- unitid
-
{"value"=>"*T-Mss 1988-005", "type"=>"local_call"}
{"value"=>"21263", "type"=>"local_mss"}
- unitdate
-
{"value"=>"1945-1991", "type"=>"inclusive", "normal"=>"1945/1991"}
- unittitle
-
{"value"=>"Living Theatre records"}
- physdesc
-
{"format"=>"simple", "value"=>"22.5 linear feet (63 boxes)"}
- repository
-
{"value"=>"<span class=\"corpname\">The New York Public Library. Billy Rose Theatre Division.</span><div class=\"address\"> <span class=\"addressline\">New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center</span> <span class=\"addressline\">40 Lincoln Center Plaza, New York, NY 10023-7498</span></div>"}
- abstract
-
{"audience"=>"external", "value"=>"The Living Theatre was founded by Judith Malina and Julian Beck in 1947. The records consist of scripts and related performance papers. Also included are business papers, financial records, clippings, diaries, photographs and correspondence. There is little material reflecting the personal lives of Malina and Beck."}
- prefercite
-
{"value"=>"<p>Living Theatre Records, *T-Mss 1988-005, Billy Rose Theatre Division, The New York Public Library for the Performing Arts.</p>"}
- origination
-
{"value"=>"Living Theatre (New York, N.Y.)", "type"=>"corpname"}
- bioghist
-
{"value"=>"<p>The Living Theatre was founded in 1947 by<span class=\"persname\"> Judith Malina</span>(1926-), a student of Erwin Piscator, and <span class=\"persname\">Julian Beck</span> (1925-1985), an abstract expressionist painter of the New York School. The name reflected the founders' desire to create a theater essentially of its own time, which would be a part of the community. It also reflected their vision of a theater that would challenge and move the audience. In planning for the development of the Living Theatre, Malina and Beck, who were married in 1948, consulted and collaborated with many people including Robert Edmond Jones, Jean Cocteau, John Cage, Paul Goodman, Eric Bentley, Frederick Kiesler, Aline Bernstein and others, some of whom became \"Sponsors\" of the Living Theatre. The first performances of the Living Theatre were presented in the Becks' apartment in 1951. Later that year, the Living Theatre moved to the Cherry Lane Theatre, and inaugurated their initial season with Gertrude Stein's <span class=\"title\">Dr. Faustus Lights the Lights</span>, Paul Goodman's <span class=\"title\">Faustina</span>, and Kenneth Rexroth's <span class=\"title\">Beyond the Mountains</span>.</p> <p>During the 1950s the Living Theatre continued to stage plays by Pablo Picasso, August Strindberg, Luigi Pirandello, Paul Goodman, Claude Fredericks, T.S. Eliot, Jean Cocteau and William Carlos Williams. They also staged performances by contemporary poets and performing artists including Dylan Thomas, John Cage, Alan Hovhaness, Lucia Dlugoszewski, Judith Martin, James Waring, Allen Ginsberg and Willard Maas.</p> <p>In 1954 the Living Theatre moved to a loft at Broadway and 100th Street. By 1958, they had moved into their 14th Street theater where they were to remain until the Internal Revenue Service forced their closing in 1963. Among the highlights of their years at 14th Street were productions of <span class=\"title\">Many Loves</span> by William Carlos Williams, <span class=\"title\">The Connection</span> by Jack Gelber, <span class=\"title\">The Marrying Maiden</span> by Jackson MacLow, <span class=\"title\">In the Jungle of the Cities</span> by Bertolt Brecht and <span class=\"title\">The Brig</span> by Kenneth H. Brown.</p> <p>An invitation to participate at the Theatres des Nations festival in Paris prompted the Living Theatre's first tour of Europe in the summer of 1961. The company performed <span class=\"title\">The Connection</span>, <span class=\"title\">In the Jungle of the Cities</span>, and <span class=\"title\">Many Loves</span> and was awarded the Grand Prix of the festival. The tour also included Italy and Germany, and the success of these performances was reflected in a series of invitations to return to Europe in 1962.</p> <p>In 1964 the Becks were indicted by a Federal Grand Jury in connection with their protests against the eviction from the 14th Street theater. Malina and Beck were found guilty, but were allowed to fulfill their obligations to perform in England before serving their sentences. In early 1965, having served their sentences, they re-joined the company in Europe, beginning a voluntary exile that lasted several years. During this period the Living Theatre performed throughout Europe staging Genet's <span class=\"title\">The Maids</span>, as well as their own works, often created collectively, and evolving from performance to performance. These included <span class=\"title\">Mysteries and Smaller Pieces</span>, <span class=\"title\">Paradise Now</span> and <span class=\"title\">Frankenstein</span>.</p> <p>The Living Theatre returned to the United States in 1968 and gave their first American performance of <span class=\"title\">Mysteries and Smaller Pieces</span> at the Yale School of Drama. As a communal theater, they toured the United States before returning to Europe in March of 1969. In 1970-1971, the Becks took the Living Theatre to Brazil, where they performed in the streets, developing the cycle of plays titled <span class=\"title\">The Legacy of Cain</span>. Arrested on alleged possession of marijuana, Malina, Beck and other members of the company were imprisoned in Brazil. Upon their return to the United States they performed in the streets of Pittsburgh, staging <span class=\"title\">The Legacy of Cain</span>, including, <span class=\"title\">Six Public Acts</span> and <span class=\"title\">The Money Tower</span>. In 1975 the Living Theatre returned to Europe, and from their base in Rome continued to bring their vision of a pacifist anarchism to the streets, in an effort to reach audiences who might never enter a theater.</p> <p>In 1984 the Living Theatre came back to the United States again and performed a repertory of four works: <span class=\"title\">The Archaeology of Sleep</span>, the last project completed by Julian Beck before his death in 1985, <span class=\"title\">Antigone</span>, <span class=\"title\">The Yellow Methuselah</span> and <span class=\"title\">The One and the Many</span> by Ernest Toller. In May 1989, Judith Malina and Hanon Reznikov opened the Living Theatre on Third Street in Manhattan with Armand Schwerner's <span class=\"title\">The Tablets</span>. It was the Theatre's first New York home in 26 years and where they continue to perform.</p>"}
- custodhist
-
{"value"=>"<p>The records of the Living Theatre were donated to The Billy Rose Theatre Division over a period of time beginning in 1964. The first installment, donated by Julian Beck included correspondence, programs, posters, production files and scripts. In 1988 the Billy Rose Theatre Division received another substantial gift of Living Theatre records from Judith Malina.</p>"}
- scopecontent
-
{"value"=>"<p>The records of the <span class=\"corpname\">Living Theatre</span> span the years 1945-1991 and document the development of the company from its earliest performances, through its period of exile in Europe and work in Brazil, to its contemporary performances at the permanent theater in New York City. The records include <span class=\"genreform\">correspondence</span>, financial papers, legal papers, production files, notebooks and calendars, <span class=\"genreform\">scripts</span>, programs, photographs, promotional materials, clippings, and oversize files. There are a few family letters present, but little in the collection can be categorized as personal papers. However, because the Living Theatre was so much a part of their lives, the records mirror a personal history of <span class=\"persname\">Judith Malina</span> and <span class=\"persname\">Julian Beck</span> through their work in developing this unique form of theater.</p>"}
{"value"=>"<p class='list-head'>The Living Theatre records are arranged in thirteen series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/the/21263#c291532'>Series I: General Correspondence</a></div>\n<div class='series-date'>1946-1964</div>\n<div class='series-description'><p>General correspondence, incoming and outgoing, is arranged chronologically. Included are letters regarding production rights, requests for publicity, invitations to critics, appeals for funds, and requests for tickets. The correspondence documents many aspects of managing the <span class=\"corpname\">Living Theatre</span>, encompassing fund raising, translations of works to be performed, literary rights and royalties, and exchanges with critics, subscribers, and audiences. Early <span class=\"genreform\">correspondence</span>, ca. 1946-1948 includes letters to and from <span class=\"persname\">Judith Malina</span> and <span class=\"persname\">Julian Beck</span> regarding an announcement they placed in the <span class=\"title\">Saturday Review of Literature</span> to find people for their new theater. There are also copies of letters from Malina and Beck to notable theater people asking for interviews and a chance to discuss their plans for creating a new and unique theater group. Subjects also include plans for various theater locations, European tours and the possibility of starting a school. The correspondence includes letters to and from friends, colleagues, critics, actors, supporters, literary agents, translators, and audience members. Both personal matters and business concerns are discussed.</p> <p>Among the correspondents (some of these are represented by only one or two letters) are: <span class=\"persname\">Marta Abba</span>, <span class=\"persname\">Joseph Campbell</span>, <span class=\"persname\">Grant Code</span>, <span class=\"persname\">Glyn Collins</span>, <span class=\"persname\">Jean Erdman</span>, <span class=\"persname\">Claude Fredericks</span>, <span class=\"persname\">Paul Goodman</span>, <span class=\"persname\">H.B. Lutz</span>, <span class=\"persname\">Willard Maas</span>, <span class=\"persname\">Jackson MacLow</span>, <span class=\"persname\">Gerhard Nellhaus</span>, <span class=\"persname\">Fritz Perls</span>, <span class=\"persname\">Kenneth Rexroth</span> and <span class=\"persname\">Consuelo Sides</span>. Some of the outgoing letters were written by Living Theatre staff, including <span class=\"persname\">Lawrence Kornfeld</span> and <span class=\"persname\">James Spicer</span>, both of whom worked as general managers of the Living Theatre.</p></div></li><li><div class='series-title'><a href='/the/21263#c291612'>Series II: Correspondence - Playwrights</a></div>\n<div class='series-date'>1946-1964</div>\n<div class='series-description'><p>Correspondence with playwrights, primarily incoming, regarding plays submitted for consideration by the Living Theatre.</p></div></li><li><div class='series-title'><a href='/the/21263#c291627'>Series III: Financial Papers</a></div>\n<div class='series-date'>1949-1966</div>\n<div class='series-description'><p>Financial papers include bills and related correspondence, fundraising materials, memberships, petty cash, book sales, ledgers and accounts documenting business aspects of the Living Theatre.</p></div></li><li><div class='series-title'><a href='/the/21263#c291702'>Series IV: Building Papers</a></div>\n<div class='series-date'>1947-1963</div>\n<div class='series-description'><p>Contains correspondence with leases and contracts for various premises occupied by The Living Theatre including the <span class=\"corpname\">Cherry Lane Theatre</span>, the 100th Street Loft and the 14th Street theater. The papers include information on fire inspections, city licenses and permits, architectural plans and alterations. Four folders of material are related to business with the Wyckoff-Bent Corporation, landlords for the 14th Street theater. Oversized plans and blueprints can be found in the oversized series.</p></div></li><li><div class='series-title'><a href='/the/21263#c291716'>Series V: Insurance Papers</a></div>\n<div class='series-date'>1958-1963</div>\n<div class='series-description'><p>Insurance papers, include correspondence related to premiums and claims, for policies covering workmen's compensations, disability, theft, etc.</p></div></li><li><div class='series-title'><a href='/the/21263#c291721'>Series VI: Legal Papers</a></div>\n<div class='series-date'>1951-1954</div>\n<div class='series-description'><p>Legal papers include miscellaneous contracts and documents, court papers and the certificate of incorporation for the Living Theatre. Note: contracts and some legal documents can also be found in other series--notably, contracts with actors and musicians in the Theatre Management Papers, and lawsuits regarding nonpayment of bills in the Financial Papers.</p></div></li><li><div class='series-title'><a href='/the/21263#c291724'>Series VII: Theater Management Papers</a></div>\n<div class='series-date'>1947-1991</div>\n<div class='series-description'><p>Theatre Management Papers include correspondence, financial records, contracts with actors, resumes, notebooks and calendars and files on the <span class=\"corpname\">Living Theatre Studio</span>. The papers have been organized in the following sub-series: Administrative files, Box office records, Actors' contracts, Payroll records, Resumes/Photographs, Correspondence (Actors' Equity), The Living Theatre Studio (School), Guest books, Notebooks and calendars.</p></div></li><li><div class='series-title'><a href='/the/21263#c291816'>Series VIII: Productions</a></div>\n<div class='series-date'>1948-1983</div>\n<div class='series-description'><p>Production files are arranged in chronological order with the year in brackets indicating the date of the opening. The documentation for each production varies in scope and may include notes, sketches, scripts, directing books, programs, program copy, royalty statements, budgets, prop lists, costume measurements, rehearsal schedules, lists of critics invited for opening night, press clippings and correspondence. The later works (from the 1970s and 1980s) are represented by much more extensive documentation than the earlier productions. Also, many of the directing books for the earlier plays are photocopies, which are often difficult to read. While this series represents Living Theatre productions almost exclusively, there are a few files for works designed or directed by Judith Malina and Julian Beck which were not produced by the Living Theatre. Production files are included for the following works: <span class=\"title\">The Infernal Machine</span> [1948]; <span class=\"title\">The Thirteenth God</span> [March, 1951]; Theatre in the Room: <span class=\"title\">Childish Jokes: Crying Backstage</span>, <span class=\"title\">Ladies' Voices</span>, <span class=\"title\">He Who Says Yes and He Who Says No</span>, <span class=\"title\">The Dialogue of the Young Man and the Manikin</span> [August, 1951]; <span class=\"title\">Dr. Faustus Lights the Lights</span> [December, 1951]; <span class=\"title\">Beyond the Mountains</span> [December, 1951]; <span class=\"title\">Desire Trapped by the Tail</span> and <span class=\"title\">Sweeney Agonistes</span> [March, 1952]; <span class=\"title\">Faustina</span> [May, 1952]; <span class=\"title\">Ubu the King</span> [August, 1952]; <span class=\"title\">The Heroes</span> [August, 1952]; Dramatic workshop productions [1952-1953] - never realized; <span class=\"title\">The Spook Sonata</span>[June, 1954]; <span class=\"title\">Orpheus</span> [September, 1954]; <span class=\"title\">The Idiot King</span> [December, 1954]; <span class=\"title\">Tonight We Improvise</span> [February, 1955 & November, 1959]; <span class=\"title\">Phedre</span>[May, 1955]; <span class=\"title\">The Young Disciple</span> [October, 1955]; Dramatic readings [1955]; <span class=\"title\">The Curious Fern</span> and <span class=\"title\">Voices for a Mirror</span> [June, 1957]; <span class=\"title\">Many Loves</span> [January, 1959]; <span class=\"title\">The Cave at Machpelah</span> [June, 1959]; <span class=\"title\">The Connection</span> [July, 1959]; The Theatre of Chance: <span class=\"title\">Women of Trachis</span>, <span class=\"title\">The Marrying Maiden</span> [June, 1960]; <span class=\"title\">In the Jungle of the Cities</span> [December, 1960]; <span class=\"title\">The Birthday Party</span> [1960] - not produced; <span class=\"title\">The Apple</span> [December, 1961]; <span class=\"title\">Man is Man</span> [September, 1962]; <span class=\"title\">The Brig</span> [May, 1963]; Readings: <span class=\"title\">Futz</span>, <span class=\"title\">Potsy</span> [Sept.-Oct., 1963]; <span class=\"title\">Mysteries and Smaller Pieces</span> [October, 1964]; <span class=\"title\">The Maids</span> [February, 1965]; <span class=\"title\">Frankenstein</span> [September, 1965]; <span class=\"title\">Antigone</span> [February, 1967]; <span class=\"title\">The Money Tower</span> [1974]; <span class=\"title\">The Legacy of Cain</span> [1975]; <span class=\"title\">Six Public Acts</span>[1975]; <span class=\"title\">The One and the Many</span> [1980]; <span class=\"title\">The Yellow Methuselah</span> [1982]; and <span class=\"title\">The Archaeology of Sleep</span> [1983]. <span class=\"title\">The Legacy of Cain</span> is a cycle of plays and several of the component pieces have also been given separate files, for example, <span class=\"title\">The Money Tower</span> and <span class=\"title\">Six Public Acts</span>.</p></div></li><li><div class='series-title'><a href='/the/21263#c292027'>Series IX: Living Theater in Brazil</a></div>\n<div class='series-date'>1970-1971</div>\n<div class='series-description'><p>This series documents the work of the Living Theatre in Brazil and includes correspondence, clippings, work on <span class=\"title\">The Legacy of Cain</span>, notebooks, photographs, and material relating to the arrest of <span class=\"persname\">Judith Malina</span>, <span class=\"persname\">Julian Beck</span> and other members of the troupe. The papers relating to the imprisonment of Malina and Beck include many letters from family and friends, defense fund files, trial transcripts and statements to the court, diaries, prison notes and papers, and clippings. Some of the correspondence and papers are in Portuguese as are most of the clippings. Many of the Brazilian newspaper clippings are on microfilm and can be read on a fiche reader. The oversized series contains a town map and program regarding the performance of <span class=\"title\">The Legacy of Cain</span> and nine photographs of locations in Brazil.</p></div></li><li><div class='series-title'><a href='/the/21263#c292064'>Series X: Piscator Workshop</a></div>\n<div class='series-date'>1945-1947</div>\n<div class='series-description'><p>Contains a one volume notebook <span class=\"genreform\">diary</span> <span class=\"persname\">Judith Malina</span> wrote while studying with <span class=\"persname\">Erwin Piscator</span> at the New School. Also includes her paper on theater management and a directing book for <span class=\"title\">Medea</span>. The original notebook is fragile and has been copied for preservation. Only the photocopy is available for researchers.</p></div></li><li><div class='series-title'><a href='/the/21263#c292072'>Series XI: Publicity Clippings</a></div>\n<div class='series-date'>1951-1991</div>\n<div class='series-description'><p>Arranged chronologically (with gaps), these materials document the life of the <span class=\"corpname\">Living Theatre</span> from its simplest beginnings through 1991. Included are <span class=\"genreform\">press releases</span>, promotional material, photocopied clippings, program ideas and designs, mock-up programs, <span class=\"genreform\">flyers</span> and <span class=\"genreform\">leaflets</span>.</p></div></li><li><div class='series-title'><a href='/the/21263#c292128'>Series XII: Programs</a></div>\n<div class='series-date'>ca. 1951-1991</div>\n<div class='series-description'><p>These programs are arranged chronologically with the bulk of the dates ranging from 1951-1966. Flyers and leaflets are also included. One file contains German programs unrelated to the Living Theatre, ca. 1966.</p></div></li><li><div class='series-title'><a href='/the/21263#c292136'>Series XIII: Oversized Materials</a></div>\n<div class='series-date'>1945-1987</div>\n<div class='series-description'><p>Arranged by size, this series contains five posters from various Living Theatre performances including <span class=\"title\">The Connection</span>. There are floor plans and blueprints from the Cherry Lane and 14th Street theaters, original drawings by Judith Malina and Julian Beck, the lighting plan for <span class=\"title\">The Yellow Methuselah</span>, and the music score for <span class=\"title\">The One and the Many</span>.</p></div></li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p> <ul class=\"list\"> <li>Series I: General Correspondence</li> <li>Series II: Correspondence, Playwrights</li> <li>Series III: Financial Papers <ul class=\"list\"> <li>Sub-series 1 - Bills and related correspondence</li> <li>Sub-series 2 - Fundraising correspondence</li> <li>Sub-series 3 - Memberships</li> <li>Sub-series 4 - Receipts and petty cash</li> <li>Sub-series 5 - Book sales</li> <li>Sub-series 6 - Ledgers and accounts</li></ul></li> <li>Series IV: Building Management Papers</li> <li>Series V: Insurance Papers</li> <li>Series VI: Legal Papers</li> <li>Series VII: Theatre Management Papers <ul class=\"list\"> <li>Sub-series 1 - Administrative files</li> <li>Sub-series 2 - Box office records</li> <li>Sub-series 3 - Actors' contracts</li> <li>Sub-series 4 - Payroll records</li> <li>Sub-series 5 - Resumes / Photographs</li> <li>Sub-series 6 - Correspondence (Actors' Equity)</li> <li>Sub-series 7 - Living Theatre Studio (School)</li> <li>Sub-series 8 - Guest books</li> <li>Sub-series 9 - Notebooks and calendars</li></ul></li> <li>Series VIII: Productions</li> <li>Series IX: Living Theatre in Brazil</li> <li>Series X: Piscator Workshop</li> <li>Series XI: Publicity / Clippings</li> <li>Series XII: Programs</li> <li>Series XIII: Oversized materials</li></ul></p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>Gift, Judith Malina, 1988</p>"}
{"value"=>"<p>Gift, Judith Malina, 07/15/1991</p>"}
{"value"=>"<p>Gift, Erica Bilder/Living Theatre</p>"}
{"value"=>"<p>Gift, Erica Bilder/Living Theatre, 08/26/1991</p>"}
{"value"=>"<p>Judith Malina Diaries: Gift, Judith Malina, 09/30/1992</p>"}
- separatedmaterial
-
{"value"=>"<div class=\"note\"> <p>Were cataloged as RMs; now cataloged in NCOF+</p></div> <ul class=\"list\"> <li> <span class=\"title\">As the Hawk Sees It</span> by Grandin Conover (NCOF+ 04-1575)</li> <li> <span class=\"title\">'Coker's Eyes'</span> by Otway Crockett (NCOF+ 04-1576)</li> <li> <span class=\"title\">The Death of Satan</span> by Ronald Duncan (NCOF+ 04-1565)</li> <li> <span class=\"title\">Doomsday Minus One</span> by Stephan Lackner (NCOF+ 04-1574)</li> <li> <span class=\"title\">Journey to the Day</span> by Roger O. Hirson (NCOF+ 04-1568)</li> <li> <span class=\"title\">Knit One, Pearl One</span> by Murray Schisgal (NCOF+ 04-1571)</li> <li> <span class=\"title\">Mother</span> by Robert A. Wilson (NCOF+ 04-1562)</li> <li> <span class=\"title\">Philoktetes</span> by Sophocles (NCOF+ 04-1578)</li> <li> <span class=\"title\">The Piano Tuner</span> by Bronson Dudley in 2 vols. (NCOF+ 04-1563)</li> <li> <span class=\"title\">Poor Child</span> by Richard Lortz (NCOF+ 04-1566)</li> <li> <span class=\"title\">The Saintliness of Margery Kempe</span> by John Wulp (NCOF+ 04-1564)</li> <li> <span class=\"title\">Sex and Serendipity!</span> by Jesse Torn (NCOF+ 04-1569)</li> <li> <span class=\"title\">Song to Sorrow</span> by Val Coleman (NCOF+ 04-1572)</li> <li> <span class=\"title\">Syndrome/Zero</span> by Melvin Clay (NCOF+ 04-1573)</li> <li> <span class=\"title\">Thy Will Be Done</span> by Tommaso Galaratti Scotti (NCOF+ 04-1579)</li> <li> <span class=\"title\">The Time of the Assassins</span> by Judith Johnson Sherwin (NCOF+ 04-1561)</li> <li> <span class=\"title\">The Winner</span> by Martin Field (NCOF+ 04-1567)</li> <li> <span class=\"title\">Women of Trachis</span> by Sophocles (NCOF+ 04-1577)</li> <li> <span class=\"title\">The Zodiac of Memphis Street</span> by Wilford Leach (NCOF+ 04-1570)</li></ul>"}
- processinfo
-
{"value"=>"<p>Processed by Francesca Pitaro, Rodney Hoffner and Susan McArthur.</p>"}
{"value"=>"<p>A preliminary finding aid was completed in 1990. This current finding aid, incorporating new additions to the collection, was completed in 1997 and revised in 2017.</p>"}
- accessrestrict
-
{"value"=>"<p>Some collections held by the Dance, Music, Recorded Sound, and Theatre Divisions at the New York Public Library for the Performing Arts are held off-site and must be requested in advance. Please check the collection records in the NYPL's online catalog for detailed location information. For general guidance about requesting offsite materials, please consult: https://www.nypl.org/about/locations/lpa/requesting-archival-materials Contracts and payroll records (Boxes 20-21) viewed only with permission of the curator. Materials in Box 53 restricted, view service copies in Box 52.</p>"}
- userestrict
-
{"value"=>"<p>For permission to publish, contact the Curator, Billy Rose Theatre Division.</p>"}
- date_start
-
1945
- keydate
-
1945
- date_end
-
1991
- date_inclusive_start
-
1945
- date_inclusive_end
-
1991