{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--United+States.\u0026f%5Bdate_range%5D%5B%5D=1971\u0026view=list","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Theater--United+States.\u0026f%5Bdate_range%5D%5B%5D=1971\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":2,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_vifgm00068","type":"collection","attributes":{"title":"Arthur Peterson papers, 1940/1987","creator":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00068#creator","type":"document_value","attributes":{"value":"Arthur Peterson, 1912-1996","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00068#abstract_or_scope","type":"document_value","attributes":{"value":"Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00068#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_vifgm00068","ead_ssi":"vifgm_vifgm00068","_root_":"vifgm_vifgm00068","_nest_parent_":"vifgm_vifgm00068","ead_source_url_ssi":"data/gmu/vifgm00068.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Arthur Peterson papers"],"title_tesim":["Arthur Peterson papers"],"unitdate_ssm":["1940-1987"],"unitdate_inclusive_ssm":["1940-1987"],"normalized_date_ssm":["1940/1987"],"normalized_title_ssm":["Arthur Peterson papers, 1940/1987"],"text":["Arthur Peterson papers, 1940/1987","C0027","Situation comedies (Television programs)","Television programs--United States.","Theater--United States.","Collection is open to research.","This collection is arranged alphabetically by subject and production title.","Arthur Peterson played character and supporting roles on stage, television, and feature films. On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996.","Processed by Special Collections and Archives staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty.","Special Collections and Archives also holds many other theatre collections.","Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.","There are no restrictions.","Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.","George Mason University. Special Collections and Archives.","Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996.","English"],"collection_title_tesim":["Arthur Peterson papers, 1940/1987"],"collection_ssim":["Arthur Peterson papers, 1940/1987"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0027"],"unitid_tesim":["C0027"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arthur Peterson, 1912-1996"],"creator_ssim":["Arthur Peterson, 1912-1996"],"creator_persname_ssim":["Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996."],"creator_corpname_ssim":["George Mason University. Special Collections and Archives."],"creators_ssim":["Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996.","George Mason University. 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On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996. \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Arthur Peterson played character and supporting roles on stage, television, and feature films. On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996."],"prefercite_html_tesm":["\u003cp\u003eArthur Peterson papers, Collection #C0027, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Peterson papers, Collection #C0027, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds many other \u003cextref type=\"simple\" href=\"http://sca.gmu.edu/our_collections.htm#THEATRE\"\u003etheatre collections\u003c/extref\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds many other theatre collections."],"scopecontent_html_tesm":["\u003cp\u003eCollection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eCollection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson."],"corpname_ssim":["George Mason University. Special Collections and Archives."],"persname_ssim":["Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996."],"names_ssim":["George Mason University. Special Collections and Archives.","Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996."],"language_ssim":["English"],"total_component_count_is":311,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:37.810Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_vifgm00068","ead_ssi":"vifgm_vifgm00068","_root_":"vifgm_vifgm00068","_nest_parent_":"vifgm_vifgm00068","ead_source_url_ssi":"data/gmu/vifgm00068.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Arthur Peterson papers"],"title_tesim":["Arthur Peterson papers"],"unitdate_ssm":["1940-1987"],"unitdate_inclusive_ssm":["1940-1987"],"normalized_date_ssm":["1940/1987"],"normalized_title_ssm":["Arthur Peterson papers, 1940/1987"],"text":["Arthur Peterson papers, 1940/1987","C0027","Situation comedies (Television programs)","Television programs--United States.","Theater--United States.","Collection is open to research.","This collection is arranged alphabetically by subject and production title.","Arthur Peterson played character and supporting roles on stage, television, and feature films. On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996.","Processed by Special Collections and Archives staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty.","Special Collections and Archives also holds many other theatre collections.","Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.","There are no restrictions.","Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.","George Mason University. Special Collections and Archives.","Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996.","English"],"collection_title_tesim":["Arthur Peterson papers, 1940/1987"],"collection_ssim":["Arthur Peterson papers, 1940/1987"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0027"],"unitid_tesim":["C0027"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Arthur Peterson, 1912-1996"],"creator_ssim":["Arthur Peterson, 1912-1996"],"creator_persname_ssim":["Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996."],"creator_corpname_ssim":["George Mason University. Special Collections and Archives."],"creators_ssim":["Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996.","George Mason University. Special Collections and Archives."],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Collection donated by Lorraine Brown in 1992"],"access_subjects_ssim":["Situation comedies (Television programs)","Television programs--United States.","Theater--United States."],"access_subjects_ssm":["Situation comedies (Television programs)","Television programs--United States.","Theater--United States."],"has_online_content_ssim":["false"],"extent_ssm":["12 linear feet (33 boxes)"],"extent_tesim":["12 linear feet (33 boxes)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged alphabetically by subject and production title.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged alphabetically by subject and production title."],"bioghist_html_tesm":["\u003cp\u003eArthur Peterson played character and supporting roles on stage, television, and feature films. On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996. \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Arthur Peterson played character and supporting roles on stage, television, and feature films. On television, fans of the series Soap (1977-1981), a spoof on soap operas, may remember Peterson as the Major. Born in North Dakota, Peterson first obtained a degree in theater from the University of Minnesota before becoming a professional actor with the Federal Theater Project. Peterson made his media debut in 1936 with a regular role on the radio serial The Guiding Light. During WWII, Peterson fought within General Patton's third regiment. Upon his discharge, Peterson appeared in the ABC network's first situation comedy, That's O'Toole. Peterson's stage work included appearances in such plays as Inherit the Wind. His film credits include Return to Peyton Place (1961), Born Wild (1968), the television movie Rollercoaster (1977), and Just Pals (1982). Peterson spent 1981 to 1991 touring the country with his wife in a Pasadena Playhouse production of The Gin Game. When the play's long run ended, Peterson retired from acting. He passed away on October 31, 1996."],"prefercite_html_tesm":["\u003cp\u003eArthur Peterson papers, Collection #C0027, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Arthur Peterson papers, Collection #C0027, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives staff. EAD markup completed in March 2009 by Eron Ackerman and Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds many other \u003cextref type=\"simple\" href=\"http://sca.gmu.edu/our_collections.htm#THEATRE\"\u003etheatre collections\u003c/extref\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds many other theatre collections."],"scopecontent_html_tesm":["\u003cp\u003eCollection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eCollection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["Collection contains materials relating to Peterson's long acting career. Types of materials include scripts to his television, film, and stage roles, correspondence, and props used by Peterson."],"corpname_ssim":["George Mason University. Special Collections and Archives."],"persname_ssim":["Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996."],"names_ssim":["George Mason University. Special Collections and Archives.","Arthur Peterson, 1912-1996","Peterson, Arthur, 1912-1996."],"language_ssim":["English"],"total_component_count_is":311,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:37.810Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_vifgm00068"}},{"id":"vifgm_vifgm00039","type":"collection","attributes":{"title":"Robert S. Breen papers, 1935/1973","creator":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00039#creator","type":"document_value","attributes":{"value":"Robert S. Breen","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00039#abstract_or_scope","type":"document_value","attributes":{"value":"The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer. The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy. ","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_vifgm00039#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_vifgm00039","ead_ssi":"vifgm_vifgm00039","_root_":"vifgm_vifgm00039","_nest_parent_":"vifgm_vifgm00039","ead_source_url_ssi":"data/gmu/vifgm00039.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Robert S. Breen papers"],"title_tesim":["Robert S. Breen papers"],"unitdate_ssm":["1935-1973"],"unitdate_inclusive_ssm":["1935-1973"],"normalized_date_ssm":["1935/1973"],"normalized_title_ssm":["Robert S. Breen papers, 1935/1973"],"text":["Robert S. Breen papers, 1935/1973","C0004","Theater--United States.","Collection is open to research.","Selections from the Robert Breen papers are also available in the .","In 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room.","Organized alphabetically according to subject and topic.","In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.","When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.","In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.","Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.","Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.","Part of the Robert Breen collection was donated to Ohio State University.","Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.","Special Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.","Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the .","The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.","There are no restrictions.","The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.","George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)","Robert S. Breen","Breen, Robert S.","English."],"collection_title_tesim":["Robert S. Breen papers, 1935/1973"],"collection_ssim":["Robert S. Breen papers, 1935/1973"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004"],"unitid_tesim":["C0004"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Robert S. Breen"],"creator_ssim":["Robert S. Breen"],"creator_persname_ssim":["Robert S. Breen","Breen, Robert S."],"creator_corpname_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"creators_ssim":["Robert S. Breen","Breen, Robert S.","George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by the trustees of the Robert Breen Collection in 1988 and Wilva Breen and Ohio State University in 1989.","Additional donations from Diana Lawrence and Mike Timoney in 2010."],"access_subjects_ssim":["Theater--United States."],"access_subjects_ssm":["Theater--United States."],"has_online_content_ssim":["false"],"extent_ssm":["67.5 linear feet (139 boxes)"],"extent_tesim":["67.5 linear feet (139 boxes)"],"date_range_isim":[1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert Breen papers are also available in the \u003cextptr type=\"simple\" title=\"Robert Breen/ANTA digital collection\" show=\"new\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/bren/bren.shtml\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n        ","\u003cp\u003eIn 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room.\u003c/p\u003e\n      "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert Breen papers are also available in the .","In 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room."],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically according to subject and topic.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized alphabetically according to subject and topic."],"bioghist_html_tesm":["\u003cp\u003eIn the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.\u003c/p\u003e\n      ","\u003cp\u003eWhen the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.\u003c/p\u003e\n      ","\u003cp\u003eIn 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.\u003c/p\u003e\n      ","\u003cp\u003eRobert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.\u003c/p\u003e\n      ","\u003cp\u003eThus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.  \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.","When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.","In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.","Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.","Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert Breen collection was donated to Ohio State University. \u003c/p\u003e\n      "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert Breen collection was donated to Ohio State University."],"prefercite_html_tesm":["\u003cp\u003eRobert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Robert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.\n\u003c/p\u003e\n        ","\u003cp\u003eOhio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the \u003cextptr type=\"simple\" title=\"Robert Breen collection\" show=\"new\" href=\"http://library.osu.edu/find/collections/theater-research-institute/personal-papers-and-special-collections/robert-breen-papers/\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.","Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the ."],"scopecontent_html_tesm":["\u003cp\u003eThe Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy."],"corpname_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"persname_ssim":["Robert S. Breen","Breen, Robert S."],"names_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)","Robert S. Breen","Breen, Robert S."],"language_ssim":["English."],"total_component_count_is":1398,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:32.838Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_vifgm00039","ead_ssi":"vifgm_vifgm00039","_root_":"vifgm_vifgm00039","_nest_parent_":"vifgm_vifgm00039","ead_source_url_ssi":"data/gmu/vifgm00039.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/","title_ssm":["Robert S. Breen papers"],"title_tesim":["Robert S. Breen papers"],"unitdate_ssm":["1935-1973"],"unitdate_inclusive_ssm":["1935-1973"],"normalized_date_ssm":["1935/1973"],"normalized_title_ssm":["Robert S. Breen papers, 1935/1973"],"text":["Robert S. Breen papers, 1935/1973","C0004","Theater--United States.","Collection is open to research.","Selections from the Robert Breen papers are also available in the .","In 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room.","Organized alphabetically according to subject and topic.","In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.","When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.","In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.","Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.","Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.","Part of the Robert Breen collection was donated to Ohio State University.","Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.","Special Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.","Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the .","The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.","There are no restrictions.","The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.","George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)","Robert S. Breen","Breen, Robert S.","English."],"collection_title_tesim":["Robert S. Breen papers, 1935/1973"],"collection_ssim":["Robert S. Breen papers, 1935/1973"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0004"],"unitid_tesim":["C0004"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Robert S. Breen"],"creator_ssim":["Robert S. Breen"],"creator_persname_ssim":["Robert S. Breen","Breen, Robert S."],"creator_corpname_ssim":["George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"creators_ssim":["Robert S. Breen","Breen, Robert S.","George Mason University.\nSpecial Collections and Archives.","ANTA (Organization)"],"access_terms_ssm":["There are no restrictions."],"acqinfo_ssim":["Donated by the trustees of the Robert Breen Collection in 1988 and Wilva Breen and Ohio State University in 1989.","Additional donations from Diana Lawrence and Mike Timoney in 2010."],"access_subjects_ssim":["Theater--United States."],"access_subjects_ssm":["Theater--United States."],"has_online_content_ssim":["false"],"extent_ssm":["67.5 linear feet (139 boxes)"],"extent_tesim":["67.5 linear feet (139 boxes)"],"date_range_isim":[1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\n\u003c/p\u003e\n      "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research."],"altformavail_html_tesm":["\u003cp\u003eSelections from the Robert Breen papers are also available in the \u003cextptr type=\"simple\" title=\"Robert Breen/ANTA digital collection\" show=\"new\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/bren/bren.shtml\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n        ","\u003cp\u003eIn 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room.\u003c/p\u003e\n      "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["Selections from the Robert Breen papers are also available in the .","In 2009 the audiotape reels in boxes 134-139 were converted to digital format and are available for use \nin the Special Collections and Archives reading room."],"arrangement_html_tesm":["\u003cp\u003eOrganized alphabetically according to subject and topic.\n\u003c/p\u003e\n    "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized alphabetically according to subject and topic."],"bioghist_html_tesm":["\u003cp\u003eIn the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.\u003c/p\u003e\n      ","\u003cp\u003eWhen the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.\u003c/p\u003e\n      ","\u003cp\u003eIn 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.\u003c/p\u003e\n      ","\u003cp\u003eRobert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.\u003c/p\u003e\n      ","\u003cp\u003eThus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.  \n\u003c/p\u003e\n    "],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.","When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.","In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.","Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.","Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. \nInternationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess."],"custodhist_html_tesm":["\u003cp\u003ePart of the Robert Breen collection was donated to Ohio State University. \u003c/p\u003e\n      "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Part of the Robert Breen collection was donated to Ohio State University."],"prefercite_html_tesm":["\u003cp\u003eRobert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University.\n\u003c/p\u003e\n      "],"prefercite_tesim":["Robert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.\n\u003c/p\u003e\n      "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.\n\u003c/p\u003e\n        ","\u003cp\u003eOhio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the \u003cextptr type=\"simple\" title=\"Robert Breen collection\" show=\"new\" href=\"http://library.osu.edu/find/collections/theater-research-institute/personal-papers-and-special-collections/robert-breen-papers/\"\u003e\u003c/extptr\u003e.\n\u003c/p\u003e\n      "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives also holds the Federal Theatre Project collection and the Arena Stage records.","Ohio State University Libraries' Jerome Lawrence and Robert E. Lee Theatre Research Institute holds extentsive materials on Porgy and Bess as well as other productions in the ."],"scopecontent_html_tesm":["\u003cp\u003eThe Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.\n\u003c/p\u003e\n    "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions.\n\u003c/p\u003e\n      "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions."],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer.  The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.\n\u003c/abstract\u003e\n    "],"abstract_tesim":["The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. 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