{"value"=>"<p>Joseph Papp founded the New York Shakespeare Festival in 1954 in New York City. It was initially chartered as the Shakespeare Workshop, an actors' workshop presenting Shakespeare and his Elizabethan contemporaries free of charge in the basement of the Emmanuel Presbyterian Church and in the Heckscher Theater. The original aim was to cultivate and encourage interest in Shakespeare and classic drama, to present an annual Shakespeare festival, and to build an Elizabethan-style stage to present Shakespeare's works. During the fifties, Papp fought to obtain financial support from the City of New York in order to establish a subsidized, free Shakespearean theater. Eventually, Papp won a court battle with New York City Parks Commissioner Robert Moses to keep his Shakespeare productions free to the public. In 1957, the New York Shakespeare Festival flatbed truck, which toured the city parks and playgrounds with performances of Shakespeare, broke down near Belvedere Lake in Central Park. On that site they constructed the Delacorte Theater, which opened in 1962. Papp relentlessly promoted the concept of free Shakespeare. He solicited support from foundations, corporations, political officials, and individual philanthropists.</p> <p>During the sixties, Papp extended the reach of the New York Shakespeare Festival by bringing Shakespeare to the outer boroughs of New York City and the tri-state area. He created the Mobile Theater, which toured the public schools, religious institutions, and civic organizations. In 1965, the New York Shakespeare Festival purchased the landmark Astor Library building on Lafayette Street, and the city funded its conversion into the new Public Theater. Papp then added to the New York Shakespeare Festival's mission a new mandate: to produce new American plays. The Public Theater was inaugurated in 1967 with the production of the musical <span class=\"title\">Hair</span>. The Public Theater became the administrative home of the New York Shakespeare Festival and the laboratory for many original plays and musicals by David Rabe, Elizabeth Swados, Thomas Babe, Miguel Piñero, and many others. It was also home to many actors who found recognition through their association with the Festival, such as Colleen Dewhurst, James Earl Jones, Raul Julia, Kevin Kline, and Meryl Streep.</p> <p>During the seventies, the New York Shakespeare Festival's production schedule became increasingly prolific, moving many productions to Broadway, most notably <span class=\"title\">Two Gentlemen of Verona, A Chorus Line, That Championship Season</span>, and <span class=\"title\">For Colored Girls Who Have Considered Suicide (When the Rainbow Is Enuf).</span> The New York Shakespeare Festival earned an international reputation for theatrical innovation and received numerous awards. Papp expanded the Festival into the areas of dance, music and poetry, producing new plays by young playwrights that reflected contemporary issues.</p> <p>In 1974, the Festival was invited to become a constituent of Lincoln Center for the Performing Arts. During the next four years, the New York Shakespeare Festival produced <span class=\"title\">In the Boom Boom Room, Short Eyes</span>, and <span class=\"title\">The Threepenny Opera</span>, among others, and achieved both notoriety and acclaim for its innovative staging of classics and production of new, often controversial plays. In 1976, the Festival Latino en Nueva York was launched through Papp's efforts and encouragement, and became an annual event. Papp was ever seeking new audiences for the theater, which he believed to be a powerful social force.</p> <p>In the seventies, The New York Shakespeare Festival expanded into television production with David Rabe's <span class=\"title\">Sticks and Bones</span> and several Shakespeare plays, then into motion pictures with adaptations of <span class=\"title\">The Pirates of Penzance</span> (1983) and <span class=\"title\">Plenty</span> (1985). The New York Shakespeare Festival participated in a theater exchange program with the United Kingdom and the Soviet Union. In addition, the Belasco Project was created to expose high school students to Shakespeare on Broadway, while the PITS Program taught them how to write plays. Papp became ill in the late eighties, and played a less active role in Festival administration and productions. His last major theatrical work was his direction of Bill Gunn's <span class=\"title\">Forbidden City</span>, while his involvement in the controversy over NEA funding marked his final act of public advocacy. Joseph Papp died on October 31, 1991.</p> <ul class=\"chronlist\"> <div class=\"head\">Chronology</div> <li class=\"chronitem\"> <span class=\"date\">1953-1954</span> <div class=\"eventgrp\"> <span class=\"event\">Joseph Papp forms Shakespeare Workshop, chartered by Board of Regents of State of New York \"to encourage and cultivate interest in poetic drama with emphasis on the works of William Shakespeare and his Elizabethan contemporaries and to establish an annual Shakespeare Festival. Shakespeare Workshop presents <span class=\"title\">An Evening With Shakespeare and Marlowe</span> at the Emmanuel Presbyterian Church Sunday School.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1956-1957</span> <div class=\"eventgrp\"> <span class=\"event\">First season of Free Shakespeare in the Park presented in cooperation with Dept. of Parks at the East River Amphitheater. Papp moves operations to Heckscher Theater. Shakespeare Workshop opens season at Belvedere Lake with a new, grant-funded truck stage, and tours the five boroughs of New York City with <span class=\"title\">Romeo and Juliet</span>.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1958-1959</span> <div class=\"eventgrp\"> <span class=\"event\">Second season of Free Shakespeare at Belvedere Lake. Papp called before HUAC. Papp battles with NYC Parks Commissioner Robert Moses over Free Shakespeare in the Park. Papp goes to court to protest charging admission to public. State Appellate court rules in favor of Free Shakespeare. Moses requests Board of Estimate to appropriate funds to build a Shakespeare-style amphitheater in Central Park.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1960-1961</span> <div class=\"eventgrp\"> <span class=\"event\">New York Shakespeare Festival officially chartered. Board of Education funds Shakespeare in the Schools tour of <span class=\"title\">Romeo and Juliet</span> in city schools. Construction of Delacorte Theater begins; Festival temporarily relocates to Wollman Rink. Mayor's Committee for Free Shakespeare formed.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1962</span> <div class=\"eventgrp\"> <span class=\"event\">The new Delacorte Theater opens with <span class=\"title\">Merchant of Venice</span>, starring George C. Scott; CBS-TV telecasts opening night performance.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1964</span> <div class=\"eventgrp\"> <span class=\"event\">Mobile Theater program begins; five-trailer caravan tours the five boroughs.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1966-1967</span> <div class=\"eventgrp\"> <span class=\"event\">NYSF purchases the old Astor Library building for $575,000. The musical <span class=\"title\">Hair</span> inaugurates the newly created Public Theater, dedicated to presenting contemporary works.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1968</span> <div class=\"eventgrp\"> <span class=\"event\">Vaclav Havel's <span class=\"title\">The Memorandum</span> opens at the Public Theater.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1970</span> <div class=\"eventgrp\"> <span class=\"event\"><span class=\"title\">No Place to be Somebody</span> wins the Pulitzer Prize.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1971</span> <div class=\"eventgrp\"> <span class=\"event\">City of New York purchases Public Theater, leases it back for $1 a year. Galt MacDermot's musical <span class=\"title\">Two Gentlemen of Verona</span> opens at the Delacorte and then moves to Broadway.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1972</span> <div class=\"eventgrp\"> <span class=\"event\"><span class=\"title\">Sticks and Bones</span> moves to Broadway. <span class=\"title\">That Championship Season</span> opens at the Public Theater. Tony Awards go to <span class=\"title\">Two Gentlemen of Verona</span> and <span class=\"title\">Sticks and Bones</span>.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1973</span> <div class=\"eventgrp\"> <span class=\"event\">Lincoln Center for the Performing Arts invites NYSF to join its constituency; first season at LC opens with <span class=\"title\">In the Boom Boom Room</span>. NYSF contracts with CBS-TV to produce <span class=\"title\">Much Ado About Nothing</span>. Contract expires before <span class=\"title\">Sticks and Bones</span> airs. Pulitzer Prize and Tony Award for <span class=\"title\">That Championship Season</span>.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1974</span> <div class=\"eventgrp\"> <span class=\"event\"><span class=\"title\">Short Eyes</span> opens at the Public Theater and moves to Lincoln Center. NYSF contracts with ABC-TV to produce <span class=\"title\">The Wedding Band</span>.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1975</span> <div class=\"eventgrp\"> <span class=\"event\"><span class=\"title\">A Chorus Line</span> opens at the Public Theater and moves to Broadway.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1976</span> <div class=\"eventgrp\"> <span class=\"event\"><span class=\"title\">Festival Latino</span> begins.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1978</span> <div class=\"eventgrp\"> <span class=\"event\">Bernard Gersten leaves NYSF. <span class=\"title\">For Colored Girls...</span> opens. <span class=\"title\">Runaways</span> opens, moves to Broadway. Poets at the Public program begins.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1979</span> <div class=\"eventgrp\"> <span class=\"event\">Jazz at the Public program begins.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1980</span> <div class=\"eventgrp\"> <span class=\"event\">Save our Broadway campaign begins.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1981</span> <div class=\"eventgrp\"> <span class=\"event\"><span class=\"title\">The Pirates of Penzance</span> opens, moves to Broadway, and is adapted into film.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1982</span> <div class=\"eventgrp\"> <span class=\"event\">Save our Theaters campaign aims but fails to protect the Helen Hayes and Morosco theaters from demolition.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1983</span> <div class=\"eventgrp\"> <span class=\"event\">NYSF begins theater exchange program with London's Royal Court Theater.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1984</span> <div class=\"eventgrp\"> <span class=\"event\">Papp tours Europe, visits Vaclav Havel, initiates theater exchange with Russia.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1985</span> <div class=\"eventgrp\"> <span class=\"event\"><span class=\"title\">The Normal Heart</span> opens.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1986</span> <div class=\"eventgrp\"> <span class=\"event\">Belasco/Shakespeare on Broadway Project begins. Playwriting in the Schools program also begins.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1987</span> <div class=\"eventgrp\"> <span class=\"event\">Shakespeare Marathon begins, an attempt to produce all of Shakespeare's plays.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1988</span> <div class=\"eventgrp\"> <span class=\"event\">NEA controversy and Joseph Papp's involvement in it deepens.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1991</span> <div class=\"eventgrp\"> <span class=\"event\">Joseph Papp dies in New York City.</span></div></li></ul>"}
{"value"=>"<p>The New York Shakespeare Festival Collection (1954-1992) measures 855 linear feet and consists of scripts, notes, correspondence, inter-office memoranda, reports, financial records, photographs, programs, brochures, posters, and productions materials including prompt books, light plots, ground plans, costume plots and bibles, set designs, electrics, prop running sheets, prop preset sheets, prop inventories, light cue sheets, and electrical layouts. The records reflect the origin and activities of the New York Shakespeare Festival, its general administration, and the staging of its productions, including their creation, management, booking, and promotion. Original stage and costume design materials are absent. Also absent are the files of the Casting Office, except in the form of carbon copies in other series. There are also gaps in the files of the Associate Producer. Contracts were removed and require special permission of the curator. Oral history materials and some correspondence are restricted until the year 2043 in order to protect the privacy of individual persons.</p>"}
{"value"=>"<p class='list-head'>The New York Shakespeare Festival records are arranged in fourteen series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/the/21550#c1536632'>Series I. Administrative Office</a></div>\n<div class='series-date'>1954-1992</div>\n<div class='series-extent'>103 linear feet (328 boxes)</div>\n<div class='series-description'><p>The Administrative Office (bulk 1953-1992) files are from the office of the producer, Joseph Papp. They contain correspondence, memoranda, meeting minutes, reports, subject files and clippings that document virtually every aspect of the New York Shakespeare Festival's operations, procedures, and programs. Certain functions within the NYSF's operations, such as fundraising (Development Office), eventually became their own departments, maintaining separate files. However, researchers will find certain types of documents in this series that are also found in other series, such as Stage Manager's Reports (General Manager).</p> <p>The files contain voluminous correspondence between Papp and various city agencies, including the Department of Parks, the Mayor's Office, the Board of Education, and the Board of Estimate. The files also contain correspondence and information files concerning playwrights, directors, theater groups, lawyers, and unions. The records of the Administrative Office contain personnel files of administrative and production staff and communications between the producer and departmental staff within the NYSF. Virtually every issue affecting the NYSF can be found in this series, as most correspondence went first across Papp's desk.</p> <p>The Administrative Office files document the earliest activities of Joseph Papp including the formation of the New York Shakespeare Festival. The records document Papp's conflict with Robert Moses over the concept of free Shakespeare in the Park, the acquisition and restoration of the Astor Library and its renovation as the Public Theater, the fiscal crisis of the 1970's and the NYSF's four seasons at Lincoln Center. The records reveal Papp's ideas for productions and seasonal planning, special programs such as the Mobile Theater and the School Tour, and his plans for the future of the Festival. The records indicate Papp's personal interests, trips taken abroad, engagements accepted and declined, and his involvement in and endorsement of various causes affecting theater, such the NEA controversy, and other social causes.</p> <p>The more recent files are related to Papp's ideas about his successor, Joanne Akalaitis.</p></div></li><li><div class='series-title'><a href='/the/21550#c1542615'>Series II: Play Department</a></div>\n<div class='series-date'>1962-1992</div>\n<div class='series-description'><p>The records of the Play Department (1962-1992) document the origins, establishment and activities of the department. The files contain annotated scripts and rewrites, correspondence, play reports, contracts, casting notes, press releases, press lists, production summaries, budget worksheets, personnel files, programming notes, subject files, and clippings. Photographs and oversized materials were removed and comprise separate series. The staff of the Play Department routed and prioritized hundreds of scripts sent to the Festival every month. Gail Merrifield Papp reported to Joseph Papp about promising projects and worked closely with playwrights or composers to develop productions. It is common to find scripts heavily annotated by both Joseph Papp and Gail Merrifield Papp.</p></div></li><li><div class='series-title'><a href='/the/21550#c1544672'>Series III: Scripts</a></div>\n<div class='series-date'>bulk 1972-1992</div>\n<div class='series-description'><p>The Scripts series (1972-1992 bulk dates) consists primarily of photocopies of scripts for the plays, musicals and other works produced, co-produced, or sponsored by the New York Shakespeare Festival. The series also contains copies of published books and scripts, as well as historical research material. The scripts were maintained by the NYSF as \"clean copies\" for reference purposes and were prepared by the staff of the Scripts/Archives Office. There are often multiple versions of a script as it evolved from workshop to reading and finally to a full performance. It is common to see post-production versions of a script. There are only a few examples of original typescripts or scripts with light annotations or revisions. For original versions of scripts with revisions and inserts, see the Play Department series. For scripts used for staging, see the Production Materials series.</p></div></li><li><div class='series-title'><a href='/the/21550#c1547674'>Series IV: Production Materials</a></div>\n<div class='series-date'>1958-1992</div>\n<div class='series-description'><p>The records of the Production Materials series (1958-1992) contain prompt books, light plots, ground plans, costume plots, set designs, electrics, prop running sheets, prop preset sheets, prop inventories, light cue sheets, and electrical layouts. Oversized materials such as light plots and ground plans were removed to the Oversized Materials series.</p> <p>The records reflect all physical aspects of the staging of a production. These materials should allow a researcher to properly reproduce a director's interpretation. The central functional item for each production in this series is the prompt book. The prompt book contains light cues, sound cues, and stage directions. Changes in script or a player's actions are written in the margins of a page or added as attachments to the script. A play that requires a lot of movement or contains a large cast will usually have a separate blocking script. A musical with dancing or fight sequences, such as <span class=\"title\">A Chorus Line</span> or <span class=\"title\">The Mystery of Edwin Drood</span>, may have several annotated scripts to complete the director's vision of the production. Other materials most often found represent the purely technical aspects of a production, such as lighting plots, costume plot, property information, ground plans, electrics and set designs. Related documents include prop running sheets, prop preset sheets, prop inventory, light cue sheets, and electrical layouts.</p> <p>The records range from <span class=\"title\">Twelfth Night</span> (1958) to <span class=\"title\">Fires in the Mirror</span> (1992). Some productions were meticulously documented such as <span class=\"title\">The Mystery of Edwin Drood</span> and <span class=\"title\">Fires in the Mirror</span>, while <span class=\"title\">Fishing</span> by Michael Weller contains only a script. The plays done before the mid-1970's are in general poorly documented. Success and scale may have been a factor in the preservation of production materials. Long-running or successful shows, such as <span class=\"title\">Runaways</span> and <span class=\"title\">For Colored Girls</span> have copious memoranda and production materials. Large productions, such as <span class=\"title\">Pirates of Penzance</span>, and other multi-venue productions (road companies, Broadway, and Mobile Theater) tend to be well documented.</p></div></li><li><div class='series-title'><a href='/the/21550#c1549066'>Series V: General Manager's Files</a></div>\n<div class='series-date'>1960-1991</div>\n<div class='series-description'><p>The Company Manager's files relate to Broadway, Tours, Lincoln Center, film and television productions, and all aspects of the Festival's regular programming. They include correspondence, contracts, clippings, box office records, complaints, programs, interoffice memos, attendance summaries, casting, contracts, correspondence, fund raising, photographs, posters, programs, project descriptions, rehearsal schedules, and daily performance reports.</p></div></li><li><div class='series-title'><a href='/the/21550#c1549631'>Series VI: Development Office</a></div>\n<div class='series-date'>1954-1989</div>\n<div class='series-description'><p>The records of the Development Office of the New York Shakespeare Festival reflect the origins, establishment and fundraising activities of the office between 1954 and 1989. The records include correspondence, memoranda, donor dossiers, meeting agenda, form letters, mailing lists, press releases, guest lists, attendance lists, invitation lists, seating charts, form letters, grant files, budgets, and clippings. The earliest records are solicitation letters by Papp to various political officials, executives, society people, and theater and movie professionals. There are many letters of support to Papp regarding free Shakespeare and a permanent home in Central Park. Notable correspondents include John Gielgud, Laurence Olivier, Tony Randall, and Julie Harris.</p> <p>NYSF actively coordinated fundraising events to promote the Festival's activities, to win financial support from donors, and to recruit new ones. The opening of an NYSF show or an emergency fundraising campaign, such as those that accompanied New York City fiscal crises, often occasioned fundraising events. Papp received much support from the New York City Mayors Wagner and Lindsay. Papp formed the Mayor's Committee for Free Shakespeare in 1960. The Committee, which met regularly to plan fundraising events, was comprised of and chaired by members of the Board of Trustees. Members, their wives, and other society people helped to bring in new donors. They hosted receptions in their homes, in restaurants, and even in Gracie Mansion to plan for fundraising campaigns and arrange NYSF events. During the late 1950's and early 1960's Joseph Papp, with the help of Herta Danis, developed a donor base of foundations, corporations, and individuals. In the 1970's a more systematic approach was taken in maintaining and monitoring donations. The Development Office was established to organize and facilitate communication with patrons, founders, benefactors, and other members of the \"honor roll\". There was a dedicated effort to win pledges from individuals attending performances and to sign up subscribers and sponsors.</p> <p>An increase in grant writing is evident during the 1970's. The grant files show how, each year, the NYSF described its own mission and role in society. The files also reveal the NYSF's increasing interest in producing original musical theater, especially during the eighties. There are voluminous files of correspondence, grant files and proposals to foundations, corporations, and government sources. The files even contain personal appeals from Papp to individuals, such as LuEsther Mertz.</p></div></li><li><div class='series-title'><a href='/the/21550#c1549773'>Series VII: Press Office</a></div>\n<div class='series-date'>1957-1991</div>\n<div class='series-description'><p>The records of the Press Office (1957-1991) consist of correspondence, memoranda, press lists, invitations, promotional materials (printed matter), program copy, advertising copy, press releases, and clippings. All photographs, primarily production stills and cast head shots, were removed to the Photographs series.</p></div></li><li><div class='series-title'><a href='/the/21550#c1549859'>Series VIII: Archives Office</a></div>\n<div class='series-date'>1954-1992</div>\n<div class='series-description'><p> The Archives Office functioned as a repository of master copies of information for quick reference about the NYSF's activities, and was maintained by Archives Director Serge Mogilat. Papp often used this information for fund-raising purposes.</p> <p>Staff and production lists, logs, and inventories in the Archives Office files document the history of the Festival. Programs, flyers, brochures, clippings and, in some cases, scripts are included among the printed matter. Miscellaneous events refer to guest performances, benefits, celebrations, political forums, memorial services, and the early Latin American Theatre Festivals.</p> <p>Biographical information on Joseph Papp held by the Archives Office may be found in Sub-series 2 History Files. See also Series XIII Papp's Personal Papers.</p></div></li><li><div class='series-title'><a href='/the/21550#c1550213'>Series IX: Finance Office</a></div>\n<div class='series-date'>1957-1992</div>\n<div class='series-description'><p> The records of the Finance Office of the New York Shakespeare Festival span the years 1955-1991 and document the fiscal situation of the NYSF as a whole and of particular productions. The files include general ledgers for the NYSF's regular and extended programming, financial statements, auditors reports, minutes of the Board of Trustees, administrative files and miscellaneous financial records.</p> <p>The financial history of the New York Shakespeare Festival is recorded from the first hand-written ledger, which spans to years 1955-1958, through 1991, when the ledgers run to hundred of computer-generated pages. The budget of the Festival grew over the years as they expanded their programming and increased their fundraising efforts. Perhaps the greatest chance in their financial situation was the incredible success of <span class=\"title\">A Chorus Line</span>. The Festival used the profits from that musical to finance many other less popular programs. The records also reflect the ways in which <span class=\"title\">A Chorus Line</span> profits were disbursed and some of the marketing efforts make to sell show-related memorabilia.</p> <p>In addition to the records of the Finance Office, financial information can be found in several other series, especially the records of the General Manager and the Development Office. General Manager's files may include production budgets and the Development Office series includes budgets and financial data collected for grant applications.</p></div></li><li><div class='series-title'><a href='/the/21550#c1550290'>Series X: Education Department</a></div>\n<div class='series-date'>1980-1989</div>\n<div class='series-description'><p>The records of the Education Department for 1980 to 1989 document the Pilot Project, Shakespeare on Broadway, educational programs for teachers, correspondence of the Education Project Coordinators Mary T. Kelly and Michelle Macau, and include a group of general files for the Education Department. The records contain correspondence, memoranda, scheduling and attendance records, budget and fundraising files, clippings, press releases, curriculum guides, stage and house manager's reports, transcripts of discussions with teachers, letters from teachers and students regarding performances, student and teacher questionnaires, and miscellaneous departmental files. The files reflect the Festival's relations with both City Hall and the Board of Education in organizing its programs for school children.</p></div></li><li><div class='series-title'><a href='/the/21550#c1550514'>Series XI: New Jazz at the Public</a></div>\n<div class='series-date'>1978-1987</div>\n<div class='series-description'><p>The series contained a limited number of performance photographs. These have been transferred to the Photographs Series and are filed under \"New Jazz at The Public.\"</p> <p>The files have been organized in the following subseries: Correspondence, Programs/Projects, Funding, Publicity Files, and Business/Finance</p></div></li><li><div class='series-title'><a href='/the/21550#c1221469'>Series XII: Photographs</a></div>\n<div class='series-description'><p>The Photograph series contains black and white gelatin prints, contact sheets, color prints, 35mm slides, master and copy negatives, glass slides, color transparencies, and Polaroid snapshots in a variety of sizes. 8x10 glossy black and white prints are the predominant format in this series. The photographs represent production stills, publicity photographs, cast head shots, rehearsal shots, candid shots of actors during make-up, prop and set design studies, and productions. There are many photographs of Joseph Papp and of other administrative and production NYSF staff, as well as interior and exterior views of the NYSF's various venues. The photographs also depict special events such as opening nights, benefit performances, and other publicity functions. The majority of the photographs are by Martha Swope (production stills), Friedman/Abeles (publicity stills of scenes performed in full dress), and George Joseph, the NYSF's official photographer (production stills, taken at the Delacorte Theatre). Other photographers include Frederic Ohringer, Ken Regan, Gerry Goodstein, Joan Marcus, Carol Rosegg, Eugene Spatz, Herbert Migdoll, and Alix Jeffry.</p></div></li><li><div class='series-title'><a href='/the/21550#c1551057'>Series XIII: Papp's Personal Papers</a></div>\n<div class='series-date'>1949-1992</div>\n<div class='series-description'><p>Subseries 1 and 2 document, primarily, Papp's theatrical activity before the founding of the Shakespeare Festival. Subseries 3 contains Papp's extensive hand-written notes on <span class=\"title\">Hamlet</span> (which he directed in 1964, 1968, and 1982) as well as several heavily annotated Shakespeare volumes from his personal bookshelf.</p> <p>Much of the material in Subseries 4 through 9 was assembled by Serge Mogilat, director of the NYSF Archives Office, who was asked by Papp in 1977 to document his thinking and decision-making process. The Archives Office kept \"clean copies\" of Papp's writings for his personal reference. Subseries 10 includes correspondence sent to Joseph Papp upon the death of his son Tony and good wishes following Papp's own diagnosis of cancer. There are get-well cards from many notable figures in theatre and film. The bulk of the condolences are notes to Gail Merrifield Papp following her husband's death in October, 1991.</p> <p>This grouping of personal papers represents but a small portion of the information about Joseph Papp that can be found in the Collection. It should be examined alongside Series I for insight into Papp's life and working process. Series I contains 304 boxes originating from Papp's office, and should be consulted for such items as memoranda, meeting minutes, correspondence, and Papp's writing in general. Series VIII Archives Office contains biographical information on Papp.</p></div></li><li><div class='series-title'><a href='/the/21550#c1551189'>Series XIV: Oversized Materials</a></div>\n<div class='series-description'><p>The Oversized Materials records include large-format production materials such as ground plans, set designs, light plots, and posters.</p></div></li></ul>\n", "type"=>"arrangement"}