unitdate_inclusive_ssm":["1947-1979"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0019","/repositories/2/resources/187"],"text":["C0019","/repositories/2/resources/187","Jean-Louis Barrault photograph collection","France","Theater and society","Theater","Theater -- Europe","Theater -- France","Performing arts","Photographic prints","Photographs","There are no access restrictions.","The collection is arranged in two series:","Series Series 1: Production Photographs, 1947-1979 (Boxes 1-2) Series 2: Non-Production Photographs, 1947-1976 (Box 2)","Barrault, born in France in 1910, was an esteemed and innovative fixture in French theatre and film for five decades from the 1930s to 1980s. 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He trained as a mime and an actor, and later directed both screen and stage productions. With Madeleine Renaud, his wife, he founded a theatrical company in Paris in 1947, after acting and directing with the Comédie Française. Barrault later directed the Théâtre d'Orsay and the Théâtre des Nations.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Barrault, born in France in 1910, was an esteemed and innovative fixture in French theatre and film for five decades from the 1930s to 1980s. He trained as a mime and an actor, and later directed both screen and stage productions. With Madeleine Renaud, his wife, he founded a theatrical company in Paris in 1947, after acting and directing with the Comédie Française. 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EAD markup completed in 2008 by Sean Tennant."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds records on the Arena Stage and the Federal Theatre Project as well as many personal collections of theater papers and photographs.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds records on the Arena Stage and the Federal Theatre Project as well as many personal collections of theater papers and photographs."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains photographs documenting Barrault and Renaud's career in the theatre in France between 1947 and 1979. Most images are production stills of performances at the Théâtre d'Orsay, Théâtre de France Odéon, and other venues, but the collection also includes images of Barrault and his contemporaries off-stage. Madeleine Renaud is, after himself, the most frequently photographed. 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The photographs are arranged chronologically within each folder.\u003c/p\u003e","\u003cp\u003e5 photographs. This folder contains images of Barrault and other actors in rehearsal for various productions.\u003c/p\u003e","\u003cp\u003e12 photographs. This folder contains photographs of signage and playbills for the productions of Barrault's company at various theaters.\u003c/p\u003e","\u003cp\u003e15 photographs. This folder contains publicity photographs for various actors associated with Barrault and his productions, such as Barrault, Madeleine Renaud, and Marcel Marceau. 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Most images are production stills of performances at the Théâtre d'Orsay, Théâtre de France Odéon, and other venues, but the collection also includes images of Barrault and his contemporaries off-stage. Madeleine Renaud is, after himself, the most frequently photographed. Samuel Beckett, Eugene Ionesco, and Jean Genet are among the notable theatrical figures documented.","Series 1 contains photographs from the collection dealing with specific theatrical productions and events. 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Additionally, the folder contains images of a lecture given by Barrault about his production of Numance."],"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_539e75258dcc485f7e2321f9691f47c2\" label=\"Abstract\"\u003eContains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979.\u003c/abstract\u003e"],"abstract_tesim":["Contains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979."],"names_coll_ssim":["Agence de Presse Bernand","Odéon (Theater : Paris, France)","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)","Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)"],"persname_ssim":["Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"language_ssim":["French \n.    "],"total_component_count_is":78,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:18:40.577Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_187","ead_ssi":"vifgm_repositories_2_resources_187","_root_":"vifgm_repositories_2_resources_187","_nest_parent_":"vifgm_repositories_2_resources_187","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_187.xml","title_ssm":["Jean-Louis Barrault photograph collection"],"title_tesim":["Jean-Louis Barrault photograph collection"],"unitdate_ssm":["1947-1979"],"unitdate_inclusive_ssm":["1947-1979"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0019","/repositories/2/resources/187"],"text":["C0019","/repositories/2/resources/187","Jean-Louis Barrault photograph collection","France","Theater and society","Theater","Theater -- Europe","Theater -- France","Performing arts","Photographic prints","Photographs","There are no access restrictions.","The collection is arranged in two series:","Series Series 1: Production Photographs, 1947-1979 (Boxes 1-2) Series 2: Non-Production Photographs, 1947-1976 (Box 2)","Barrault, born in France in 1910, was an esteemed and innovative fixture in French theatre and film for five decades from the 1930s to 1980s. 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Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)","Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994","French \n.    "],"unitid_tesim":["C0019","/repositories/2/resources/187"],"normalized_title_ssm":["Jean-Louis Barrault photograph collection"],"collection_title_tesim":["Jean-Louis Barrault photograph collection"],"collection_ssim":["Jean-Louis Barrault photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["France"],"geogname_ssim":["France"],"creator_ssm":["Jenkins, Paul, 1923-2012"],"creator_ssim":["Jenkins, Paul, 1923-2012"],"creator_persname_ssim":["Jenkins, Paul, 1923-2012"],"creators_ssim":["Jenkins, Paul, 1923-2012"],"places_ssim":["France"],"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":["Gift of Suzanne Donnelly Jenkins and Paul Jenkins, 2007."],"access_subjects_ssim":["Theater and society","Theater","Theater -- Europe","Theater -- France","Performing arts","Photographic prints","Photographs"],"access_subjects_ssm":["Theater and society","Theater","Theater -- Europe","Theater -- France","Performing arts","Photographic prints","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet 2 boxes"],"extent_tesim":["1 Linear Feet 2 boxes"],"genreform_ssim":["Photographic prints","Photographs"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in two series:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production Photographs, 1947-1979 (Boxes 1-2)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Non-Production Photographs, 1947-1976 (Box 2)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in two series:","Series Series 1: Production Photographs, 1947-1979 (Boxes 1-2) Series 2: Non-Production Photographs, 1947-1976 (Box 2)"],"bioghist_html_tesm":["\u003cp\u003eBarrault, born in France in 1910, was an esteemed and innovative fixture in French theatre and film for five decades from the 1930s to 1980s. He trained as a mime and an actor, and later directed both screen and stage productions. With Madeleine Renaud, his wife, he founded a theatrical company in Paris in 1947, after acting and directing with the Comédie Française. Barrault later directed the Théâtre d'Orsay and the Théâtre des Nations.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Barrault, born in France in 1910, was an esteemed and innovative fixture in French theatre and film for five decades from the 1930s to 1980s. He trained as a mime and an actor, and later directed both screen and stage productions. With Madeleine Renaud, his wife, he founded a theatrical company in Paris in 1947, after acting and directing with the Comédie Française. Barrault later directed the Théâtre d'Orsay and the Théâtre des Nations."],"prefercite_html_tesm":["\u003cp\u003eJean-Louis Barrault photograph collection, C0019, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Jean-Louis Barrault photograph collection, C0019, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed in 2008 by Sean Tennant. EAD markup completed in 2008 by Sean Tennant.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed in 2008 by Sean Tennant. EAD markup completed in 2008 by Sean Tennant."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds records on the Arena Stage and the Federal Theatre Project as well as many personal collections of theater papers and photographs.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds records on the Arena Stage and the Federal Theatre Project as well as many personal collections of theater papers and photographs."],"scopecontent_html_tesm":["\u003cp\u003eThe collection contains photographs documenting Barrault and Renaud's career in the theatre in France between 1947 and 1979. Most images are production stills of performances at the Théâtre d'Orsay, Théâtre de France Odéon, and other venues, but the collection also includes images of Barrault and his contemporaries off-stage. Madeleine Renaud is, after himself, the most frequently photographed. Samuel Beckett, Eugene Ionesco, and Jean Genet are among the notable theatrical figures documented.\u003c/p\u003e","\u003cp\u003eSeries 1 contains photographs from the collection dealing with specific theatrical productions and events. The photographs are organized alphabetically by production title and chronologically within each folder.\u003c/p\u003e","\u003cp\u003e3 photographs\u003c/p\u003e","\u003cp\u003e13 photographs\u003c/p\u003e","\u003cp\u003e9 photographs\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e3 photographs\u003c/p\u003e","\u003cp\u003e8 photographs\u003c/p\u003e","\u003cp\u003e16 photographs\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e6 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e3 photographs\u003c/p\u003e","\u003cp\u003e3 photographs\u003c/p\u003e","\u003cp\u003e6 photographs\u003c/p\u003e","\u003cp\u003e9 photographs\u003c/p\u003e","\u003cp\u003e5 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e16 photographs\u003c/p\u003e","\u003cp\u003e13 photographs\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e3 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e5 photographs\u003c/p\u003e","\u003cp\u003e6 photographs\u003c/p\u003e","\u003cp\u003e3 photographs\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e7 photographs\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e11 photographs\u003c/p\u003e","\u003cp\u003e7 photographs\u003c/p\u003e","\u003cp\u003e14 photographs\u003c/p\u003e","\u003cp\u003e12 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e6 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e6 photographs\u003c/p\u003e","\u003cp\u003e3 photographs\u003c/p\u003e","\u003cp\u003e11 photographs\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e12 photographs\u003c/p\u003e","\u003cp\u003e9 photographs\u003c/p\u003e","\u003cp\u003e7 photographs\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e10 photographs\u003c/p\u003e","\u003cp\u003e7 photographs\u003c/p\u003e","\u003cp\u003e10 photographs\u003c/p\u003e","\u003cp\u003e5 photographs\u003c/p\u003e","\u003cp\u003e7 photographs\u003c/p\u003e","\u003cp\u003e16 photographs\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e5 photographs\u003c/p\u003e","\u003cp\u003e7 photographs\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e4 photographs\u003c/p\u003e","\u003cp\u003e1 photograph\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e2 photographs\u003c/p\u003e","\u003cp\u003e6 photographs\u003c/p\u003e","\u003cp\u003eSeries 2 contains the nonproduction photographs, such as publicity photographs, images of rehearsals, and pictures of playbills and signs. The photographs are arranged chronologically within each folder.\u003c/p\u003e","\u003cp\u003e5 photographs. This folder contains images of Barrault and other actors in rehearsal for various productions.\u003c/p\u003e","\u003cp\u003e12 photographs. This folder contains photographs of signage and playbills for the productions of Barrault's company at various theaters.\u003c/p\u003e","\u003cp\u003e15 photographs. This folder contains publicity photographs for various actors associated with Barrault and his productions, such as Barrault, Madeleine Renaud, and Marcel Marceau. Additionally, the folder contains images of a lecture given by Barrault about his production of Numance.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["The collection contains photographs documenting Barrault and Renaud's career in the theatre in France between 1947 and 1979. Most images are production stills of performances at the Théâtre d'Orsay, Théâtre de France Odéon, and other venues, but the collection also includes images of Barrault and his contemporaries off-stage. Madeleine Renaud is, after himself, the most frequently photographed. Samuel Beckett, Eugene Ionesco, and Jean Genet are among the notable theatrical figures documented.","Series 1 contains photographs from the collection dealing with specific theatrical productions and events. The photographs are organized alphabetically by production title and chronologically within each folder.","3 photographs","13 photographs","9 photographs","4 photographs","3 photographs","8 photographs","16 photographs","2 photographs","2 photographs","6 photographs","1 photograph","3 photographs","3 photographs","6 photographs","9 photographs","5 photographs","1 photograph","2 photographs","16 photographs","13 photographs","4 photographs","3 photographs","1 photograph","1 photograph","5 photographs","6 photographs","3 photographs","4 photographs","4 photographs","7 photographs","2 photographs","1 photograph","1 photograph","4 photographs","1 photograph","1 photograph","11 photographs","7 photographs","14 photographs","12 photographs","1 photograph","6 photographs","1 photograph","1 photograph","6 photographs","3 photographs","11 photographs","2 photographs","12 photographs","9 photographs","7 photographs","4 photographs","10 photographs","7 photographs","10 photographs","5 photographs","7 photographs","16 photographs","2 photographs","1 photograph","5 photographs","7 photographs","4 photographs","1 photograph","4 photographs","2 photographs","1 photograph","1 photograph","4 photographs","1 photograph","2 photographs","2 photographs","6 photographs","Series 2 contains the nonproduction photographs, such as publicity photographs, images of rehearsals, and pictures of playbills and signs. The photographs are arranged chronologically within each folder.","5 photographs. This folder contains images of Barrault and other actors in rehearsal for various productions.","12 photographs. This folder contains photographs of signage and playbills for the productions of Barrault's company at various theaters.","15 photographs. This folder contains publicity photographs for various actors associated with Barrault and his productions, such as Barrault, Madeleine Renaud, and Marcel Marceau. Additionally, the folder contains images of a lecture given by Barrault about his production of Numance."],"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_539e75258dcc485f7e2321f9691f47c2\" label=\"Abstract\"\u003eContains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979.\u003c/abstract\u003e"],"abstract_tesim":["Contains nearly 400 black and white photographs documenting Jean-Louis Barrault and Madeleine Renaud's career in the theatre in France between 1947 and 1979."],"names_coll_ssim":["Agence de Presse Bernand","Odéon (Theater : Paris, France)","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)","Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Agence de Presse Bernand","Odéon (Theater : Paris, France)"],"persname_ssim":["Jenkins, Paul, 1923-2012","Barrault, Jean-Louis, 1910-1994","Beckett, Samuel, 1906-1989","Renaud, Madeleine, 1900-1994"],"language_ssim":["French \n.    "],"total_component_count_is":78,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:18:40.577Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_187"}},{"id":"vifgm_repositories_2_resources_521","type":"collection","attributes":{"title":"Robert and Wilva Breen papers","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_521#creator","type":"document_value","attributes":{"value":"Breen, Robert","label":"Creator"}},"abstract_or_scope":{"id":"https://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://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"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"text":["C0004","/repositories/2/resources/521","Robert and Wilva Breen papers","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Selections from the Robert and Wilva Breen papers are also available digitally on ","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.   (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.   (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.   (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.   (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990."," The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad."," Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946."," Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States."," Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company."," ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the  , the  , the  , and many other "," The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the "," The UCLA Library Special Collections, Charles E. Young Research Library holds the ","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"normalized_title_ssm":["Robert and Wilva Breen papers"],"collection_title_tesim":["Robert and Wilva Breen papers"],"collection_ssim":["Robert and Wilva Breen papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva"],"creators_ssim":["Breen, Robert","Breen, Wilva"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e\n","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e\n","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on ","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e\n","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e\n","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e\n","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.   (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.   (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.   (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.   (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e\n","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e\n","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e\n","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e\n","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e\n","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990."," The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad."," Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946."," Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States."," Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company."," ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the  , the  , the  , and many other "," The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the "," The UCLA Library Special Collections, Charles E. Young Research Library holds the "],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e"],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e"],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)"],"persname_ssim":["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":"2026-05-21T05:25:00.697Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_521","ead_ssi":"vifgm_repositories_2_resources_521","_root_":"vifgm_repositories_2_resources_521","_nest_parent_":"vifgm_repositories_2_resources_521","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_521.xml","title_ssm":["Robert and Wilva Breen papers"],"title_tesim":["Robert and Wilva Breen papers"],"unitdate_ssm":["1834, 1933-2000s"],"unitdate_inclusive_ssm":["1834, 1933-2000s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004","/repositories/2/resources/521"],"text":["C0004","/repositories/2/resources/521","Robert and Wilva Breen papers","Helsingør (Denmark)","Broadway (New York, N.Y.)","Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs","Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions.","Selections from the Robert and Wilva Breen papers are also available digitally on ","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.","The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.","Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.   (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.   (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.   (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.   (accessed December 12, 2018).","Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990."," The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad."," Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946."," Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States."," Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company."," ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.","Part of the Robert and Wilva Breen papers was donated to The Ohio State University.","The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.","Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.","Special Collections Research Center also holds the  , the  , the  , and many other "," The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the "," The UCLA Library Special Collections, Charles E. Young Research Library holds the ","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).","The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.","R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1","George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971","English"],"unitid_tesim":["C0004","/repositories/2/resources/521"],"normalized_title_ssm":["Robert and Wilva Breen papers"],"collection_title_tesim":["Robert and Wilva Breen papers"],"collection_ssim":["Robert and Wilva Breen papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"geogname_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"creator_ssm":["Breen, Robert","Breen, Wilva"],"creator_ssim":["Breen, Robert","Breen, Wilva"],"creator_persname_ssim":["Breen, Robert","Breen, Wilva"],"creators_ssim":["Breen, Robert","Breen, Wilva"],"places_ssim":["Helsingør (Denmark)","Broadway (New York, N.Y.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"acqinfo_ssim":["This collection was donated by the trustees of the Robert and Wilva Breen papers in 1988, and Wilva Breen and The Ohio State University in 1989. There were multiple accessions of materials throughout the 1990s. Additional materials were donated by Diana Lawrence and Mike Timoney in 2011."],"access_subjects_ssim":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"access_subjects_ssm":["Ballet","Theater and society","Theater -- Europe -- History -- 20th century","Theater -- New York (State) -- New York","Theater -- United States -- History -- 20th century","Theater -- United States","World War, 1939-1945 -- Theater and the war","Theater programs","Experimental theater -- United States","Theater -- Europe","Theater -- Production and direction","Performing arts","Theater","Theatrical posters","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["80.5 Linear Feet 207 boxes, 1 map case"],"extent_tesim":["80.5 Linear Feet 207 boxes, 1 map case"],"genreform_ssim":["Theatrical posters","Photographs"],"date_range_isim":[1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eBox 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.\u003c/p\u003e\n","\u003cp\u003eBox 89, Folder 8 and 9 are restricted due to personally identifiable information.\u003c/p\u003e\n","\u003cp\u003eThere are no other access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Box 35, Folder 12; Box 36, Folder 1; and Box 70, Folder 18 are restricted due to their physical fragility.","Box 89, Folder 8 and 9 are restricted due to personally identifiable information.","There are no other access restrictions."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert and Wilva Breen papers are also available digitally on \u003cextptr href=\"http://mars.gmu.edu/handle/1920/4609\" title=\"Mason Archival Respository Service (MARS).\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003eIn 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert and Wilva Breen papers are also available digitally on ","In 2009 and 2022 many of the audiotape reels found in this collection were converted to digital format and are available for use in the Special Collections Research Center's Reading Room."],"arrangement_html_tesm":["\u003cp\u003eThe collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection was originally arranged by subject and then topic. Additional accessions were added and arranged in the order they arrived in Special Collections Research Center."],"bibliography_html_tesm":["\u003cp\u003eStrom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com. \u003cbibref\u003e\u003cextptr href=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" title=\"https://www.nytimes.com/1990/04/02/obituaries/robert-breen-80-arts-executive-and-theatrical-producer-is-dead.html\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e\n","\u003cp\u003eOliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com. \u003cbibref\u003e\u003cextptr href=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" title=\"http://articles.latimes.com/1990-04-05/news/mn-617_1_robert-breen\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e\n","\u003cp\u003eRiedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com. \u003cbibref\u003e\u003cextptr href=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" title=\"https://nypost.com/2017/03/28/this-theaters-chaotic-history-includes-a-titanic-survivor-the-tonight-show-and-porn/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e\n","\u003cp\u003eANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. \u003cbibref\u003e\u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/bibref\u003e (accessed December 12, 2018).\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Strom, Stephanie. \"Robert Breen, 80, Arts Executive And Theatrical Producer, Is Dead.\" Nytimes.com.   (accessed December 12, 2018).","Oliver, Myrna. \"Robert Breen; Initiated Cultural Exchanges.\" Articles.latimes.com.   (accessed December 12, 2018).","Riedel, Michael. \"This theater's chaotic history includes a Titanic survivor, the 'Tonight' show and porn.\" Nypost.com.   (accessed December 12, 2018).","ANTA West records (Collection 1965). UCLA Library Special Collections, Charles E. Young Research Library, UCLA.   (accessed December 12, 2018)."],"bioghist_html_tesm":["\u003cp\u003eRobert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990.\u003c/p\u003e\n","\u003cp\u003e The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad.\u003c/p\u003e\n","\u003cp\u003e Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946.\u003c/p\u003e\n","\u003cp\u003e Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States.\u003c/p\u003e\n","\u003cp\u003e Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company.\u003c/p\u003e\n","\u003cp\u003e ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Note"],"bioghist_tesim":["Robert Breen, born December 26, 1909 in Hibbing, Minnesota, served as the Executive Secretary of the American National Theatre and Academy (ANTA) from 1946-1952, and was instrumental in much of the organization's success, both domestically and internationally. In addition to serving in the U.S. Army Air Corps, Breen had an extensive background in theater. Prior to joining ANTA, Breen founded a theater program at the College of St. Thomas in Saint Paul, Minnesota, as well as established the Chicago unit for the Works Progress Administration's Federal Theatre Project with his wife, Wilva Davis Breen. Wilva herself was instrumental in promoting and guiding ANTA's many and varied operations, and getting the organization off the ground. The Breens' apartment home - situated above the Hudson Theatre in New York City, NY - served as ANTA's early headquarters. Davis Breen served as Breen's constant support and collaborator until he passed away on March 31, 1990."," The American National Theatre and Academy (ANTA) was the United States' first national theater and dance organization, in the tradition of European national theaters. Originating in 1935 with a charter from the U.S. Congress, ANTA continued until 1966 when the National Endowment for the Arts came into being. ANTA was responsible for both the presentation of American theater in the U.S. and abroad."," Although officially formed in 1935, ANTA did not begin actual operation until 1946 due to a variety of factors, including the Great Depression and World War II. During the depression, federal funding was funnelled towards the Works Progress Administration's Federal Theatre Project, another national performing arts program. In addition to these setbacks, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA. Eventually, Robert Breen and Robert Porterfield, two men with Army and theater backgrounds, took the reins of ANTA and initiated its revitalization. Porterfield and Breen developed ANTA's \"Foundation Plan,\" with the intention of having ANTA become the foundation for and driving force behind the stimulation of growth of American theater. The plan, successfully undertaken by Breen, Porterfield, and Breen's wife Wilva Davis Breen, called for a National Foundation to make loans and grants, insure theater projects against loss, as well as a National Service Bureau to provide technical assistance for acting companies, as well as a national clearing house for theater information. The plan was adopted by the ANTA Board in 1946."," Under the guidance of Breen, ANTA produced several projects in the U.S. with successful results during the postwar years. From 1946 - 1948, ANTA sponsored a series of plays called the Experimental Theatre. Its goal was to \"present new, interesting plays which would not see production on Broadway due to present high costs.\" Admittedly, the plays were \"not necessarily perfect\" but \"worthy of a trial production in a simplified fashion\" according to an ANTA letter offering subscription to the series, which included high profile playwrights and actors. During the late 1940s and early 1950s ANTA sponsored a number of drama festivals across the U.S., featuring well-known actors. ANTA also featured a televised production of short plays for NBC television. With the intention of promoting theater growth in the U.S. and showcasing new talent, ANTA produced, supported, and promoted theater projects all across the United States."," Internationally, ANTA promoted artistic exchange between the U.S. and Europe, and entertained American troops there. This was initiated with a 1949 tour of William Shakespeare's \"Hamlet\" throughout Europe, produced by and starring Breen in the titular role. This tour famously culminated in a performance at Elsinore Castle in Denmark - the actual setting of the play. Perhaps ANTA's, as well as Breen's, greatest success came with the international tour of George Gershwin's \"Porgy and Bess\" (produced with Blevins Davis), which toured from 1952-1956, visiting 89 cities and 29 countries. The opera's performance in the Soviet Union was considered the first cultural exchange post-World War II between the U.S. and the Soviet Union. ANTA also sponsored the American National Ballet Theatre's tour of Europe in 1950, performing in eighteen cities and eight countries. The tour lasted from August to December of 1950 and played to an audience of over 150,000, and was the first international tour of any American ballet company."," ANTA also produced a number of Broadway plays and musicals out of the formerly named Guild Hall Theatre, renamed the ANTA Theatre in the 1960s and 1970s. ANTA West, which grew out of the Greater Los Angeles Chapter of ANTA in 1957, promoted and facilitated the growth of theater in the Southern California region."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert and Wilva Breen papers was donated to The Ohio State University.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert and Wilva Breen papers was donated to The Ohio State University."],"phystech_html_tesm":["\u003cp\u003eThe Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access.\u003c/p\u003e"],"phystech_heading_ssm":["Physical Characteristics and Technical Requirements"],"phystech_tesim":["The Special Collections Research Center does not have the equipment necessary to play  obsolete audiovisual material found in the found in the Robert and Wilva Breen papers. Additional time and money may be required to digitize this material for access."],"prefercite_html_tesm":["\u003cp\u003eRobert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Robert and Wilva Breen papers, C0004, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center Staff. EAD markup completed in February 2009 by Jordan Patty. Reprocessed by Amanda Brent from 2017-2018. EAD markup completed by Amanda Brent in December 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0145\" title=\"Porgy and Bess poster collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0002\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e, the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0043\" title=\"Robert C. Schnitzer papers\" show=\"new\"\u003e\u003c/extptr\u003e, and many other \u003cextptr href=\"https://scrc.gmu.edu/collections-subject.php#THEATRE\" title=\"performing arts collections.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003e The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the \u003cextptr href=\"https://library.osu.edu/collections/spec.tri.rb\" title=\"Robert Breen and Wilva papers.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003e The UCLA Library Special Collections, Charles E. Young Research Library holds the \u003cextptr href=\"https://oac.cdlib.org/findaid/ark:/13030/c8fn1762/\" title=\"ANTA West records.\" show=\"new\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center also holds the  , the  , the  , and many other "," The Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds the "," The UCLA Library Special Collections, Charles E. Young Research Library holds the "],"scopecontent_html_tesm":["\u003cp\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization from 1944 through the 1950s. The collection also contains many photographs of theaters and theatrical performances from across the United States, including from Broadway and Off-Broadway theaters and shows, as well as numerous colleges, universities, high schools, and local children's theaters. The bulk of the collection originates from the 1940s - 2000s, with an outlier date of 1834 from an antique newspaper."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ref348\"\u003eThe Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper.\u003c/abstract\u003e"],"abstract_tesim":["The Robert and Wilva Breen papers consists of correspondence, memoranda, newsclippings, photographs, notebooks, and audiovisual materials largely related to the creation and running of the American National Theater and Academy (ANTA), as well as Robert and Wilva Breen's long-term involvement with the organization. The bulk of the collection originates from 1933 - 2000s, with an outlier date of 1834 from an antique newspaper."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ddb931edc4f44bf997d326b2923a7505\"\u003eR2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1\u003c/physloc\u003e"],"physloc_tesim":["R2, C9, S3- C11, S7\nR3 C1 S1 - C2, S5\nOSR3, C4, S4\nMap Case 8.1-8.2, 9.1"],"names_coll_ssim":["American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Porterfield, Robert, 1905-1971"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","American National Ballet Theater","American National Theatre and Academy","ANTA (Organization)","ANTA West (Organization)","Breen, Robert","Breen, Wilva","Porterfield, Robert, 1905-1971"],"corpname_ssim":["George Mason University. Libraries. 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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. 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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.","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"],"unitid_tesim":["C0043","/repositories/2/resources/156"],"normalized_title_ssm":["Robert C. Schnitzer papers"],"collection_title_tesim":["Robert C. Schnitzer papers"],"collection_ssim":["Robert C. 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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"],"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"],"physloc_tesim":["R20, C3, S1 \nR20, C3, S4-S7"],"names_coll_ssim":["ANTA (Organization)","University of Michigan. Professional Theatre Program"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. 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","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. 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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.","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"],"unitid_tesim":["C0043","/repositories/2/resources/156"],"normalized_title_ssm":["Robert C. Schnitzer papers"],"collection_title_tesim":["Robert C. Schnitzer papers"],"collection_ssim":["Robert C. Schnitzer papers"],"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."],"creators_ssim":["Schnitzer, Robert C."],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["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\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 Bernstein. Many of these performers played to audiences in Berlin, Moscow, and other locations behind the Iron Curtain. \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 - \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. 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."],"prefercite_html_tesm":["\u003cp\u003eRobert C. Schnitzer papers, C0043, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Robert C. Schnitzer papers, C0043, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed 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.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["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."],"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 and many collections on the \u003cextptr show=\"new\" title=\"Federal Theatre Project.\" href=\"https://aspace.gmu.edu/search?utf8=%E2%9C%93\u0026amp;op%5B%5D=\u0026amp;q%5B%5D=federal+theatre+project\u0026amp;limit=\u0026amp;field%5B%5D=\u0026amp;from_year%5B%5D=\u0026amp;to_year%5B%5D=\u0026amp;commit=Search\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the   and many collections on the "],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the Robert C. 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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"],"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"],"physloc_tesim":["R20, C3, S1 \nR20, C3, S4-S7"],"names_coll_ssim":["ANTA (Organization)","University of Michigan. Professional Theatre Program"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. Professional Theatre Program","Schnitzer, Robert C."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","ANTA (Organization)","University of Michigan. 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The theatre was renamed the Royal Victoria following a remodel in 1833 and become known popularly as \"the Old Vic.\" In 1880 it came under the management of Emma Cons (1838-1912), a well-known social reformer, and the theatre transformed into the Royal Victoria Hall and Coffee Tavern, focusing on temperance amusements such as music concerts and scenes from Shakespeare and operas. In 1912, Cons' niece Lilian Baylis (1874-1937) took over management of the theatre and in 1914 introduced the company's first regular Shakespeare season. By 1918 the Old Vic was established as London's only permanent Shakespearean theatre and by 1923 had performed productions of all of Shakespeare's plays.","The Old Vic continued to grow throughout the 1920s and 1930s, but the physical building was damaged during German airs raids in 1940 causing the company to be temporarily relocated. Following World War II, the theatre building reopened in November 1950 and was granted Grade II listed building status in 1951. When Laurence Olivier was appointed as first director of the National Theatre in 1962, which had been established in 1946, the governors of the Old Vic offered their building as its temporary home and in 1963 the Old Vic company was disbanded.","Processing completed by Meghan Glasbrenner in January 2026. Finding aid completed by Meghan Glasbrenner in February 2026.","The Special Collections Research Center holds other  theatrical programs , such as the  Mary Lavigne programs collection  and  Broadway souvenir theatre programs collection .","The University of Bristol holds the  Old Vic (London) Archive .","The Old Vic Company program for the 1958-1959 North American tour featuring productions of three plays by William Shakespeare:  Hamlet ,  Twelfth Night , and  Henry V . This is a full season program that contains full production credits for each show title, including cast and crew bios, notes from the director, and selected favorite scenes from the play with text from the script. The program also includes general historical information on the Old Vic and features credits for Judi Dench in one of her first professional seasons as a stage actress.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Old Vic Company program for the 1958-1959 North American tour featuring productions of three plays by William Shakespeare:  Hamlet ,  Twelfth Night , and  Henry V .","R 73, C 2, S 4","George Mason University. Libraries. 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The theatre was renamed the Royal Victoria following a remodel in 1833 and become known popularly as \"the Old Vic.\" In 1880 it came under the management of Emma Cons (1838-1912), a well-known social reformer, and the theatre transformed into the Royal Victoria Hall and Coffee Tavern, focusing on temperance amusements such as music concerts and scenes from Shakespeare and operas. In 1912, Cons' niece Lilian Baylis (1874-1937) took over management of the theatre and in 1914 introduced the company's first regular Shakespeare season. By 1918 the Old Vic was established as London's only permanent Shakespearean theatre and by 1923 had performed productions of all of Shakespeare's plays.\u003c/p\u003e\n","\u003cp\u003eThe Old Vic continued to grow throughout the 1920s and 1930s, but the physical building was damaged during German airs raids in 1940 causing the company to be temporarily relocated. Following World War II, the theatre building reopened in November 1950 and was granted Grade II listed building status in 1951. When Laurence Olivier was appointed as first director of the National Theatre in 1962, which had been established in 1946, the governors of the Old Vic offered their building as its temporary home and in 1963 the Old Vic company was disbanded.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Old Vic Theatre Company was founded in 1818 as the Royal Coburg Theatre and was originally known for producing primarily popular melodramas. The theatre was renamed the Royal Victoria following a remodel in 1833 and become known popularly as \"the Old Vic.\" In 1880 it came under the management of Emma Cons (1838-1912), a well-known social reformer, and the theatre transformed into the Royal Victoria Hall and Coffee Tavern, focusing on temperance amusements such as music concerts and scenes from Shakespeare and operas. In 1912, Cons' niece Lilian Baylis (1874-1937) took over management of the theatre and in 1914 introduced the company's first regular Shakespeare season. By 1918 the Old Vic was established as London's only permanent Shakespearean theatre and by 1923 had performed productions of all of Shakespeare's plays.","The Old Vic continued to grow throughout the 1920s and 1930s, but the physical building was damaged during German airs raids in 1940 causing the company to be temporarily relocated. Following World War II, the theatre building reopened in November 1950 and was granted Grade II listed building status in 1951. When Laurence Olivier was appointed as first director of the National Theatre in 1962, which had been established in 1946, the governors of the Old Vic offered their building as its temporary home and in 1963 the Old Vic company was disbanded."],"prefercite_html_tesm":["\u003cp\u003eThe Old Vic Company North American tour program, C0545, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["The Old Vic Company North American tour program, C0545, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in January 2026. Finding aid completed by Meghan Glasbrenner in February 2026.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in January 2026. Finding aid completed by Meghan Glasbrenner in February 2026."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other \u003ca href=\"https://aspace.gmu.edu/subjects/sh85134577\"\u003etheatrical programs\u003c/a\u003e, such as the \u003ca href=\"https://aspace.gmu.edu/resources/c0417\"\u003eMary Lavigne programs collection\u003c/a\u003e and \u003ca href=\"https://aspace.gmu.edu/resources/c0182\"\u003eBroadway souvenir theatre programs collection\u003c/a\u003e.\u003c/p\u003e\n","\u003cp\u003eThe University of Bristol holds the \u003ca href=\"https://www.bristol.ac.uk/theatre-collection/explore/theatre/old-vic-london-archive/\"\u003eOld Vic (London) Archive\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other  theatrical programs , such as the  Mary Lavigne programs collection  and  Broadway souvenir theatre programs collection .","The University of Bristol holds the  Old Vic (London) Archive ."],"scopecontent_html_tesm":["\u003cp\u003eThe Old Vic Company program for the 1958-1959 North American tour featuring productions of three plays by William Shakespeare: \u003citalic\u003eHamlet\u003c/italic\u003e, \u003citalic\u003eTwelfth Night\u003c/italic\u003e, and \u003citalic\u003eHenry V\u003c/italic\u003e. This is a full season program that contains full production credits for each show title, including cast and crew bios, notes from the director, and selected favorite scenes from the play with text from the script. The program also includes general historical information on the Old Vic and features credits for Judi Dench in one of her first professional seasons as a stage actress.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Old Vic Company program for the 1958-1959 North American tour featuring productions of three plays by William Shakespeare:  Hamlet ,  Twelfth Night , and  Henry V . This is a full season program that contains full production credits for each show title, including cast and crew bios, notes from the director, and selected favorite scenes from the play with text from the script. 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Libraries. Special Collections Research Center","Old Vic Company","Shakespeare, William, 1564-1616"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Old Vic Company"],"names_coll_ssim":["Shakespeare, William, 1564-1616"],"persname_ssim":["Shakespeare, William, 1564-1616"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:34:09.511Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_770","ead_ssi":"vifgm_repositories_2_resources_770","_root_":"vifgm_repositories_2_resources_770","_nest_parent_":"vifgm_repositories_2_resources_770","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_770.xml","title_filing_ssi":"The Old Vic Company North American tour program","title_ssm":["The Old Vic Company North American tour program"],"title_tesim":["The Old Vic Company North American tour program"],"unitdate_ssm":["1958-1959"],"unitdate_inclusive_ssm":["1958-1959"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0545","/repositories/2/resources/770"],"text":["C0545","/repositories/2/resources/770","The Old Vic Company North American tour program","Performing arts","Theater","Theater programs","Theater -- Europe","Theater -- England -- London","There are no access restrictions.","This is a single item collection.","Britannica. 2024. \"Old Vic.\" September 27. https://www.britannica.com/topic/Old-Vic-London-theatrical-company.","Theatre Collection | University of Bristol. n.d. \"Old Vic (London) Archive.\" Accessed January 28, 2026. https://www.bristol.ac.uk/theatre-collection/explore/theatre/old-vic-london-archive/.","The Old Vic Theatre Company was founded in 1818 as the Royal Coburg Theatre and was originally known for producing primarily popular melodramas. The theatre was renamed the Royal Victoria following a remodel in 1833 and become known popularly as \"the Old Vic.\" In 1880 it came under the management of Emma Cons (1838-1912), a well-known social reformer, and the theatre transformed into the Royal Victoria Hall and Coffee Tavern, focusing on temperance amusements such as music concerts and scenes from Shakespeare and operas. In 1912, Cons' niece Lilian Baylis (1874-1937) took over management of the theatre and in 1914 introduced the company's first regular Shakespeare season. By 1918 the Old Vic was established as London's only permanent Shakespearean theatre and by 1923 had performed productions of all of Shakespeare's plays.","The Old Vic continued to grow throughout the 1920s and 1930s, but the physical building was damaged during German airs raids in 1940 causing the company to be temporarily relocated. Following World War II, the theatre building reopened in November 1950 and was granted Grade II listed building status in 1951. When Laurence Olivier was appointed as first director of the National Theatre in 1962, which had been established in 1946, the governors of the Old Vic offered their building as its temporary home and in 1963 the Old Vic company was disbanded.","Processing completed by Meghan Glasbrenner in January 2026. Finding aid completed by Meghan Glasbrenner in February 2026.","The Special Collections Research Center holds other  theatrical programs , such as the  Mary Lavigne programs collection  and  Broadway souvenir theatre programs collection .","The University of Bristol holds the  Old Vic (London) Archive .","The Old Vic Company program for the 1958-1959 North American tour featuring productions of three plays by William Shakespeare:  Hamlet ,  Twelfth Night , and  Henry V . This is a full season program that contains full production credits for each show title, including cast and crew bios, notes from the director, and selected favorite scenes from the play with text from the script. The program also includes general historical information on the Old Vic and features credits for Judi Dench in one of her first professional seasons as a stage actress.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Old Vic Company program for the 1958-1959 North American tour featuring productions of three plays by William Shakespeare:  Hamlet ,  Twelfth Night , and  Henry V .","R 73, C 2, S 4","George Mason University. Libraries. 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Following World War II, the theatre building reopened in November 1950 and was granted Grade II listed building status in 1951. When Laurence Olivier was appointed as first director of the National Theatre in 1962, which had been established in 1946, the governors of the Old Vic offered their building as its temporary home and in 1963 the Old Vic company was disbanded.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Old Vic Theatre Company was founded in 1818 as the Royal Coburg Theatre and was originally known for producing primarily popular melodramas. The theatre was renamed the Royal Victoria following a remodel in 1833 and become known popularly as \"the Old Vic.\" In 1880 it came under the management of Emma Cons (1838-1912), a well-known social reformer, and the theatre transformed into the Royal Victoria Hall and Coffee Tavern, focusing on temperance amusements such as music concerts and scenes from Shakespeare and operas. In 1912, Cons' niece Lilian Baylis (1874-1937) took over management of the theatre and in 1914 introduced the company's first regular Shakespeare season. By 1918 the Old Vic was established as London's only permanent Shakespearean theatre and by 1923 had performed productions of all of Shakespeare's plays.","The Old Vic continued to grow throughout the 1920s and 1930s, but the physical building was damaged during German airs raids in 1940 causing the company to be temporarily relocated. Following World War II, the theatre building reopened in November 1950 and was granted Grade II listed building status in 1951. 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Finding aid completed by Meghan Glasbrenner in February 2026."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds other \u003ca href=\"https://aspace.gmu.edu/subjects/sh85134577\"\u003etheatrical programs\u003c/a\u003e, such as the \u003ca href=\"https://aspace.gmu.edu/resources/c0417\"\u003eMary Lavigne programs collection\u003c/a\u003e and \u003ca href=\"https://aspace.gmu.edu/resources/c0182\"\u003eBroadway souvenir theatre programs collection\u003c/a\u003e.\u003c/p\u003e\n","\u003cp\u003eThe University of Bristol holds the \u003ca href=\"https://www.bristol.ac.uk/theatre-collection/explore/theatre/old-vic-london-archive/\"\u003eOld Vic (London) Archive\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds other  theatrical programs , such as the  Mary Lavigne programs collection  and  Broadway souvenir theatre programs collection .","The University of Bristol holds the  Old Vic (London) Archive ."],"scopecontent_html_tesm":["\u003cp\u003eThe Old Vic Company program for the 1958-1959 North American tour featuring productions of three plays by William Shakespeare: \u003citalic\u003eHamlet\u003c/italic\u003e, \u003citalic\u003eTwelfth Night\u003c/italic\u003e, and \u003citalic\u003eHenry V\u003c/italic\u003e. 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