Restrictions

The original director's prompt books for the 1957 production of WAITING FOR GODOT and the 1958 production of ENDGAME are restricted due to their fragile condition. Photocopies of these prompt books are filed with production materials and are available to the researcher. Original typescripts by Samuel Beckett located in box 74 are restricted and photocopies are available for research. Requests for permission to view the original copies may be directed to the Manuscripts Librarian, Mandeville Special Collections Library, University of California, San Diego.

Abstract

Papers of Alan Schneider, a prominent director in contemporary American theater. Schneider directed the U.S. premiere of Samuel Beckett's WAITING FOR GODOT and established a close relationship with Beckett, bringing many of his plays to the American stage. Schneider staged the works of several innovative playwrights, including Bertolt Brecht, Edward Albee and Harold Pinter. A teacher as well as director, Schneider was professor of drama and head of the graduate directing department at the University of California, San Diego, at the time of his death in 1984. The Alan Schneider Papers span the years 1937 to 1984 and are organized into ten series: 1) BIOGRAPHICAL MATERIALS, 2) CORRESPONDENCE, 3) PRODUCTION MATERIALS, 4) SUBJECT FILES, 5) TEACHING MATERIALS, 6) WRITINGS, 7) WRITINGS OF OTHERS, 8) PHOTOGRAPHS, and 9) SOUND RECORDINGS and 10) ORIGINALS OF PRESERVATION PHOTOCOPIES. The collection is notable for the abundance of production materials collected by Schneider during his directing career. For many productions, the director's prompt book provides Schneider's conceptual notes, analysis of theme and characters, and notes on direction. Prompt books for premiere productions of Beckett's plays are of special value. The collection contains correspondence between Schneider and actors, writers and directors, including Edward Albee, Robert Anderson, Zelda Fichandler, William Saroyan, and Tennessee Williams. Absent from the collection is original correspondence between Schneider and Samuel Beckett and the collection contains only a small amount of photocopies of correspondence between Schneider and Beckett. Schneider's writings, speeches and interviews are well documented in the collection. The accession processed in 1997 contains the editorial files of Franklin Heller for Schneider's autobiography entitled ENTRANCES. The accession is arranged in four series: 1) CORRESPONDENCE, 2) BIOGRAPHICAL MATERIALS, 3) MISCELLANEOUS MATERIALS, and 4) AUDIOCASSETTES. The accessions processed in 2003 contain early and professional writings by Schneider, post-theatre production notes, journals, scrapbooks, photographs, and audiocassette recordings. The materials are arranged in eight series: 1) BIOGRAPHICAL MATERIALS, 2) CORRESPONDENCE, 3) WRITINGS BY ALAN SCHNEIDER, 4) WRITINGS BY OTHERS, 5) PHOTOGRAPHS, 6) SCRAPBOOKS, 7) AUDIOCASSETTE RECORDINGS, and 8) ORIGINALS OF PRESERVATION PHOTOCOPIES.

Biography

Alan Schneider was born Abram Leopoldovich Schneider on December 12, 1917, in Kharkov, Russia. When the Russian Revolution spread to Kharkov, the Schneiders immigrated to the United States in 1923. His parents, Leo Victor Schneider and Rebecka Malkin Schneider, were both physicians specializing in tuberculosis. They later practiced together at the Maryland State Tuberculosis Sanitorium in Sabillasville, Maryland. Schneider attended high school in Baltimore and began staging productions at summer camp. Schneider entered Johns Hopkins University and studied physics for one year, then transferred to the University of Wisconsin, Madison, to major in political science and literature. He was an award-winning member of the student debate team and president of the college drama group. In 1939 he was awarded a B.A. degree magna cum laude and elected to Phi Beta Kappa. Returning to Baltimore, Schneider worked as a radio announcer and as a speech writer for Postmaster General James A. Farley. He won a fellowship to Cornell University to study drama and received a master's degree in 1941.

During the period 1941-1952, Schneider taught in the Speech and Theater Department of the Catholic University of America. He directed a wide range of contemporary and classical plays, including JIM DANDY in 1941, THE IMPORTANCE OF BEING EARNEST and THE CHERRY ORCHARD. At Catholic University, Walter Kerr was Schneider's colleague. During the war years, Schneider worked at the U.S. Office of War Information, where he produced a film promoting War Bonds sales, and he also served with the Public Health Service and the Treasury Department. In 1944 Schneider performed in a Broadway production, playing a G.I. in Maxwell Anderson's STORM OPERATION.

In these years he established the pattern that would continue throughout his directing career: alternating academic productions with commercial assignments. Schneider joined the Arena Stage in Washington, D.C., during its formative years in the late 1940s. Working with Zelda Fichandler, he directed such works as THE GLASS MENAGERIE (1951), DESIRE UNDER ELMS (1952) and THE COUNTRY GIRL (1953) at Arena Stage. In 1953 he directed THE REMARKABLE MR. PENNYPACKER on Broadway and ANASTASIA the following year.

In 1956 Schneider began a lifelong association with Samuel Beckett, directing the first U.S. production of WAITING FOR GODOT at the Coconut Grove Playhouse in Miami, starring Bert Lahr. The play was heavily criticized and misunderstood at the time, labeled "atheistic and communistic" by critics. Schneider persevered in bringing Beckett's work to the American public. All subsequent American premieres of Beckett's plays were directed by Schneider.

Schneider also established a long association with Edward Albee, directing THE AMERICAN DREAM in 1961 and the award-winning WHO'S AFRAID OF VIRGINIA WOOLF? in 1963. Schneider also staged Albee's A DELICATE BALANCE, THE BALLAD OF THE SAD CAFE, TINY ALICE, and others. Schneider worked closely with Harold Pinter, directing several of his plays, including THE DUMBWAITER, THE COLLECTION, and THE BIRTHDAY PARTY. As a proponent of innovative theater and new talent, Schneider staged a wide range of dramatic works, including those by Robert Anderson, Bertolt Brecht, Michael Weller and Thornton Wilder.

In 1964 Schneider directed FILM, a movie written by Beckett and starring Buster Keaton. Beckett visited the U.S. to supervise the production and worked closely with Schneider to create this award-winning film.

Throughout his career as a director, Schneider was committed to teaching and directing student productions. He served as assistant professor of speech and drama at the Catholic University of America from 1941 to 1952 and as professor of theatre arts at Boston University from 1972 to 1979. Schneider was the director of the Juilliard School Theatre Center from 1975 to 1979. From 1979 until the time of his death he was professor of drama and head of the graduate directing department at the University of California, San Diego.

Schneider received numerous awards during his career as a director. In 1949 he was awarded a Rockefeller Foundation Grant for the study of European theater. Later, he received a Guggenheim Fellowship for the study of open stage and a Ford Foundation Director's Grant for work in regional theater. In 1963 he received the Antoinette Perry (Tony) Award for his direction of WHO'S AFRAID OF VIRGINIA WOOLF?, the Village Voice Off-Broadway (Obie) Award for directing THE DUMBWAITER and THE COLLECTION and the Washington (D.C.) Board of Trade Award "for outstanding contribution to professional community theater in the nation's capital as production director of Arena Stage."

Scope and Content

Accessions Processed in 1991

The Alan Schneider Papers provide extensive documentation of the career of the American theater director who staged the U.S. premiere of WAITING FOR GODOT and gained wide recognition for his productions of innovative dramatic works. The materials in the collection date from 1937 to 1984. The Schneider Papers are organized in ten series: 1) BIOGRAPHICAL MATERIALS, 2) CORRESPONDENCE, 3) PRODUCTION MATERIALS, 4) SUBJECT FILES, 5) TEACHING MATERIALS, 6) WRITINGS, 7) WRITINGS BY OTHERS, 8) PHOTOGRAPHS, 9) SOUND RECORDINGS, and 10) ORIGINALS OF PRESERVATION PHOTOCOPIES.

SERIES 1: BIOGRAPHICAL MATERIALS

BIOGRAPHICAL MATERIALS include newspaper and magazine articles about Schneider published during the years 1957 to 1980. Many articles relate to Schneider's work with Samuel Beckett and are a good source of biographical information about both men. A large number of obituaries published at the time of Schneider's death in 1984 reflect the wide respect he had attained internationally.

SERIES 2: CORRESPONDENCE

The CORRESPONDENCE series includes individual files and collected correspondence. Individual correspondence is arranged alphabetically and collected correspondence is arranged by subject. This series contains correspondence between Schneider and prominent figures in the world of theater. Noteworthy correspondents include: Edward Albee, 1961-1964; Robert Anderson, 1956-1967; Hume Cronyn, 1970-1984; Zelda Fichandler, 1952-1959 (photocopies); John Gielgud, 1966-1971; William Saroyan, 1941 (photocopies); and Tennessee Williams, 1952. Absent from the collection is original correspondence between Schneider and Samuel Beckett. The collection contains a minimal amount of photocopies of correspondence between Schneider and Beckett. The Beckett correspondence file contains copies of the letter of condolence written at the time of Schneider's father's death and the last letter Schneider wrote to Beckett. A small amount of correspondence (photocopied) from Beckett is filed with Grove Press correspondence. Additional correspondence between Schneider and Beckett can be found in the Production Materials for FILM (1964). Note that correspondence relating to specific productions is filed with Production Materials.

Collected Correspondence contains scrapbooks of letters assembled by Schneider. Included are notes and letters from Harold Clurman, Edith Evans, Henry Fonda, Eva Gabor, John Gielgud, George Grizzard, Elia Kazan, Joshua Logan, Lawrence Olivier, Geraldine Page, Harold Pinter, Rod Steiger, Peter Ustinov, and Tennessee Williams.

This sub-series also contains letters of congratulations and thanks collected by Schneider and a file of letters of condolence written at Schneider's death. One such letter, from Harold Pinter, is of special interest.

SERIES 3: PRODUCTION MATERIALS

PRODUCTION MATERIALS contain extensive documentation of the numerous productions directed by Schneider, spanning the years 1938 to 1984. This series is arranged by year and by individual production. These materials were collected by Schneider in the course of his career and include cast sheets, correspondence, contracts, director's prompt books, notes, photos, playbills, programs, sets and scene designs. Of special value are the director's prompt books, which contain notes by Schneider on theme, character, movement, and line readings. Prompt books for premiere productions of Beckett plays provide insight into Schneider's analysis and interpretation of these works. Correspondence between Schneider and authors, producers and others may be found in the production materials of individual plays. Productions which are well-documented include:

1941 -- JIM DANDY - Correspondence with William Saroyan analyzing play, promptbook heavily annotated, photographs of set.

1949 -- MY HEART'S IN THE HIGHLANDS - Correspondence from Schneider describing his hopes and plans.

1952 -- PULLMAN CAR HIAWATHA - Director's notes with comments and analysis.

1953 -- ALL SUMMER LONG - Correspondence from Robert Anderson regarding problems with play.

1955 -- SKIN OF OUR TEETH - Correspondence including opening night telegrams from Thornton Wilder and Schneider's wife, Jean.

1956 -- WAITING FOR GODOT (American Premiere) - Arbitration file with correspondence and legal documents pertaining to the Schneider vs. Myerberg suit. Correspondence: Between Michael Myerberg and Schneider, from Tom Ewell and Bert Lahr to Schneider, from William Saroyan to Myerberg commenting on the title and meaning of the play, why there are no women in the play, and suggesting Clark Gable for the role of Estragon. Telegram from Samuel Beckett. Director's prompt book with interpretive notes on nearly every page.

1958 -- ENDGAME (American Premiere) - Casting notes annotated by Schneider, correspondence with Beckett: transcriptions typed and annotated by Schneider, director's notes with reviews annotated by Schneider, photographs: one folder in good condition.

1960 -- KRAPP'S LAST TAPE (American Premiere) - Correspondence: humorous letter from Charles Laughton declining role, director's prompt book heavily annotated, published scripts annotated by Schneider.

1961 -- AMERICAN DREAM - Director's prompt book containing analytical notes.

1961 -- HAPPY DAYS (American Premiere) - Director's prompt book with interpretive notes on theme and direction.

1962 -- WHO'S AFRAID OF VIRGINIA WOOLF? (Premiere) - Director's notes analyzing content of play and individual characters and photographs.

1962 -- THE COLLECTION - Director's prompt book autographed by Harold Pinter anda annotated by Schneider. Photographs.

1963 -- BALLAD OF THE SAD CAFE - Director's prompt book with notes on concept and direction.

1964 -- WHO'S AFRAID OF VIRGINIA WOOLF? - Notes by Schneider to actors, script changes for British production indicating the censorship of disallowed dialogue.

1964 -- TINY ALICE - Director's prompt book with analytical notes and notes on concept and theme.

1964 -- FILM - Correspondence with Beckett (photocopies) and shooting scripts annotated by Schneider.

1966 -- A DELICATE BALANCE - Director's Notes analyzing themes.

1967 -- YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING - Correspondence with Robert Anderson (two folders), director's notes, extensive.

1967 -- THE BIRTHDAY PARTY - Director's prompt book autographed by Pinter with notes by Schneider analyzing characters.

1968 -- BOX AND QUOT ATIONS FROM CHAIRMAN MAO TSE TUNG -

Director's prompt book, annotated.

1972 -- NOT I (World Premiere) - Director's prompt book with conceptual notes.

1976 -- THAT TIME AND FOOTFALLS (American Premiere) - Director's notes on interpretation.

1979 -- LOOSE ENDS - Director's prompt book analyzing all characters'

roles and purpose. Detailed, well-organized.

SERIES 4: SUBJECT FILES

SUBJECT FILES contain a variety of materials collected by Schneider, including autographed playbills, posters, a scrapbook of reviews, the covers of original director's prompt books and materials about Samuel Beckett. The Beckett Materials include notes by Schneider on his visits with Beckett and a photocopy of the notebook kept by Beckett as director of the 1975 production of WAITING FOR GODOT.

SERIES 5: TEACHING MATERIALS

TEACHING MATERIALS incorporate lecture notes and outlines, student compositions, annotated scripts of student productions, and other materials gathered by Schneider in his role as professor of drama and theater at the Catholic University of America, the Juilliard School and the University of California, San Diego. These materials date from 1941 to 1984 and are arranged chronologically.

SERIES 6: WRITINGS

The WRITINGS series encompasses essays and articles written by Schneider as well as interviews and speeches. The writings date from 1937 to 1984 and are arranged chronologically. The early essays include themes on World War II and experimental theater. Also included are speeches written by Schneider for Postmaster General James Farley. Correspondence and manuscripts for Schneider's autobiography, ENTRANCES, are extensive. The Speeches subseries contains notes and typescripts by Schneider revealing his thoughts on avant-garde theater and the future of the theater in America. Interviews consist of published transcriptions of Schneider's responses to questions about theater and directing.

SERIES 7: WRITINGS OF OTHERS

WRITINGS OF OTHERS involve scripts, short stories and essays written by a variety of authors including Samuel Beckett. Contained here is a good collection of Beckett scripts, including French and English versions of MERCIER ET CAMIER. Four of the Beckett scripts are annotated by the author. Numerous essays about Beckett are found in this series under "Beckett Book."

SERIES 8: PHOTOGRAPHS

The PHOTOGRAPHS series contains photographs of Schneider, Beckett, various actors, and productions not directed by Schneider. Schneider is photographed with Beckett, Albee, Pinter, Miller and others. Many of the actors' photographs are autographed.

SERIES 9: SOUND RECORDINGS

SOUND RECORDINGS incorporate a wide variety of audio tapes collected by Schneider. Included are lectures and oral presentations by Harold Pinter, Lee Strasberg, Arthur Miller and others. Tapes of productions and musical recordings complete this series.

SERIES 10: ORIGINALS OF PRESERVATION PHOTOCOPIES

The ORIGINALS OF PRESERVATION PHOTOCOPIES series contains original items with high acid content which have been photocopied and segregated at the end of the collection.

Accession Processed in 1997

The accession processed in 1997 contains Franklin Heller's editorial files related to Alan Schnieder's autobiography entitled ENTRANCES (New York, 1986). The materials include Heller's correspondence regarding ENTRANCES, materials related to the production of ENTRANCES, cassette tapes of conversations between Franklin Heller and Schneider, tapes of radio broadcasts about Schneider, and some biographical material on Schneider. The materials span the years 1956-1989 with the bulk of the accession dating from the 1980s. The accession is arranged in four series: 11) CORRESPONDENCE, 12) BIOGRAPHICAL MATERIALS, 13) MISCELLANEOUS MATERIALS, and 14) AUDIOCASSETTES.

SERIES 11: CORRESPONDENCE

The bulk of the first series, CORRESPONDENCE, consists of letters between Franklin Heller and people connected to the publication of ENTRANCES between 1975 and 1988. Also included is correspondence between Franklin Heller and Alan Schneider that span the years 1975-1984. Of particular interest is a copy of a letter written by Samuel Beckett to Alan Schneider in 1956 from Paris. This series is arranged alphabetically by correspondent.

SERIES 12: BIOGRAPHICAL MATERIALS

The second series, BIOGRAPHICAL MATERIALS, contains items related to the life and work of Alan Schneider. The series includes articles written by Schneider, biographical information copied from reference books, obituaries, and photographs of Schneider. The materials span the years 1976-1984 and are arranged alphabetically by subject.

SERIES 13: MISCELLANEOUS MATERIALS

The third series, MISCELLANEOUS MATERIALS, contains items related to Alan Schneider's book ENTRANCES. Included in this series are the royalty statements, book reviews, drafts of the foreward written by Edward Albee, and the contract with Viking Press. Of particular interest is Schneider's original proposal for the book. These items span the years 1980-1987 and are arranged alphabetically by subject.

SERIES 14: AUDIOCASSETTES

In the fourth series are AUDIOCASSETTES. This series contains audiotapes of telephone conversations between Heller and Franklin in July and August of 1983. The two discuss the purpose of the autobiography both from Schneider's perspective and from that of the editors of Viking Books. Also included is a commentary by Adrianne Rich of the NEW YORK TIMES on ENTRANCES. Rich specifically comments on its readability and what it exposes about American theater. There is also a recording of a memorial to Schneider done by National Public Radio in 1984.

Accessions Processed in 2003

The accessions processed in 2003 contain early and professional writings by Schneider, post-theatre production notes, journals, photographs, scrapbooks, and audiocassette recordings. Materials about Alan Schneider after his death in 1984 include correspondence by Eugenie Schneider regarding plays dedicated to the memory of Alan Schneider, materials regarding the BECKETT PROJECT, Alan Schneider Conference materials (1990), and Schneider's autobiography ENTRANCES (1986).

The accessions are arranged in eight series: 15) BIOGRAPHICAL MATERIALS, 16) CORRESPONDENCE, 17) WRITINGS BY ALAN SCHNEIDER, 18) WRITINGS BY OTHERS, 19) PHOTOGRAPHS, 20) SCRAPBOOKS, 21) AUDIOCASSETTE RECORDINGS, and 22) ORIGINALS OF PRESERVATION PHOTOCOPIES.

SERIES 15: BIOGRAPHICAL MATERIALS

The BIOGRAPHICAL MATERIALS series is arranged in alphabetical order and contains materials relating to the life and professional work by Alan Schneider. The series consists of articles about Schneider and Beckett, biographical statements, clippings about Schneider, high school memorabilia, and teaching contracts with the Catholic University. Additional materials includes the 1990 Alan Schneider Conference papers and the Alan Schneider Distinguished Directors Fund (1995).

SERIES 16: CORRESPONDENCE

The CORRESPONDENCE series is arranged in two subseries: A) Alan Schneider and B) Eugenie Schneider.

A) The correspondence of Alan Schneider includes letters (1951-1981) from Zelda Fichandler of the Arena Stage, as well as Schneider's letters to the Ford Foundation from 1962-1974 which detail activities of his many theatre productions.

B) The correspondence by Eugenie Schneider, spaning the years 1984-2002, includes letters regarding Alan Schneider's letters to and from Samuel Beckett, the BECKETT PROJECT, and plays dedicated to the memory of Alan Schneider.

SERIES 17: WRITINGS BY ALAN SCHNEIDER

The WRITINGS BY ALAN SCHNEIDER is arranged in six subseries: A) Journals, B) Cornell University Term Papers and Notes, C) Essays and Reviews, D) Theatre Post-Production Notes, E) Lectures and Talks, and F) Interviews.

A) The Journals subseries, arranged chronologically, dates from 1956-1982 and contains mainly travel journals of his trips to Europe. Also included are notebooks and handwritten notes on loose notepad paper regarding acting and theatre productions.

B) The Cornell University Term Papers and Notes subseries, arranged chronologically, contains college term papers and notes from 1940-1941.

C) The Essays and Reviews subseries, arranged chronologically, spans the years 1944-1999 and contains professional writings by Schneider which include newspaper and magazine articles, essay drafts, an original typescript of the autobiography ENTRANCES, theatre reviews, "Water logs" for the production YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, and notes.

D) The Theatre Post-Production Notes subseries, arranged chronologically, contains notes by Schneider, clippings, programs, as well as notes from others.

E) The Lectures and Talks subseries spans the years 1969-1981. Arranged in chronological order, the materials include a list of lectures given by Schneider, notes and brochures. Audiorecordings of selected lectures are located in Series 21B: Audiocassette Recordings.

F) The Interviews subseries, arranged chronologically, contains transcripts of interviews with Alan Schneider. The interviews span the years 1966-1978 and include correspondence, handwritten notes, clippings, and photocopies of published interviews. Audiorecordings of selected interviews are located in Series 21A: Audiocassette Recordings.

SERIES 18: WRITINGS BY OTHERS

The WRITINGS BY OTHERS series, arranged alphabetically by author, includes four Beckett scripts annotated by the author.

SERIES 19: PHOTOGRAPHS

The PHOTOGRAPHS series is organized in three subseries: A) Alan Schneider, B) Alan Schnedier with Others, and C) Theatre Productions.

The photographs include formal and informal portraits of Schneider, largely black-and-white prints and photographs of Schneider with others, including Edward Albee, Samuel Beckett, Zelda Fichandler, and John Gielgud. Also included are images of scenes and casts from threatre productions that are arranged alphabetically by title of production.

SERIES 20: SCRAPBOOKS

The SCRAPBOOKS series contains collections of memorabilia complied by Schneider over the years 1938-1980. Arranged in chronological order, the scrapbooks document threatre productions and contain newspaper clippings, published articles and reviews, black-and-white photographs, notes, programs, correspondence, and loose materials.

SERIES 21: AUDIOCASSETTE RECORDINGS

The AUDIOCASSETTE RECORDINGS series, spaning the years 1955-1984, is arranged in four subseries: A) Interviews with Alan Schneider, B) Lectures and Talks, C) Theatre Productions, and D) Miscellaneous.

A) The Interviews with Alan Schneider subseries is arranged alphabetically by the person or organization giving the interview. Alan Schneider appears in formal and informal interviews, including NBC News with Edward Newman and New York radio talk show "In the Critic Circle." Also included are one-on-one interviews conducted by Marion Hodges, Sheila Hickey and Alix Jeffery. Transcripts from interviews by Marion Hodges are located in Series 17F: Writings by Alan Schneider.

B) The Lectures and Talks subseries, arranged alphabetically by title of talk or institution where the talk was presented, contains audiorecordings of 1973 and 1975 class lecture series and formal and informal addresses by Schneider.

C) The Theatre Productions subseries, also arranged alphabetically by title, includes audiorecordings of the Director's Unit and discussions regarding theatre productions. Also included are two cassette recordings of MY LIFE IN ART.

D) The Miscellaneous subseries contains audiorecordings on subjects not directly related to Alan Schneider and his works.

SERIES 22: ORIGINALS OF PRESERVATION PHOTOCOPIES

The ORIGINALS OF PRESERVATION PHOTOCOPIES series contains original items from the collection which have high levels of acid content. These papers have been photocopied and segregated at the end of the collection.

Accessions Processed in 1991

BIOGRAPHICAL MATERIAL

Return to Menu
Box Folder Oversize
1 1 Articles about Schneider.
1 2 Articles about Schneider.
1 3 Articles about Schneider.
1 4 Articles on Schneider and Beckett.
1 5 Biographical Statement.
1 6 Curriculum Vitae.
1 7 List of Plays Directed by Schneider.
1 8 List of Publications, 1944 - 1978.
1 9 Obituaries, 1984.

CORRESPONDENCE

Return to Menu
Box Folder Oversize
1 10 Acting Company, 1983 - 1985.
1 11 Actors' Equity Association, 1981 - 1982.
1 12 Adams, Mason, 1963 - 1972.
1 13 Albee, Edward, 1961 - 1983.
1 14 Anderson, Robert, 1956 - 1981.
1 15 Anthony, Joseph, 1979.
1 16 A Miscellaneous.
1 17 Bair, Deirdre, 1971 - 1977.
1 18 Ballet, Arthur, 1965 - 1980.
1 19 Barnes, Harry and Betsey, 1970 - 1977.
1 20 Barney, Jay, 1970.
1 21 Beary, John, 1974.
1 22 Beckett, Samuel, 1963 - 1984.
1 23 Bentley, Eric, 1948 - 1984.
1 24 Blitzstein, Marc, 1963.
1 25 Bracken, Eddie, 1978.
2 1 British Broadcasting Corporation, 1965.
2 2 Brown, Pat, 1981.
2 3 Brown, Spencer Curtis, 1960.
2 4 Brynn, Susan, 1982.
2 5 B Miscellaneous.
2 6 Cameron, Kenneth, 1967 - 1968.
2 7 Cares, Robert, 1965.
2 8 Carter, James Earl, 1980.
2 9 Cates, Gilbert, 1967 - 1968.
2 10 Catholic University, 1971.
2 11 Chevigny, Bell, 1965 - 1968.
2 12 Ciulei, Liviu, 1975 - 1981.
2 13 Coe, Dick, 1963.
2 14 Cogdill, Jack, 1972.
2 15 Cohn, Ruby, 1972 - 1981.
2 16 Cole, Edward, 1965.
2 17 College of Notre Dame of Maryland, 1963.
2 18 Columbia University, 1978.
2 19 Corrigan, Mary, 1982.
2 20 Cronyn, Hume, 1970 - 1984.
2 21 C Miscellaneous.
2 22 Davis, Donald George, 1956 - 1966.
2 23 Deist, Warren, 1948.
2 24 Denis, Reid Marsh.
2 25 Devine, George, 1956 - 1966.
2 26 Diamond, David, 1964 - 1978.
2 27 Dillon, Melinda, 1984.
2 28 Distler, Antonie, 1964.
2 29 Driver, Tom, 1961.
2 30 Drummond, Alexander, 1940.
2 31 D Miscellaneous.
2 32 Edison, Irving, 1973.
2 33 Eldridge, Carey, 1947.
2 34 Etrog, Sorel, 1972.
2 35 Evans, Dina Rees, 1943 - 1950.
2 36 EVERGREEN REVIEW, 1969.
2 37 Evergreen Theater, 1964 - 1974.
2 38 E Miscellaneous.
2 39 Fehsenfeld, Martha, 1975 - 1983.
2 40 Fernsworth, Lawrence, 1963.
2 41 Ferrer, Jose, 1978.
2 42 Fichandler, Zelda, 1953 - 1959.
2 43 Fields, Sidney, 1982.
2 44 Finkelstein, Lawrence, 1969.
2 45 F Miscellaneous.
2 46 Garfein, Jack, 1984.
2 47 Geist, Kenneth.
2 48 Gerland, Hazel, 1970.
2 49 Gibson, Bill, 1971 - 1982.
2 50 Gielgud, John, 1966 - 1971.
2 51 Glover, William, 1980.
2 52 Gordon, John, 1973.
2 53 Gottfried, Martin, 1970.
2 54 Grant, Katie, 1980.
2 55 Greenberg, Avner, 1957.
2 56 Grove Press, 1958 - 1983.
2 57 Guest, Jean, 1959 - 1965.
2 58 Guiness, Alec, 1982.
2 59 G Miscellaneous.
2 60 Hall, Peter, 1978 - 1979.
2 61 Harper, Thomas, 1966.
2 62 Hartke, Gilbert V, 1954.
2 63 Harvey, Lawrence E, 1962.
3 1 Hayes, Helen.
3 2 Heller, Franklin, 1979 - 1984.
3 3 Hobgood, Burnet, 1975.
3 4 Hoffman, Dustin, 1980.
3 5 Hudson, Lewis, 1978.
3 6 Huerta, Jorge, 1983.
3 7 Hughter, Ames, 1968.
3 8 Hungerford, Helen, 1967.
3 9 Hunt, Bill, 1969.
3 10 Husbands, Harold, 1946 - 1947.
3 11 H Miscellaneous.
3 12 Indiana University, 1980 - 1981.
3 13 Irving, Jules, 1970 - 1972.
3 14 I Miscellaneous.
3 15 Jeffry, Alix.
3 16 Jenkins, Paul and Suzanne, 1981 - 1985.
3 17 Jenning, Penny.
3 18 Jensby, Wesley, 1965.
3 19 John, Mary, 1962 - 1979.
3 20 Jones, James Earl, 1978.
3 21 Jones, Preston, 1974 - 1975.
3 22 Juilliard School, 1947 - 1984.
3 23 J Miscellaneous.
3 24 Kaleen, Ted, 1968.
3 25 Kamlot, Robert, 1967.
3 26 Karchener, Andrea, 1979 - 1981.
3 27 Kazan, Elia, 1948 - 1952.
3 28 Kennebeck, Edwin, 1979 - 1983.
3 29 King, Bruce, 1979.
3 30 Knowlson, Jim, 1971 - 1983.
3 31 Kolatch, Myron, 1963.
3 32 Kuszak, Jerome, 1969.
3 33 K Miscellaneous.
3 34 Labeille, Daniel, 1970 - 1983.
3 35 Lahr, John, 1964 - 1969.
3 36 Larkin, Francis, 1966.
3 37 Law, Alma, 1980.
3 38 Le Gallienne, Eva.
3 39 Leiser, Erwin, 1967.
3 40 Leontovich, Eugenie, 1966 - 1980.
3 41 Locklair, Wriston, 1978.
3 42 L Miscellaneous.
3 43 MacLeish, Archibald, 1981.
3 44 Mamet, David, 1979.
3 45 Mathon, Benjamin D, 1983.
3 46 Miller, Authur, 1956.
3 47 Milwaukee Repertory Theater, 1962 - 1967.
4 1 Molinari, Mario, 1974.
4 2 Morgenstern, Julie, 1982.
4 3 Myerberg, Michael, 1964.
4 4 M Miscellaneous.
4 5 New York Shakespeare Festival, 1982.
4 6 NEW YORK TIMES, 1973 - 1981.
4 7 Nichols, Harold, 1981.
4 8 N Miscellaneous.
4 9 O Miscellaneous.
4 10 Papp, Joseph, 1966 - 1982.
4 11 Parsons, Estelle.
4 12 Pickles, Christine, 1959.
4 13 Pinget, Robert, 1959.
4 14 Pinter, Harold, 1983.
4 15 P Miscellaneous.
4 16 Reavey, Jean, 1961 - 1976.
4 17 Redgrave, Michael, 1976.
4 18 Ritman, Billy.
4 19 Rockefeller Foundation, 1947.
4 20 Rockefeller, John, 1978 - 1979.
4 21 Ross, Patricia Kerr, 1972 - 1981.
4 22 Russell, John, 1978.
4 23 R Miscellaneous.
4 24 Salz, Jonah, 1982 - 1983.
4 25 Saroyan, William, 1941.
4 26 Shain, Irving, 1984.
4 27 Shaw, Irwin, 1966.
4 28 Simon, Neil.
4 29 Stevens, Roger, 1981.
4 30 Stieff, Frederick Phillip, 1933.
4 31 Swann, Caroline, 1962.
4 32 S Miscellaneous.
4 33 Tandy, Jessica, 1974.
4 34 Theatre Communications Group, 1983 - 1984.
4 35 THEATRE QUARTERLY, 1975 - 1976.
4 36 Tuttle, Day, 1947. Includes black-and-white photograph.
4 37 T Miscellaneous.
4 38 University of California, General, 1981.
4 39 University of California, Drama Department, 1982 - 1984.
4 40 University of Minnesota, 1963 - 1965.
4 41 University of Wisconsin, 1983 - 1984.
4 42 Ustinov, Peter, 1957.
4 43 Vogel, Alison, 1971.
4 44 U-V Miscellaneous.
4 45 Walker, Alan, 1973.
4 46 Warner, Francis, 1967 - 1968.
4 47 Warrilow, David, 1981 - 1982.
4 48 Weaver, Andrew, 1939 - 1947.
4 49 Whaley, Russell, 1964.
4 50 Wheatley, Tom, 1970 - 1980.
4 51 White, Ruth.
4 52 Whitelaw, Billie, 1981 - 1983.
5 1 Wiesel, Elie, 1984.
5 2 Wilder, Thornton, 1956 - 1975.
5 3 Williams, Tennessee, 1952 - 1964.
5 4 Wilson, Lanford, 1974 - 1981.
5 5 Wilson, Stella Adler, 1976 - 1983.
5 6 Wood, Audrey, 1949 - 1980.
5 7 Woodman, William, 1980.
5 8 Woodward, Joanne, 1968.
5 9 Worth, Irene, 1966 - 1979.
5 10 Wright, Charles, 1965.
5 11 W Miscellaneous.
5 12 Yeaton, Kelly, 1941 - 1980.
5 13 Zeisler, Peter, 1979 - 1981.
5 14 Zesch, Lindy, 1980 - 1981.
5 15 Y-Z Miscellaneous.
5 16 Unidentified.

Collected Correspondence

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Box Folder Oversize
5 17 Congratulations on Birth of Daughter Viveca, 1955.
5 18 Correspondence Scrapbooks, 1938 - 1949.
5 19 Correspondence Scrapbooks, 1950 - 1959.
5 20 Correspondence Scrapbooks, 1960 - 1969.
5 21 Correspondence Scrapbooks, 1970 - 1972.
6 1 Correspondence Scrapbooks, 1973 - 1983.
6 2 Correspondence Scrapbooks, 1973 - 1983.
6 3 Letters of Condolence, 1984.
6 4 Letters of Congratulations and Thanks, 1947 - 1959.
6 5 Letters of Congratulations and Thanks, 1960 - 1969.
6 6 Letters of Congratulations and Thanks, 1970 - 1971.
6 7 Letters of Congratulations and Thanks, 1980 - 1984.
6 8 Letters of Recommendation for A. Schneider, 1933 - 1950.
6 9 Telegrams, Special, 1951 - 1963.

PRODUCTION MATERIALS

Return to Menu
Box Folder Oversize
6 10 SQUARING THE CIRCLE (by Valentin Katayev), 1938. Photographs, University of Wisconsin.
6 11 SQUARING THE CIRCLE, 1938. Review.
6 12 NIGHT IN THE COUNTRY (by Betty Smith and Robert Finch), 1940. Photographs, Cornell University.
6 13 JIM DANDY (by William Saroyan), 1941. Correspondence with William Saroyan, Catholic University.
6 14 JIM DANDY, 1941. Director's promptbook.
7 1 JIM DANDY, 1941. Photographs.
7 2 JIM DANDY, 1941. Playbills and programs.
7 3 ATHALIA (by Jean Racine), 1941. Photographs, Catholic University.
7 4 COUNT ME IN (by Walter Kerr and Leo Brady), 1942. Program, Catholic University.
7 5 CHILD'S PLAY (by Jacques Blanchard), 1942. Photographs, Catholic University.
7 6 CHILD'S PLAY, 1942. Playbills and programs.
7 7 ROMANCERS (by Edmond Rostand), 1943. Photographs, Catholic University.
7 8 ROMANCERS, 1943. Program.
7 9 STORM OPERATION (by Maxwell Anderson), 1944. Photographs, Belasco Theatre. Black-and-white photographs of Alan Schneider.
7 10 STORM OPERATION, 1944. Reviews and articles.
7 11 DOCTOR IN SPITE OF HIMSELF (by Moliere), 1944. Photographs, Catholic University.
7 12 DOCTOR IN SPITE OF HIMSELF, 1944. Program.
7 13 LUTE SONG (by Koa-Tong-Kia, adaptation by Will Irwin and Sidney Howard), 1944. Photographs, Catholic University.
7 14 LUTE SONG, 1944. Program.
7 15 LUTE SONG, 1944. Review.
7 16 TIDINGS BROUGHT TO MARY (by Paul Claudel), 1945. Photographs, Catholic University.
7 17 TIDINGS BROUGHT TO MARY, 1945. Program.
7 18 IMPORTANCE OF BEING ERNEST (by Oscar Wilde), 1945. Photographs, Catholic University.
7 19 IMPORTANCE OF BEING ERNEST, 1945. Program.
7 20 ELECTRA (by Sophocles), 1945. Photographs, Catholic University.
7 21 ELECTRA, 1945. Program.
7 22 THAT'S WHERE THE MONEY GOES (by James Finchley, Jean Kerr, Joan O'Byrne), 1946. Photographs, Catholic University.
7 23 THAT'S WHERE THE MONEY GOES, 1946. Program.
7 24 STATE OCCASION (by Clinch Calkins), 1946. Photographs, Catholic University.
7 25 STATE OCCASION, 1946. Program.
7 26 YOU CAN'T TAKE IT WITH YOU (by Moss Hart and George S. Kaufman), 1947. Photographs, Cain Park Theatre, Cleveland.
7 27 YOU CAN'T TAKE IT WITH YOU, 1947. Playbills and programs.
8 1 SING OUT, SWEET LAND (by Walter Kerr), 1947. Photographs, Cain Park Theatre, Cleveland.
8 2 SING OUT, SWEET LAND, 1947. Playbills and programs.
8 3 SING OUT, SWEET LAND, 1947. Review.
8 4 LONG GOODBYE (by Tennessee Williams), 1947. Photographs, Theatre Inc., New York.
8 5 LONG WAY FROM HOME (by Maxim Gorki, adaptation by R. Goodman and W. Carroll), 1948. Correspondence and miscellaneous production materials, Maxine Elliott Theatre, New York.
8 6 LONG WAY FROM HOME, 1948. Photographs.
8 7 LONG WAY FROM HOME, 1948. Program.
8 8 LONG WAY FROM HOME, 1948. Scenic designs and sets by Leo Kerz.
8 9 MAKE A STATUE LAUGH (by Arnold Shulman), 1948. Playbills and programs, American Theatre Wing, New York.
8 10 LUTE SONG (by Kao-Tong-Kia, adaptation by Will Irwin and Sidney Howard), 1948. Playbills and Programs, Cain Park Theatre, Cleveland.
8 11 RELUCTANT LADY (by Maurice Valency), 1948. Photographs, Cain Park Theatre, Cleveland.
8 12 RELUCTANT LADY, 1948. Program.
8 13 TAMING OF THE SHREW (by William Shakespeare), 1948. Program, Cain Park Theatre, Cleveland.
8 14 VICTORS (by Jean-Paul Sartre, adaptation by Thornton Wilder), 1948. Correspondence, New Stages, New York.
8 15 MY HEART'S IN THE HIGHLANDS (by William Saroyan), 1949. Correspondence and Program, Dartington Hall, England.
8 16 MY HEART'S IN THE HIGHLANDS, 1949. Photographs.
8 17 FB-138-19 MY HEART'S IN THE HIGHLANDS, 1949. Playbill.
8 18 REAL MCCOY (by John Finch), 1949. Photographs, Catholic University.
8 19 REAL MCCOY, 1949. Program.
8 20 REAL MCCOY, 1949. Scenic designs and sets by Jo Mielziner.
8 21 REAL MCCOY, 1949. Telegram.
8 22 OEDIPUS THE KING (by Sophocles), 1950. Photographs and Proof Sheets, Catholic University.
8 23 OEDIPUS THE KING, 1950. Program.
8 24 OEDIPUS THE KING, 1950. Reviews.
8 25 OEDIPUS THE KING, 1950. Telegram.
8 26 BORN YESTERDAY (by Garson Kanin), 1950. Program, Cape Playhouse, Dennis, Massachusetts.
8 27 OVER TWENTY-ONE (by Ruth Gordon), 1950. Program, Falmouth Playhouse, Massachusetts.
8 28 POST ROAD (by Wilbur Daniel Steele and Norman Mitchell), 1950. Photographs, Falmouth Playhouse, Massachusetts.
8 29 POST ROAD, 1950. Program.
8 30 MACBETH (by William Shakespeare), 1950. Playbills and Programs, Catholic University.
8 31 MADWOMAN OF CHAILLOT (by Jean Giraudoux, adaptation by Maurice Valency), 1950. Correspondence, Catholic University.
8 32 MADWOMAN OF CHAILLOT, 1950. Photographs.
8 33 MADWOMAN OF CHAILLOT, 1950. Program.
8 34 OTHELLO (by William Shakespeare), 1951. Review, Catholic University.
8 35 GLASS MENAGERIE (by Tennessee Williams), 1951. Photographs, Arena Stage, Washington, D.C.
8 36 GLASS MENAGERIE, 1951. Program.
8 37 PRIMROSE PATH (by Robert Buckner and Walter Hart), 1951. Photographs, Playhouse Theatre, Houston.
8 38 PRIMROSE PATH, 1951. Program.
8 39 PRIMROSE PATH, 1951. Reviews.
8 40 PRIMROSE PATH, 1951. Telegram.
9 1 CHERRY ORCHARD (by Anton Chekhov), 1951. Photographs, Catholic University.
9 2 CHERRY ORCHARD, 1951. Program.
9 3 PULLMAN CAR HIAWATHA (by Thornton Wilder), 1952. Correspondence, Neighborhood Playhouse, New York.
9 4 PULLMAN CAR HIAWATHA, Director's Notes, 1952. Director's notes.
9 5 PULLMAN CAR HIAWATHA, 1952. Musical score.
9 6 PULLMAN CAR HIAWATHA, 1952. Photographs.
9 7 PULLMAN CAR HIAWATHA, 1952. Program.
9 8 MACBETH (by William Shakespeare), 1952. Photographs, Catholic University.
9 9 MACBETH, 1952. Playbills and Programs.
9 10 HASTY HEART (by John Patrick), 1952. Photographs, Arena Stage, Washington, D.C.
9 11 HASTY HEART, 1952. Playbills and Programs.
9 12 HASTY HEART, 1952. Reviews and Articles.
9 13 DESIRE UNDER THE ELMS (by Eugene O'Neill), 1952. Photographs, Arena Stage, Washington, D.C.
9 14 DESIRE UNDER THE ELMS, 1952. Playbills and Programs.
9 15 SKIN OF OUR TEETH (by Thornton Wilder), 1952. Photographs, Catholic University.
9 16 SKIN OF OUR TEETH, 1952. Playbills and Programs.
9 17 SKIN OF OUR TEETH, 1952. Reviews.
9 18 LADY PRECIOUS STREAM (by S.I. Hsiung), 1952. Photographs, Arena Stage, Washington, D.C.
9 19 LADY PRECIOUS STREAM, 1952. Playbills and Programs.
9 20 LADY PRECIOUS STREAM, 1952. Review.
9 21 ALL SUMMER LONG (by Robert Anderson), 1953. Correspondence with Robert Anderson, Arena Stage, Wash., D.C.
9 22 ALL SUMMER LONG, 1953. Photographs.
9 23 ALL SUMMER LONG, 1953. Program.
9 24 ALL SUMMER LONG, 1953. Scenic Designs.
9 25 OUR TOWN (by Thornton Wilder), 1953. Photographs, Arena Stage, Washington, D.C.
9 26 OUR TOWN, 1953. Program.
9 27 HIDE AND SEEK (by Arnold Sundgaard), 1953. Photographs, The Neighborhood Playhouse, New York.
9 28 HIDE AND SEEK, 1953. Program.
9 29 COUNTRY GIRL (by Clifford Odets), 1953. Photographs, Arena Stage, Washington, D.C.
9 30 COUNTRY GIRL, 1953. Review.
9 31 MY HEART'S IN THE HIGHLANDS (by William Saroyan), 1953. Program, Arena Stage, Washington, D.C.
9 32 MY HEART'S IN THE HIGHLANDS, 1953. Review, Arena Stage, Washington, D.C.
9 33 HAPPY JOURNEY (by Thornton Wilder), 1953. Playbills and Programs, Arena Stage, Washington, D.C.
9 34 MISER (by Moliere), 1953. Programs, Catholic University.
9 35 OTHELLO (by William Shakespeare), 1953. Photographs, Catholic University.
9 36 OTHELLO, 1953. Program.
9 37 BAD ANGEL (by Joel Hammil), 1953. Photographs, Arena Stage, Washington, D.C.
9 38 BAD ANGEL, 1953. Playbills and Programs.
9 39 REMARKABLE MR. PENNYPACKER (by Liam O'Brian), 1953. Photographs, Coronet Theatre, New York.
9 40 REMARKABLE MR. PENNYPACKER, 1953. Program.
9 41 REMARKABLE MR. PENNYPACKER, 1953. Review.
9 42 SUMMER AND SMOKE (by Tennessee Williams), 1954. Photographs, Arena Stage, Washington, D.C.
10 1 SUMMER AND SMOKE, 1954. Program.
10 2 SUMMER AND SMOKE, 1954. Reviews and Articles.
10 3 ALL SUMMER LONG (by Robert Anderson), 1954. Photographs and Proof Sheets, Coronet Theatre, New York.
10 4 ALL SUMMER LONG, 1954. Program.
10 5 ALL SUMMER LONG, 1954. Review.
10 6 ALL SUMMER LONG, 1954. Telegram.
10 7 ANASTASIA (by Guy Bolton), 1954. Photographs, Lyceum Theatre, New York.
10 8 ANASTASIA, 1954. Playbills and Programs.
10 9 ANASTASIA, 1954. Review.
10 10 ANASTASIA, 1954. Sketches by Boris Tumarui.
10 11 TONIGHT IN SAMARKAND (by Jacques Deval and Lorenzo Semple), 1955. Photographs, Morosco Theatre, New York.
10 12 TONIGHT IN SAMARKAND, 1955. Program.
10 13 SKIN OF OUR TEETH (by Thornton Wilder), 1955. Miscellaneous Production Materials, Theatre S. Bernhardt, Paris.
10 14 SKIN OF OUR TEETH, 1955. Photographs.
10 15 SKIN OF OUR TEETH, 1955. Playbills and Program.
10 16 SKIN OF OUR TEETH, 1955. Photographs, ANTA Theatre, New York.
10 17 SKIN OF OUR TEETH, 1955. Review.
10 18 SKIN OF OUR TEETH, 1955. Telegram.
10 19 WAITING FOR GODOT (by Samuel Beckett), 1956. Arbitration, Schneider vs. Myerberg, Coconut Grove Playhouse, Miami.
11 1 WAITING FOR GODOT, 1955 - 1956. Correspondence.
11 2 WAITING FOR GODOT, 1956. Director's Notebook.
11 3 WAITING FOR GODOT, 1956. Director's Notes.
11 4 WAITING FOR GODOT, 1956. Director's Promptbook (Photocopy).
11 5 WAITING FOR GODOT, 1956. Director's Promptbook (Photocopy).
11 6 WAITING FOR GODOT, 1956. Director's Promptbook, Original (Restricted).
11 7 FB-138-01 WAITING FOR GODOT, 1956. Floor Plans.
11 8 WAITING FOR GODOT, 1956. Notes re: Production.
11 9 WAITING FOR GODOT, 1956. Photographs (xerox copies).
11 10 WAITING FOR GODOT, 1956. Programs and Publicity Materials.
11 11 WAITING FOR GODOT, 1956. Prop List, Electrical Cue Sheet, Cast List Reviews.
11 12 WAITING FOR GODOT, 1956. Miami Production.
11 13 WAITING FOR GODOT, 1956. New York Production.
11 14 WAITING FOR GODOT, 1956. Text of play and article re: history of play in THEATRE ARTS MAGAZINE (1956)
11 15 LITTLE GLASS CLOCK (by Hugh Mills), 1956. Photographs, Golden Theatre.
11 16 LITTLE GLASS CLOCK, 1956. Program.
11 17 TRIP TO BOUNTIFUL (by Horton Foote), 1956. Photographs, The Arts Theatre Club, London.
11 18 TRIP TO BOUNTIFUL, 1956. Playbills and Programs.
11 19 TRIP TO BOUNTIFUL, 1956. Prop List.
11 20 VIEW FROM THE BRIDGE (by Arthur Miller), 1956. Photographs, Arena Stage, Washington, D.C.
11 21 VIEW FROM THE BRIDGE, 1956. Program.
11 22 VIEW FROM THE BRIDGE, 1956. Review.
11 23 GLASS MENAGERIE (by Tennessee Williams), 1956. Photographs, The New York City Center.
11 24 GLASS MENAGERIE, 1956. Program.
11 25 GLASS MENAGERIE, 1956. Review.
11 26 OEDIPUS THE KING (by Sophocles), 1956. Photographs, NBC Television Production.
11 27 ENCHANTED (by Jean Giraudoux), 1957. Photographs and Proof Sheets, Boston University.
11 28 ENCHANTED, 1957. Program.
11 29 ENCHANTED, 1957. Review.
12 1 CIRCUS OF DR. LAO (by Gwyn Conger Steinbeck and Nathaniel Benchley), 1957. Photographs, Edgewater Beach Playhouse, Chicago.
12 2 CIRCUS OF DR. LAO, 1957. Playbills and Programs.
12 3 MISS LONELYHEARTS (by Howard Teichmann), 1957. Playbills and Photographs, Music Box Theatre, New York.
12 4 LIFE OF SAMUEL JOHNSON (by James Lee), 1957. Telegram, CBS Television.
12 5 ENDGAME (by Samuel Beckett), 1958. Casting Notes, Cherry Lane 3 Theatre, New York.
12 6 ENDGAME, 1958. Contracts.
12 7 ENDGAME, 1957 - 1959. General Correspondence.
12 8 ENDGAME, 1955 - 1958. Correspondence with Samuel Beckett (Transcripts).
12 9 ENDGAME, 1957 - 1959. Correspondence with Lucy Kroll.
12 10 ENDGAME, 1958. Director's Notes.
12 11 ENDGAME, 1958. Director's Promptbook, Original (Restricted).
12 12 ENDGAME, 1958. Director's Promptbook (Photocopy).
12 13 ENDGAME, 1958. Financial Report.
12 14 ENDGAME, 1958. Light Cue Sheets.
12 15 ENDGAME, 1958. Photographs.
12 16 ENDGAME, 1958. Programs and Publicity Materials.
12 17 ENDGAME, 1958. Reviews.
12 18 ENDGAME, 1958 - 1962. Royalty Statements from Grove Press.
12 19 ENDGAME, 1958. Sound Cue Sheets.
12 20 SUMMER OF THE SEVENTEENTH DOLL (by Ray Lawler), 1958. Photographs, Arena Stage, Washington, D.C.
12 21 SUMMER OF THE SEVENTEENTH DOLL, 1958. Program.
12 22 PULLMAN CAR HIAWATHA, HAPPY JOURNEY and THE LONG CHRISTMAS DINNER, 1958. (by Thornton Wilder) Photographs.
12 23 PULLMAN CAR HIAWATHA, HAPPY JOURNEY and THE LONG CHRISTMAS DINNER, 1958. Playbills and Programs
12 24 PULLMAN CAR HIAWATHA, HAPPY JOURNEY and THE LONG CHRISTMAS DINNER, 1958. Reviews.
12 25 DESERTERS (by Thaddeus Vane), 1958. Playbills and Programs, England Tour.
12 26 DESERTERS, 1958. Review.
12 27 YEARS BETWEEN, 1958. Photographs, CBS Television Production.
12 28 KATAKI (by Shimon Wincelberg), 1959. Photographs and Proof Sheets, Ambassador Theatre, New York.
12 29 KATAKI, 1959. Playbills and Programs.
12 30 KATAKI, 1959. Review.
12 31 EPITAPH FOR GEORGE DILLON (by John Osborne), 1959. Photographs, Arena Stage, Washington, D.C.
13 1 EPITAPH FOR GEORGE DILLON, 1959. Program.
13 2 WAITING FOR GODOT (by Samuel Beckett), 1959. Correspondence, Alley Theatre, Houston.
13 3 WAITING FOR GODOT, 1959. Director's Notes.
13 4 WAITING FOR GODOT, 1959. Photographs.
13 5 WAITING FOR GODOT, 1959. Playbills and Programs.
13 6 WAITING FOR GODOT, 1959. Reviews.
13 7 SUMMER OF THE SEVENTEENTH DOLL (by Ray Lawler), 1959. Program, Players Theatre, New York.
13 8 SUMMER OF THE SEVENTEENTH DOLL, 1959. Review.
13 9 CANDESTINE ON THE MORNING LINE (by Josh Greenfeld), 1959. Photographs, Arena Stage, Washington, D.C.
13 10 CANDESTINE ON THE MORNING LINE, 1959. Program.
13 11 SECRET FREEDOM (by Archibald MacLeish), 1959. Photographs, NBC Television.
13 12 CHERRY ORCHARD (by Anton Checkhov), 1960. Photographs, Arena Stage, Washington, D.C.
13 13 CHERRY ORCHARD, 1960. Program.
13 14 KRAPP'S LAST TAPE (by Samuel Beckett), 1957 - 1961. General Correspondence, Provincetown Playhouse, New York.
13 15 KRAPP'S LAST TAPE, 1959 - 1964. Correspondence with Harry Lee Brown.
13 16 KRAPP'S LAST TAPE, 1960. Correspondence with Lucy Kroll Agency.
13 17 KRAPP'S LAST TAPE, 1960. Correspondence re: Television Production.
13 18 KRAPP'S LAST TAPE, 1960. Director's Promptbook.
13 19 KRAPP'S LAST TAPE, 1960. Photographs.
13 20 KRAPP'S LAST TAPE, 1960. Programs.
13 21 KRAPP'S LAST TAPE, 1960. Reviews.
13 22 KRAPP'S LAST TAPE, 1960. Scripts, Annotated by A.S.
13 23 KRAPP'S LAST TAPE, 1960. Scripts, Annotated in EVERGREEN REVIEW
13 24 DETECTIVE STORY (by Sidney Kingsley), 1960. Program, Boston University.
13 25 DETECTIVE STORY, 1960. Review.
13 26 TWO FOR THE SEESAW (by William Gibson), 1960. Program, Royal Ponciana Playhouse, Palm Beach.
13 27 TWO FOR THE SEESAW, 1960. Telegrams.
13 28 TWELVE ANGRY MEN (by Reginald Rose), 1960. Photographs and Proof Sheets, Bucks County Playhouse.
13 29 TWELVE ANGRY MEN, 1960. Program.
13 30 SKIN OF OUR TEETH (by Thornton Wilder), 1960. Program.
13 31 MEASURE FOR MEASURE (by William Shakespeare), 1960. Photographs and Proof Sheets, N.Y. Shakespeare Festival.
13 32 MEASURE FOR MEASURE, 1960. Playbills and Programs.
13 33 MEASURE FOR MEASURE, 1960. Reviews and Articles.
13 34 RAPE OF THE BELT (by Benn W. Levy), 1960. Playbills and Programs, Wilbur Theatre, Boston.
13 35 RAPE FO THE BELT, 1960. Telegram.
13 36 TWINKLING OF AN EYE (by H.W. Wright and Guy Andros), 1961. Playbills and Programs, Actor's Workshop, San Francisco.
13 37 TWINKLING OF AN EYE, 1961. Review.
13 38 AMERICAN DREAM (by Edward Albee), 1961. Director's Promptbook, York Playhouse, New York.
14 1 AMERICAN DREAM, 1961. Playbills, Programs, Photo.
14 2 AMERICAN DREAM, 1961. Reviews and Articles.
14 3 KRAPP'S LAST TAPE (by Samuel Beckett), 1961. Contract, Arena Stage, Washington, D.C.
14 4 KRAPP'S LAST TAPE, 1961. Program and Review.
14 5 UNCLE VANYA (by Anton Checkhov), 1961. Photographs, The Goodman Theatre, Chicago.
14 6 UNCLE VANYA, 1961. Program.
14 7 BALD SOPRANO and PULLMAN CAR HIAWATHA (by Eugene Ionesco and Thornton Wilder), 1961. Photographs re: BALD SOPRANO, Hofstra College.
14 8 BALD SOPRANO and PULLMAN CAR HIAWATHA, 1961. Playbills and Programs.
14 9 BALD SOPRANO and PULLMAN CAR HIAWATHA, 1961. Review.
14 10 CHAIRS, LOTTERY and DOCK BRIEF (by Eugene Ionesco, Shirly Jackson, and, 1961. (authors continues) John Mortimer) Photographs, University of Wisconsin.
14 11 CHAIRS, LOTTERY and DOCK BRIEF, 1961. Program.
14 12 HAPPY DAYS (by Samuel Beckett), 1961. Article by George Reavey, Cherry Lane Theatre, New York.
14 13 HAPPY DAYS, 1961. Award from Village Voice.
14 14 HAPPY DAYS, 1961. Caricature Drawing from NEW YORK TIMES.
14 15 HAPPY DAYS, 1961. Contract.
14 16 HAPPY DAYS, 1961 - 1963. Corrrespondence.
14 17 HAPPY DAYS, 1961. Director's Promptbook.
14 18 HAPPY DAYS, 1961. List of References in Script to Other Literary Works.
14 19 HAPPY DAYS, 1961. Photographs.
14 20 HAPPY DAYS, 1961. Production Notes, Miscellaneous.
14 21 HAPPY DAYS, 1961. Program.
14 22 HAPPY DAYS, 1961. Reviews.
14 23 HAPPY DAYS, 1963 - 1964. Royalty Statements.
14 24 HAPPY DAYS, 1961. Script, Annotated by Unknown.
14 25 CAUCASIAN CHALK CIRCLE (by Bertolt Brecht), 1961. Photographs and Postcards, Arena Stage, Wash., D.C.
14 26 CAUCASIAN CHALK CIRCLE, 1961. Program, Arena Stage, Washington, D. C.
14 27 AMERICAN DREAM (by Edward Albee), 1961. Photographs and Proofs, Arena Stage, Washington, D.C.
14 28 AMERICAN DREAM and WHAT SHALL WE TELL CAROLINE?, 1961. (by Edward Albee and John Mortimer) Reviews and Articles Arena.
14 29 WAITING FOR GODOT (by Samuel Beckett), 1960 - 1961. Correspondence, PBS Television Production.
14 30 WAITING FOR GODOT, 1961. Director's Promptbook.
14 31 WAITING FOR GODOT, 1961. Financial Statement.
14 32 WAITING FOR GODOT, 1961. Reviews and Articles.
14 33 ENDGAME (by Samuel Beckett), 1962. Correspondence.
14 34 ENDGAME, 1962. Photographs.
14 35 ENDGAME, 1962. Reviews, Cherry Lan Theater, New York.
14 36 AMERICAN DREAM (by Edward Albee), 1962. Playbills and Programs, Cherry Lan Theatre, New York.
14 37 BURNING OF THE LEPERS (by Wallace Hamilton), 1962. Playbills and Programs, Arena Stage, Washington, D.C.
14 38 UNCLE VANYA (by Anton Chekhov), 1962. Photographs.
14 39 UNCLE VANYA, 1962. Playbills and Programs, Arena Stage, Washington, D.C.
14 40 TIME OF YOUR LIFE (by William Saroyan), 1962. Program, Arena Stage, Washington, D.C.
14 41 MAN'S A MAN (by Bertolt Brecht, adaptation by Gerhard Millhaus), 1962. Photographs.
14 42 MAN'S A MAN, 1962. Playbills and Programs, Stanford University.
14 43 WHO'S AFRAID OF VIRGINIA WOOLF? (by Edward Albee), 1962. Audition Materials and Resumes, Billy Rose Theatre, New York.
14 44 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Contracts.
15 1 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. General Conrrespondence.
15 2 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Business Correspondence.
15 3 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Director's Notes.
15 4 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Financial Materials.
15 5 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Financial Materials.
15 6 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Notes.
15 7 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Photographs.
15 8 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Playbills and Programs.
15 9 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Reviews and Articles.
15 10 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Schedules.
15 11 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Script - Part I.
16 1 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962. Script - Part II.
16 2 DUMBWAITER and THE COLLECTION (by Harold Pinter), 1962. Director's Notes, Cherry Lane Theatre, N.Y.
16 3 DUMBWAITER and THE COLLECTION, 1962. Director's Promptbook.
16 4 DUMBWAITER and THE COLLECTION, 1962. Photographs.
16 5 DUMBWAITER and THE COLLECTION, 1962. Photographs.
16 6 DUMBWAITER and THE COLLECTION, 1962. Photographs.
16 7 DUMBWAITER and THE COLLECTION, 1962. Playbill, annotated.
16 8 DUMBWAITER and THE COLLECTION, 1962. Program.
16 9 DUMBWAITER and THE COLLECTION, 1962. Review.
16 10 DUMBWAITER and THE COLLECTION, 1962. Telegram.
16 11 ALL THE WAY HOME (by Tad Mosel), 1963. Program, Arena Stage, Washington, D.C.
16 12 OTHELLO (by William Shakespeare), 1963. Photographs, Arena Stage, Washington, D.C.
16 13 OTHELLO, 1963. Program.
16 14 OTHELLO, 1963. Telegram.
16 15 THREEPENNY OPERA (by Bertolt Brecht, music by Kurt Weill), 1963. Photographs, Arena Stage, Washington, D.C.
16 16 THREEPENNY OPERA, 1963. Program.
16 17 THREEPENNY OPERA, 1963. Review.
16 18 WHO'S AFRAID OF VIRGINIA WOOLF? (by Edward Albee), 1963. Playbills and Programs, Colonial Theatre, Boston.
16 19 BALLAD OF THE SAD CAFE (by Edward Albee), 1963. Director's Promptbook - Part I, Martin Beck Theatre, New York.
16 20 BALLAD OF THE SAD CAFE, 1963. Director's Promptbook - Part II.
16 21 BALLAD OF THE SAD CAFE, 1963. Photographs, Production.
17 1 BALLAD OF THE SAD CAFE, 1963. Photographs, Rehearsals.
17 2 BALLAD OF THE SAD CAFE, 1963. Playbills and Programs.
17 3 BALLAD OF THE SAD CAFE, 1964. Reviews.
17 4 PLAY AND THE LOVER (by Samuel Beckett and Harold Pinter), 1964. Attendance Records and Rehearsal Schedule, Cherry Lance Theatre, New York.
17 5 PLAY and THE LOVER, 1964. Contract and Royalty Statement.
17 6 PLAY and THE LOVER, 1963 - 1964. Correspondence.
17 7 PLAY and THE LOVER, 1964. Director's Promptbook.
17 8 PLAY and THE LOVER, 1964. Lightning and Stage Directions re: PLAY.
17 9 PLAY and THE LOVER, 1964. Photographs re: LOVER.
17 10 PLAY and THE LOVER, 1964. Photographs re: PLAY.
17 11 PLAY and THE LOVER, 1964. Programs.
17 12 PLAY and THE LOVER, 1964. Reviews.
17 13 PLAY and THE LOVER, 1964. Script of PLAY.
17 14 WHO'S AFRAID OF VIRGINIA WOOLF? (by Edward Albee), 1962 - 1965. General Correspondence, Piccadilly Theatre, London.
17 15 WHO'S AFRAID OF VIRGINIA WOOLF?, 1962 - 1965. Business Correspondence.
17 16 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Personal Correspondence.
17 17 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964 - 1965. Correspondence with Warner Brothers re: film.
17 18 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Director's Notes.
18 1 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Financial Materials.
18 2 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Financial Materials.
18 3 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Legal Materials.
18 4 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Miscellaneous Production Materials.
18 5 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Notes.
18 6 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Playbills and Programs.
18 7 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Scenic Designs and Sets with Director's Notes.
18 8 WHO'S AFRAID OF VIRGINIA WOOLF?, 1964. Script Changes for British Program.
18 9 AMERICAN DREAM (by Edward Albee), 1964. Program, Cherry Lane Theatre, New York.
18 10 GLASS MENAGERIE (by Tennessee Williams), 1964. Photographs and Postcards.
18 11 GLASS MENAGERIE, 1964. Program, Tyrone Guthrie Theatre, Minneapolis.
18 12 TINY ALICE (by Edward Albee), 1964. Correspondence, Billy Rose Theatre, New York.
18 13 TINY ALICE, 1964. Director's Promptbook - Part I.
18 14 TINY ALICE, 1964. Director's Promptbook - Part II.
18 15 TINY ALICE, 1964. Director's Promptbook - Part III.
18 16 TINY ALICE, 1964. Notes.
18 17 TINY ALICE, 1964. Photographs.
18 18 TINY ALICE, 1964. Playbills and Programs.
19 1 TINY ALICE, 1964. Reviews and Articles.
19 2 TINY ALICE, 1964. Speech by Edward Albee for a News Conference.
19 3 FILM (by Samuel Beckett), 1964. Articles, Evergreen Theatre Productions.
19 4 FILM, 1964. Awards.
19 5 FILM, 1964. Budget.
19 6 FILM, 1964. Casting Notes.
19 7 FILM, 1961 - 1964. Contract, Agreement between A. Schneider and Evergreen Theatre Inc.
19 8 FILM, 1964 - 1965. Miscellaneous Correspondence.
19 9 FILM, 1964. Correspondence with Samuel Beckett.
19 10 FILM, 1963 - 1964. Correspondence with Sydney Myers.
19 11 FILM, 1964. Director's Promptbook.
19 12 FILM, 1964. Original Manuscript for Shooting Script.
19 13 FILM, 1964. Photographs of Production.
19 14 FILM, 1964. Photographs used in production, including tintypes.
19 15 FILM, 1964. Possible Locations - List and Photos.
19 16 FILM, 1964. Production Notes, Including Beckett's Comments.
19 17 FILM, 1964. Scripts, by Beckett, Ionesco and Pinter.
19 18 FILM, 1964. Preliminary Shooting Scripts, Annotated by A.S.
19 19 FILM, 1964. Shooting Scripts - May 1963, Annotated by A.S.
19 20 FILM, 1964. Shooting Scripts - Second Version.
19 21 FILM, 1963. Untitled Script, May 1963.
19 22 FB-138-02 FILM, 1964. Set Design.
19 23 FILM, 1964. Shooting Schedule.
19 24 FILM, 1964. Staff, Crew List, Costumes and Prop List.
19 25 DO NOT PASS GO (by Charles Nolte), 1965. Photographs, Cherry Lane Theatre, New York.
19 26 DO NOT PASS GO, 1965. Playbills and Programs.
19 27 DO NOT PASS GO, 1965. Review.
19 28 KRAPP'S LAST TAPE and ZOO STORY (by Samuel Beckett and Edward Albee), 1965. Correspondence, S. Village Theatre, New York.
19 29 KRAPP'S LAST TAPE and ZOO STORY, 1965. Financial Records.
19 30 KRAPP'S LAST TAPE and ZOO STORY, 1965. Programs.
19 31 KRAPP'S LAST TAPE and ZOO STORY, 1965. Reviews.
19 32 HAPPY DAYS (by Samuel Beckett), 1965. Attendance Records, Cherry Lane Theatre, New York.
19 33 HAPPY DAYS, 1963 - 1965. General Correspondence.
19 34 HAPPY DAYS, 1965. Correspondence re: Set and Props.
19 35 HAPPY DAYS, 1965. Program.
20 1 HAPPY DAYS, 1965. Reviews.
20 2 ENTERTAINING MR. SLOANE (by Joe Orton), 1965. Photographs and Proof Sheets, Lyceum Theatre, New York.
20 3 ENTERTAINING MR. SLOANE, 1965. Playbills and Programs.
20 4 HERAKLES (by Archibald MacLeish), 1965. Photographs, Playbills and Programs, University of Michigan.
20 5 HERAKLES, 1965. Review.
20 6 ACT WITHOUT WORDS II (by Samuel Beckett), 1965. Contracts, PBS Television Production.
20 7 ACT WITHOUT WORDS II, 1965. Correspondence.
20 8 ACT WITHOUT WORDS II, 1965. Shot Scripts, Set Plan.
20 9 MALCOLM (by Edward Albee), 1966. Director's Promptbook - Part I, Shubert Theatre, New York.
20 10 MALCOLM, 1966. Director's Promptbook - Part II.
20 11 MALCOLM, 1966. Photographs.
20 12 MALCOLM, Playbills and Programs, 1966. Playbills and Programs.
20 13 MALCOLM, Reviews and Articles, 1966. Reviews and Articles.
20 14 SLAPSTICK TRAGEDY (by Tennessee Williams), 1966. Photographs, Longacre Theatre, New York.
20 15 SLAPSTICK TRAGEDY, 1966. Program.
20 16 SLAPSTICK TRAGEDY, 1966. Scenic Designs and Sets.
20 17 CHERRY ORCHARD (by Anton Chekhov), 1966. Notes on Rehearsals, Cameri Theatre, Tel Aviv.
20 18 CHERRY ORCHARD, 1966. Photographic Proofs.
20 19 CHERRY ORCHARD, 1966. Program.
20 20 CHERRY ORCHARD, 1966. Review.
20 21 DELICATE BALANCE (by Edward Albee), 1966. Director's Notes, Martin Beck Theatre, New York.
20 22 DELICATE BALANCE, 1966. Original Typescript by Edward Albee.
20 23 DELICATE BALANCE, 1966. Photographs and Proof Sheets.
21 1 DELICATE BALANCE, 1966. Playbills and Programs.
21 2 DELICATE BALANCE, 1966. Reviews and Articles.
21 3 EH JOE (by Samuel Beckett), 1965 - 1966. Correspondence, PBS Television Production.
21 4 EH JOE, 1966. Director's Promptbook.
21 5 EH JOE, 1966. Miscellaneous Notes.
21 6 EH JOE, 1966. Photographs.
21 7 EH JOE, 1966. Reviews and Press Release.
21 8 EH JOE, 1966. Script.
21 9 EH JOE, 1966. Set Designs, Original and Other.
21 10 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING (by Robert Anderson), 1967. General Correspondence.
21 11 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967 - 1971. Correspondence with Robert Anderson.
21 12 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967 - 1971. Correspondence with Robert Anderson.
21 13 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Director's Notes, Notes to Actors.
21 14 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Photographs, Regular.
21 15 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Photographs, Large Prints.
21 16 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Playbills and Programs I.
22 1 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Playbills and Programs II.
22 2 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Playbills and Programs III.
22 3 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Review.
22 4 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Scenic Designs and Setts by Ed Wittstein.
22 5 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1967. Telegram.
22 6 BIRTHDAY PARTY (by Harold Pinter), 1967. Correspondence, Booth Theatre, New York.
22 7 BIRTHDAY PARTY, 1967. Director's Notes.
22 8 BIRTHDAY PARTY, 1967. Director's Promptbook.
22 9 BIRTHDAY PARTY, 1967. Photographs.
22 10 BIRTHDAY PARTY, 1967. Program.
22 11 BIRTHDAY PARTY, 1967. Review.
22 12 FB-138-03 BIRTHDAY PARTY, 1967. Set Designs - Oversize.
22 13 BIRTHDAY PARTY, 1967. Set Designs - Standard Size with Photos.
22 14 I NEVER SANG FOR MY FATHER (by Robert Anderson), 1968. Correspondence, Longacre Theatre, New York.
22 15 I NEVER SANG FOR MY FATHER, 1968. Photographs and Proof Sheets.
22 16 I NEVER SANG FOR MY FATHER, 1968. Program.
22 17 I NEVER SANG FOR MY FATHER, 1968. Review.
22 18 I NEVER SANG FOR MY FATHER, 1968. Scenic Designs and Sets.
22 19 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING (by Robert Anderson), 1968. Correspondence with Imogene Coca.
22 20 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1968. Itinerary.
22 21 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1968. Programs - Part I.
23 1 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1968. Programs - Part II.
23 2 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1968. Reviews.
23 3 YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, 1968. Reviews.
23 4 BOX, QUOTATIONS FORM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. (by Edward Albee and Samuel Beckett), Billy Rose Theatre, New York, Director's Notes and Tape Plan re: KRAPP'S LAST TAPE.
23 5 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Director's Notes re: HAPPY DAYS.
23 6 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Director's Promptbook, re: BOX and QUOTATIONS.
23 7 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Photographs, re: BOX and QUOTATIONS.
23 8 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Photographs, re: HAPPY DAYS.
23 9 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Playbills and Programs, re: BOX, QUOTATIONS.
23 10 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Playbills and Programs, re: HAPPY DAYS.
23 11 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Playbills and Programs, re: KRAPP'S LAST TAPE.
23 12 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Prop List, re: HAPPY DAYS.
23 13 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Reviews, re: BOX, QUOTATIONS.
23 14 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Reviews, re: HAPPY DAYS.
23 15 BOX, QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG, KRAPP'S LAST TAPE, HAPPY DAYS, 1968. Reviews, re: KRAPP'S LAST TAPE.
23 16 WATERING PLACE (by Lyle Kessler), 1969. Photographs, Music Box Theatre, New York.
23 17 WATERING PLACE, 1969. Playbill and Program.
23 18 GINGHAM DOG (by Lanford Wilson), 1969. Program, John Golden Theatre, New York.
23 19 GINGHAM DOG, 1969. Review.
24 1 LA STRADA (by Charles Peck and Lionel Bart), 1969. Photographs and Proof Sheets, Lunt-Fontanne Theatre, New York.
24 2 LA STRADA, 1969. Playbills and Photographs.
24 3 LA STRADA, 1969. Reviews.
24 4 KRAPP'S LAST TAPE (by Samuel Beckett), 1969. Contract, Paul M. Heller Production.
24 5 KRAPP'S LAST TAPE, 1969. Correspondence.
24 6 KRAPP'S LAST TAPE, 1969. Director's Notes.
24 7 WAITING FOR GODOT (by Samuel Beckett), 1969. Contracts, Not Produced.
24 8 WAITING FOR GODOT, 1969. Correpondence.
24 9 WAITING FOR GODOT, 1969. Notes.
24 10 BLOOD RED ROSES (by John Lewin and Michael Valenti), 1970. Photographs, John Golden Theatre, New York.
24 11 BLOOD RED ROSES, 1969. Playbills and Programs.
24 12 INQUEST (by Donald Free), 1970. Playbills and Programs, Music Box Theatre, New York.
24 13 MAQUETTES (by Francis Warner), 1970. Correspondence, Oxford University.
24 14 MAQUETTES, 1970. Director's Notes.
24 15 MAQUETTES, 1970. Photographs and Telegram.
24 16 MAQUETTES, 1970. Programs.
24 17 MAQUETTES, 1970. Reviews.
24 18 SAVED (by Edward Bond), 1970. Photographs, Chelsea Theatre Center, New York.
24 19 SAVED, 1970. Program.
24 20 SAVED, 1970. Review.
24 21 BREATH, COME AND GO, MAQUETTES (by Samuel Beckett and Francis Warner), 1971. Director's Notes, Voge Hall, Toronto.
24 22 BREATH, COME AND GO, MAQUETTES, 1971. Director's Promptbook.
24 23 BREATH, COME AND GO, MAQUETTES, 1971. Programs and Playbills.
24 24 BREATH, COME AND GO, MAQUETTES, 1971. Reviews.
24 25 BREATH, COME AND GO, MAQUETTES, Script, Photocopy re: Come and Go, 1971. Script, Photocopy re: COME AND GO.
24 26 WHAT THE BUTLER SAW (by Joe Orton), 1971. Photographs and Proof Sheets, University of Wisconsin.
24 27 WHAT THE BUTLER SAW, 1971. Review.
24 28 WAITING FOR GODOT (by Samuel Beckett), 1971. Article by A. Schneider for the NEW YORK TIMES, Sheridan Square Playhouse, New York.
24 29 WAITING FOR GODOT, 1970 - 1971. Correspondence.
24 30 WAITING FOR GODOT, 1971. Director's Notes.
25 1 WAITING FOR GODOT, 1971. Director's Promptbook.
25 2 WAITING FOR GODOT, 1971. Financial Statements.
25 3 WAITING FOR GODOT, 1971. Miscellaneous Materials.
25 4 WAITING FOR GODOT, 1971. Notes by A. Schneider and Barry Arnold.
25 5 WAITING FOR GODOT, 1971. Photographs.
25 6 WAITING FOR GODOT, 1971. Photographs.
25 7 WAITING FOR GODOT, 1971. Playbills and Programs.
25 8 WAITING FOR GODOT, 1971. Production Notes.
25 9 WAITING FOR GODOT, 1971. Publicity Materials.
25 10 WAITING FOR GODOT, 1971. Reviews.
25 11 MOONCHILDREN (by Michael Weller), 1971. Photographs and Postcard, Arena Stage, Washington, D.C.
25 12 MOONCHILDREN, 1971. Program.
25 13 MOONCHILDREN, 1971. Review.
25 14 KRAPP'S LAST TAPE (by Samuel Beckett), 1971. Camera Directions, Annotated, Television Production.
25 15 KRAPP'S LAST TAPE, 1971. Cast List and Rehearsal Schedule.
25 16 KRAPP'S LAST TAPE, 1971. Correspondence.
25 17 KRAPP'S LAST TAPE, 1971. Direector's Notes.
25 18 KRAPP'S LAST TAPE, 1971. Photographs.
25 19 KRAPP'S LAST TAPE, 1971. Rehearsal Notes.
25 20 KRAPP'S LAST TAPE, 1971. Script, Annotated by A.S.
25 21 KRAPP'S LAST TAPE, 1971. Shooting Log.
25 22 KRAPP'S LAST TAPE, 1971. Shooting Script.
25 23 SIGN IN SIDNEY BRUSTEIN'S WINDOW (by Lorraine Hansberry), 1971. Photographs, Longacre Theatre, New York.
25 24 SIGN IN SIDNEY BRUSTEIN'S WINDOW, 1971. Playbills and Programs.
25 25 WAITING FOR GODOT (by Samuel Beckett), 1972. Program, Princeton University.
26 1 MOONCHILDREN (by Michael Weller), 1972. Playbills and Programs, Royale Theatre, New York.
26 2 UPTIGHT (by Gunter Grass), 1972. Photographs, Arena Stage, Washington, D.C.
26 3 UPTIGHT, 1972. Playbills and Programs.
26 4 UPTIGHT, 1972. Scenic Designs and Sets by Santo Loquasto.
26 5 FOURSOME (by E.A. Whitehead), 1972. Photographs, Arena Stage, Washington, D.C.
26 6 FOURSOME, 1972. Playbills and Programs.
26 7 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II (by Samuel Beckett), 1972. Contract and Related Correspondence, Mitzi Newhouse Theatre, New York.
26 8 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972 - 1973. General Correspondence.
26 9 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Correspondence, re: Act Without Words I.
26 10 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Correspondence, re: HAPPY DAYS (Including Ephemera).
26 11 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Correspondence, re: Not I.
26 12 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972 - 1974. Correspondence with Hume Cronyn and J. Tandy.
26 13 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Correspondence with Jules Irving.
26 14 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Director's Notes, General.
26 15 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Director's Notes, In Notebook.
26 16 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Director's Notes, re: KRAPP'S LAST TAPE.
26 17 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Director's Promptbook for NOT I.
26 18 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Expenses.
26 19 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Notes, by Hume Cronyn, re: KRAPP'S LAST TAPE.
26 20 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Notes, re: Character "Winnie" in HAPPY DAYS.
26 21 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Photographs, ACT WITHOUT WORDS I.
26 22 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Photographs, HAPPY DAYS.
26 23 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Photographs, KRAPP'S LAST TAPE.
26 24 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Photographs, NOT I.
26 25 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Production Notes re: KRAPP'S LAST TAPE.
26 26 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Program.
26 27 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Reviews and Articles, re: NOT I.
26 28 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Reviews and Articles, re: NOT I and KRAPP'S LAST TAPE.
26 29 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Reviews and Publicity Materials.
26 30 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Royalty and Box Office Statements.
26 31 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Schedules and Technical Matters.
26 32 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Scripts for NOT I.
26 33 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Set Designs and Director's Notes for ACT WITHOUT WORDS II.
26 34 NOT I, HAPPY DAYS, KRAPP'S LAST TAPE, ACT WITHOUT WORDS II, 1972. Working Script for Jessica Tandy in HAPPY DAYS.
27 1 OUR TOWN (by Thornton Wilder), 1972. Photographs, Arena Stage, Washington, D.C.
27 2 OUR TOWN, 1972. Program.
27 3 ENEMIES (by Maxim Gorki), 1972. Miscellaneous Production Materials, Arena Stage, Washington, D.C.
27 4 ENEMIES, 1972. Photographs of Production.
27 5 ENEMIES, 1972. Photographs Used for Scenic Designs and Sets.
27 6 ENEMIES, 1972. Playbills and Programs.
27 7 LOVE SUICIDE AT SCHOFIELD BARRACKS (by Romulus Linney), 1973. Playbills and Programs, Boston University.
27 8 LOVE SUICIDE AT SCHOFIELD BARRACKS, 1973. Program, Autographed.
27 9 LOVE SUICIDE AT SCHOFIELD BARRACKS, 1973. Script.
27 10 JABBERWOOCK (by Jerome Lawrence and Robert E. Lee), 1973. Photographs, Missouri Repertory Theatre, Kansas City.
27 11 JABBERWOOCK, 1973. Playbills and Programs.
27 12 KRAPP'S LAST TAPE, NOT I (by Samuel Beckett), 1973. Photographs, Arena Stage, Washington, D.C. , re: KRAPP'S LAST TAPE.
27 13 KRAPP'S LAST TAPE, NOT I, 1973. Playbills and Programs.
27 14 OUR TOWN (by Thornton Wilder), 1973. Correspondence re: Moscow Production, Arena Stage, Russian Tour.
27 15 OUR TOWN, 1973. Photographic Slides.
27 16 OUR TOWN, 1973. Playbills and Programs.
27 17 OUR TOWN, 1973. Program in Russian.
27 18 OUR TOWN, 1973. Proposal for Moscow Production.
27 19 OUR TOWN, 1973. Reviews of Moscow Production.
27 20 TOM (by Alexander Buzo), 1973. Photographs, Arena Stage, Washington, D.C.
27 21 TOM, 1973. Playbills and Programs.
27 22 MADNESS OF GOD (by Elie Wiesel), 1974. Photographs, Arena Stage, Washington, D.C.
27 23 MADNESS OF GOD, 1974. Playbills and Programs.
27 24 MADNESS OF GOD, 1974. Review.
27 25 MARAT/SADE (by Peter Weiss), 1974. Playbills and Programs, State University of New York, Purchase.
27 26 MARAT/SADE, 1974. Review.
27 27 WAITING FOR GODOT (by Samuel Beckett), 1974. Correspondence, Film Version (Not Produced).
27 28 SKIN OF OUR TEETH (by Thornton Wilder), 1975. Playbills and Programs, Boston University.
27 29 LAST MEETING OF THE KNIGHTS OF THE WHITE MAGNOLIA (by Preston Jones), 1975. Photographs, Arena Stage, Washington, D.C.
27 30 LAST MEETING OF THE KNIGHTS OF THE WHITE MAGNOLIA, 1975. Playbills and Programs.
27 31 WAITING FOR GODOT (by Samuel Beckett), 1975. Correspondence, Stanford University.
27 32 FB-138-04 WAITING FOR GODOT, 1975. Light Design and Ground Plan.
27 33 WAITING FOR GODOT, 1975. Photographs.
27 34 WAITING FOR GODOT, 1975. Playbills and Programs.
27 35 WAITING FOR GODOT, 1975. Reviews.
27 36 MADNESS OF GOD (by Elie Wiesel), 1976. Playbills and Programs, Lyceum Theatre, New York.
27 37 OUR TOWN (by Thornton Wilder), 1976. Program, Arena Stage, Washington, D.C.
27 38 TEXAS TRILOGY (by Preston Jones), 1976. Programs, Rehearsal Schedule, Kennedy Center, Washington, D.C.
27 39 TEXAS TRILOGY, 1976. Reviews.
27 40 TEXAS TRILOGY, 1976. Playbills and Programs, Broadhurst Theatre, New York.
27 41 TEXAS TRILOGY, 1976. Photographs, Combined Productions.
28 1 TEXAS TRILOGY, 1976. Reviews.
28 2 PLAY, FOOTFALLS, THAT TIME (by Samuel Beckett), 1975 - 1977. Correspondence, Arena Stage, Washington, D.C.
28 3 PLAY, FOOTFALLS, THAT TIME, 1976. Director's Notes.
28 4 PLAY, FOOTFALLS, THAT TIME, 1976. Program and Publicity.
28 5 PLAY, FOOTFALLS, THAT TIME, 1976. Reviews.
28 6 PLAY, FOOTFALLS, THAT TIME, 1976. Script.
28 7 CHERRY ORCHARD (by Anton Chekhov), 1977. Playbills, Programs, Reviews, Juilliard Theatre Center, New York.
28 8 AMERICAN DREAM AND ACT WITHOUT WORDS II (by Edward Albee and Samuel Beckett), 1977. Director's Promptbooks, Juilliard Theatre Center, New York.
28 9 PLAY, FOOTFALLS, THAT TIME (by Samuel Beckett), 1977. Correspondence and Contracts, re: PLAY.
28 10 PLAY, FOOTFALLS, THAT TIME, 1977. Playbills and Programs, Manhattan Theatre Club, New York.
28 11 PLAY, FOOTFALLS, THAT TIME, 1977. Review.
28 12 PLAY, FOOTFALLS, THAT TIME, 1977. Script and Director's Notes, re: PLAY.
28 13 MOTHER COURAGE (by Bertolt Brecht), 1978. Playbills and Programs, American Place Theatre, New York.
28 14 MOTHER COURAGE, 1978. Review.
28 15 MOTHER COURAGE, 1978. Script.
28 16 ANTIGONE (by Jean Anouilh), 1978. Playbills and Programs, The Acting Company, Touring.
28 17 ANTIGONE, 1978. Review.
28 18 LOOSE ENDS (by Michael Weller), 1979. Director's Promptbook, Arena Stage, Washington, D.C.
28 19 LOOSE ENDS, 1979. Playbills and Programs.
29 1 LOOSE ENDS, 1979. Director's Promptbook, Circle in the Square, New York.
29 2 LOOSE ENDS, 1979. Director's Prompbook.
29 3 LOOSE ENDS, 1979. Director's Promptbook.
29 4 LOOSE ENDS, 1979. Review.
29 5 GREAT AMERICAN QUIZ SHOW SCANDAL (by Louis Phillips), 1979. Program, University of California, San Diego.
29 6 LAST OF THE MARX BROTHERS' WRITERS (by Louis Phillips), 1979. Script, University of California, San Diego.
29 7 LADY FROM DUBUQUE (by Edward Albee), 1980. Audition Materials and Resumes, Morosco Theatre, New York.
29 8 LADY FROM DUBUQUE, 1980. Contracts.
29 9 LADY FROM DUBUQUE, 1980. General Correspondence.
29 10 LADY FROM DUBUQUE, 1980. Correspondence, Opening Night.
29 11 LADY FROM DUBUQUE, 1980. Director's Promptbook.
29 12 LADY FROM DUBUQUE, 1980. Director's Notes.
29 13 LADY FROM DUBUQUE, 1980. Financial Materials.
29 14 LADY FROM DUBUQUE, 1980. Playbills and Programs.
29 15 LADY FROM DUBUQUE, 1980. Reviews and Articles.
30 1 LADY FROM DUBUQUE, 1980. Scripts.
30 2 LADY FROM DUBUQUE, 1980. Telegrams.
30 3 HAPPY JOURNEY, PULLMAN CAR HIAWATHA, THE LONG CHRISTMAS DINNER, 1980. (by Thornton Wilder) Playbills and Programs, University of California, San Diego.
30 4 ROCKABY (by Samuel Beckett), 1981. Agreement with State University of New York, Various Locations.
30 5 ROCKABY, 1979 - 1981. Correspondence.
30 6 FB-138-06 ROCKABY, 1981. Designs for Chair, Oversize.
30 7 ROCKABY, 1981. Designs for Chair, Standard Size.
30 8 ROCKABY, 1981. Director's Notes.
30 9 ROCKABY, 1981. Photographs.
30 10 ROCKABY, 1981. Playbills and Programs.
30 11 ROCKABY, 1981. Press Releases.
30 12 ROCKABY, 1981. Reviews and Articles.
30 13 ROCKABY, 1981. Scripts (One Script Annotated by Schneider).
30 14 FB-138-07 ROCKABY, 1981. Set Design.
30 15 ROCKABY, 1981. Travel and Expenses.
30 16 WAITING FOR GODOT (by Samuel Beckett), 1981. Correspondence, The Acting Company, Public Theatre, New York.
30 17 WAITING FOR GODOT, 1981. Photographs.
30 18 WAITING FOR GODOT, 1981. Playbills and Programs.
30 19 WAITING FOR GODOT, 1981. Reviews and Articles.
30 20 WAITING FOR GODOT, 1981. Reviews and Publicity Materials.
30 21 WAITING FOR GODOT, 1981. Schedules, Other Production Materials.
30 22 FB-138-05 WAITING FOR GODOT, 1981. Set Design, Annotated by Schneider, and Costume Designs.
30 23 OHIO IMPROMPTU (by Samuel Beckett), 1981. Audition Materials and Resumes, Ohio State University.
30 24 OHIO IMPROMPTU, 1981. Contracts.
30 25 OHIO IMPROMPTU, 1981. General Correspondence.
30 26 OHIO IMPROMPTU, 1981. Personal Correspondence.
30 27 OHIO IMPROMPTU, 1981. Director's Notes.
30 28 OHIO IMPROMPTU, 1981. Financial Materials.
30 29 OHIO IMPROMPTU, 1981. Miscellaneous Production Materials.
30 30 OHIO IMPROMPTU, 1981. Photographs.
30 31 OHIO IMPROMPTU, 1981. Playbills and Programs.
30 32 OHIO IMPROMPTU, 1981. Reviews and Articles.
30 33 OHIO IMPROMPTU, 1981. Scenic Designs and Sets.
30 34 OHIO IMPROMPTU, 1981. Scripts, Xerox of Beckett Holograph.
30 35 OUR TOWN (by Thornton Wilder), 1981. Photographs, Guthrie Theatre, Minneapolis.
30 36 OUR TOWN, 1981. Playbills and Photographs.
30 37 OUR TOWN, 1981. Reviews.
30 38 PLAY AND OTHER PLAYS (by Samuel Beckett), 1982. Program, The Acting Company, New York.
31 1 ROCKABY (by Samuel Beckett), 1982. Correspondence, National Theatre, London.
31 2 ROCKABY, 1982. Miscellaneous Production Materials.
31 3 ROCKABY, 1982. Programs and Playbills.
31 4 ROCKABY, 1982. Reviews and Articles.
31 5 ROCKABY, 1982. Scripts.
31 6 OHIO IMPROMPTU (by Samuel Beckett), 1983. Correspondence, Goodman Theatre, Chicago.
31 7 OHIO IMPROMPTU, 1983. Miscellaneous Production Materials.
31 8 OHIO IMPROMPTU, 1983. Playbills and Programs.
31 9 OHIO IMPROMPTU, 1983. Reviews and Articles.
31 10 FB-138-08 PIECES OF EIGHT (by Various Authors), 1983. Artwork, Oversize, University of California, San Diego.
31 11 PIECES OF EIGHT, 1983. Artwork.
31 12 PIECES OF EIGHT, 1983. Director's Promptbook.
31 13 PIECES OF EIGHT, 1983. Essay (TSS by Schneider).
31 14 PIECES OF EIGHT, 1983. Photographs.
31 15 PIECES OF EIGHT, 1983. Programs.
31 16 PIECES OF EIGHT, 1983. Scripts, Annotated, re: THE BLACK AND THE WHITE and LAST TO GO.
31 17 PIECES OF EIGHT, 1983. Scripts, Xerox Copy of Beckett's Transcript of COME AND GO.
31 18 PLAY, FOOTFALLS, THAT TIME (by Samuel Beckett), 1983. Correspondence, American Place Theatre, New York.
31 19 PLAY, FOOTFALLS, THAT TIME, 1983. Director's Notes.
31 20 FB-138-09 PLAY, FOOTFALLS, THAT TIME, 1983. Floor Plan.
31 21 PLAY, FOOTFALLS, THAT TIME, 1983. Photographs.
31 22 PLAY, FOOTFALLS, THAT TIME, 1983. Playbills and Programs.
31 23 PLAY, FOOTFALLS, THAT TIME, 1983. Reviews and Articles.
31 24 FB-138-10 PLAY, FOOTFALLS, THAT TIME, 1983. Scenic Designs and Sets, Oversize.
31 25 PLAY, FOOTFALLS, THAT TIME, 1983. Scenic Designs and Set.
31 26 PLAY, FOOTFALLS, THAT TIME, 1983. Schedules.
31 27 PLAY, FOOTFALLS, THAT TIME, 1983. Scripts and Prop List.
31 28 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE (by Samuel Beckett), 1983. Casting Materials, H. Clurman Theatre, New York.
31 29 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Contract Sheet.
31 30 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1903 - 1983. Contracts.
31 31 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Correspondence.
31 32 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Director's Notes.
31 33 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Director's Promptbook.
31 34 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Financial Materials.
31 35 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Miscellaneous Production Materials.
31 36 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Note on Production Written by A. Schneider.
31 37 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Original Working Script of Catastrophe.
32 1 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Photographs, CATASTROPHE and WHAT WHERE.
32 2 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Photographs, OHIO IMPROMPTU.
32 3 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Playbills and Programs.
32 4 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Reviews and Articles.
32 5 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Scripts, CATASTROPHE.
32 6 OHIO IMPROMPTU, CATASTROPHE, WHAT WHERE, 1983. Scripts.
32 7 OUR TOWN (by Thornton Wilder), 1983. Director's Promptbook, University of California, San Diego.
32 8 OUR TOWN, 1983. Playbill.
32 9 OUR TOWN, 1983. Reviews and Articles.
32 10 PIECES OF EIGHT (by Various Authors), 1984. Director's Promptbook, The Acting Company, Public Theatre, New York.
32 11 PIECES OF EIGHT, 1984. Photographs re: COME AND GO.
32 12 PIECES OF EIGHT, 1984. Playbills and Programs.
32 13 PIECES OF EIGHT, 1984. Reviews.
32 14 ROCKABY, FOOTFALLS, ENOUGH (by Samuel Beckett), 1984. Cast List, Travel Schedule, Harold Clurman Theatre, New York.
32 15 ROCKABY, FOOTFALLS, ENOUGH, 1984. Correspondence.
32 16 ROCKABY, FOOTFALLS, ENOUGH, 1984. Director's Notes.
33 1 ROCKABY, FOOTFALLS, ENOUGH, 1984. Director's Promptbook.
33 2 FB-138-11 ROCKABY, FOOTFALLS, ENOUGH, 1984. Floor Plan.
33 3 ROCKABY, FOOTFALLS, ENOUGH, 1984. Permission to Videotape Performance.
33 4 ROCKABY, FOOTFALLS, ENOUGH, 1984. Programs.
33 5 ROCKABY, FOOTFALLS, ENOUGH, 1984. Reviews.
33 6 ROCKABY, OHIO IMPROMPTU, CATASTROPHE (by Samuel Beckett), 1984. Reviews and Programs, M. Taper Forum, Los Angeles.
33 7 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA (by Harold Pinter), 1984. Audition Materials, Manhattan Theatre Club, New York
33 8 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Contract, Program.
33 9 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Correspondence.
33 10 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Director's Notes, General.
33 11 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Director's Notes, re: Casting.
33 12 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Director's Promptbook for VICTORIA STATION.
33 13 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Miscellaneous Production Materials.
33 14 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Programs.
33 15 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Reviews and Articles.
33 16 FB-138-12 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Scenic Designs and Sets, Oversize.
33 17 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Scenic Designs and Sets, Standard Size.
33 18 VICTORIA STATION, ONE FOR THE ROAD, A KIND OF ALASKA, 1984. Script.
33 19 WAR AT HOME (by James Duff)., 1984. Contract, Hampstead Theatre, London.
33 20 WAR AT HOME, 1982 - 1984. Correspondence.
33 21 WAR AT HOME, 1984. Director's Promptbook, Part I.
34 1 WAR AT HOME, 1984. Director's Promptbook, Part II.
34 2 WAR AT HOME, 1984. Director's Notes.
34 3 WAR AT HOME, 1984. Miscellaneous.
34 4 WAR AT HOME, 1984. Program.
34 5 WAR AT HOME, 1984. Reviews and Articles.
34 6 WAR AT HOME, 1984. Scripts, Annotated.
34 7 WAR AT HOME, 1984. Scripts, Revised Vesion.
34 8 WAR AT HOME, 1984. Scripts, Rewritten Portions.
34 9 FB-138-13 WAR AT HOME, 1984. Set Designs, Floor Plans.
34 10 FROM ITS BEGINNING TO ITS END. (An Evening With Samuel Beckett) Scripts, FROM ITS BEGINNING TO ITS END, no date.
34 11 FROM ITS BEGINNING TO ITS END, 1963 - 1983. Miscellaneous Production Materials, Beckett Plays, Various Productions, Correspondence.
34 12 FB-137-02 FROM ITS BEGINNING TO ITS END. Miscellaneous Production Materials, Beckett Plays, Various Productions, Photographs, Oversize.
34 13 FROM ITS BEGINNING TO ITS END. Miscellaneous Production Materials, KRAPP'S LAST TAPE, Various Productions Photographs.
34 14 FROM ITS BEGINNING TO ITS END. Miscellaneous Production Materials, WAITING FOR GODOT, Various Productions, Casting Notes.
34 15 FROM ITS BEGINNING TO ITS END. Miscellaneous Production Materials, WAITING FOR GODOT, Photos.
34 16 FROM ITS BEGINNING TO ITS END. Miscellaneous Production Materials, Vaious Productions, Photographic Slides.
34 17 FB-138-14 FROM ITS BEGINNING TO ITS END. Miscellaneous Production Materials, Various Productions, Scenic Designs, Oversize.
34 18 FROM ITS BEGINNING TO ITS END. Miscellaneous Production Materials, Various Productions, Scenic Designs, Standard Size.

SUBJECT FILES

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Beckett Materials

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Symposia and Conferences

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TEACHING MATERIALS

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1941-1952: Catholic University of America

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36 7 Acting Class: Theory, Principle, Characterization.
36 8 Contemporary Drama - Lecture Notes, Parts I-II.
36 9 Contemporary Drama - Lecture Notes, Parts I-II.
37 1 Contemporary Drama - Lecture Notes, Part III.
37 2 Contemporary Drama - Reading List.
37 3 Directing Class - Lecture Outlines.
37 4 FROM NATURALISM TO EXPRESSIONISM. Lecture Notes.
37 5 History of Drama - Notes.
37 6 History of Drama - Outline.
37 7 Lectures on Acting -- Outlines and Notes.
37 8 Lectures on Directing - Advanced Play Directing.
37 9 Lectures on Directing - CAVEAT DIRECTOR.
37 10 Lectures on Directing - TRUTH VS. STYLE.
38 1 Russian Drama and Theatre - Parts I-II.
38 2 Russian Drama and Theatre - Parts I-II.
38 3 Student Compositions.
38 4 Student Papers from Walter Kerr's Drama Class.
38 5 THEATRE, ART AND CIVILIZATION -- Lecture Notes.
38 6 Walter Kerr's Playwriting Class -- Lecture Notes and Outline.
38 7 City College of New York -- Speech 318, 1974. The Plays of Beckett.
38 8 Stanford University -- Beckett Seminar Materials, 1975.

1975-1979: Juilliard School

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38 9 Notes on THE CHERRY ORCHARD.
38 10 FB-137-01 Photographs of Students and Productions. Oversize.
38 11 Photographs of Students and Productions. Standard Size.
38 12 Script, FAITH HEALER (Annotated).
38 13 VISUAL ASPECTS OF BECKETT'S WORKS.
38 14 New York University -- Dramaturgy and Performance, 1979.

1979-1984: University of California, San Diego

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38 15 Beckett Program for Drama Students.
38 16 Directing Notes, Miscellaneous.
38 17 Drama Course Evaluations.
38 18 Lecture and Directing Notes, Miscellaneous.
39 1 Master of Arts in Drama, Term Papers.
39 2 Master of Arts in Theatre, Syllabus, Notes.
39 3 Theatre of Private Lives.
39 4 Miscellaneous Teaching Materials.

Essays, Articles, and General Writings

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39 5 Short Stories Published in THE DAILY CARDINAL, 1937 - 1939.
39 6 Essays on Theatre, 1937 - 1941.
39 7 Plays for Radio, 1938 - 1942.
39 8 Articles on American Theatre in Student Publications, 1939.
39 9 Short Stories, 1939.
39 10 STUDY OF THEATRE DIRECTION, 1940.
39 11 Addresses Delivered by Postmaster General James Farley, 1940 - 1941.
39 12 WE SHALL NOT SLEEP, 1941.
39 13 World War II Diary, 1941 - 1942.
40 1 HIGH SCHOOL THEATRE IN THE VICTORY CORPS PROGRAM, 1942.
40 2 Wartime Writings on Theatre, 1943 - 1944.
40 3 ONE THEATRE in National Theatre Conference Bulletin, 1944.
40 4 QUESTION FOR THE DAY (Poem), 1944.
40 5 Soviet-American Theatre Essays, 1945.
40 6 CAPITAL EXPERIMENT, 1945.
40 7 THEATRE GROWS IN BROOKLAND, D.C., 1945.
40 8 Essays on Regional and International Theatre, 1946 - 1949.
40 9 NON-COMMERCIAL THEATRE, 1946.
40 10 RETURN TO ACTION: THEATRE IN CZECHOSLOVAKIA, 1947.
40 11 STRAW HAT THEATRE, 1948.
40 12 NEEDED: A NEW KIND OF THEATRE BUILDING, 1948.
40 13 Articles re: Theatre, 1950 - 1973.
40 14 Letters to the Editor, 1952 - 1956.
40 15 IN ENGLAND (Article in PLAYERS MAGAZINE), 1953.
40 16 Articles in THE NEW YORK TIMES, 1954 - 1977.
40 17 NEW YORK SEASON - LONG SEASON'S JOURNEY INTO NOT MUCH, 1957.
40 18 TALE OF TWO CITIES, 1957.
40 19 Off-Broadway: An Infinite Capacity for Almost Anything, 1958.
40 20 WAITING FOR BECKETT, 1958. MSS, TSS, Reprints.
40 21 WAITING FOR BECKETT, 1966 - 1980. Correspondence re: Reprints.
40 22 WHY SO AFRAID?, 1962.
40 23 Theatre Reviews in THE NEW LEADER, 1962 - 1963.
41 1 EUROPE'S LESSON FOR BROADWAY, 1963.
41 2 DIRECTORS ON DIRECTING, 1964.
41 3 AFFRONT AND LINCOLN CENTER, 1964.
41 4 LAUGHTER AMONG THE RUINS, 1965.
41 5 Statement About Samuel Beckett for the SATURDAY REVIEW OF LITERATURE, 1965.
41 6 IDEA OF FESTIVAL THEATRE IN ITHACA, 1965 - 1967.
41 7 REGIONAL THEATRE VS. BROADWAY, 1967.
41 8 FILMING "FILM", 1969.
41 9 Letter to the Editor of EVERGREEN in Response to John Lahr, 1969.
41 10 Tribute to Ruth White, 1969.
41 11 LONG, LONG WAIT FOR GODOT, 1971.
41 12 THEATRE: DOES IT EXIST? in ART IN SOCIETY, 1971.
41 13 DIRECTOR AS DOGSBODY in THEATRE QUARTERLY, 1973.
41 14 HUME'S FIRST TAPE AND RELATED MATTERS, 1973.
41 15 REPORT ON THREE WEEKS IN MOSCOW AND LENINGRAD, 1973. Cultural Exchange Program.
41 16 HAPPY JOURNEY TO MOSCOW AND LENINGRAD, 1973.
41 17 Articles re: Theatre, 1973.
41 18 THEATRE AS A MAGNIFYING GLASS TO LIFE, 1973.
41 19 Article in DGA ACTION, 1975.
41 20 CUTTING THROUGH RED TAPE TO ASCEND "MT. FUJI", 1975.
41 21 WORKING WITH BECKETT, 1975. Manuscripts.
41 22 WORKING WITH BECKETT, 1976. Reprints.
41 23 WORKING WITH BECKETT, 1975. Typrscripts, Part I.
42 1 WORKING WITH BECKETT, 1975. Typscripts, Part II.
42 2 TEXAS TRILOGY STORY, 1976.
42 3 BECKETT AT SEVENTY, ALAN AT SIXTY, 1976 - 1977. Manuscript, Typescript.
42 4 BECKETT AT SEVENTY, ALAN AT SIXTY, 1976 - 1977. Manuscript, Typescript.
42 5 Article in The NEW YORK THEATRE REVIEW, 1978.
42 6 Tribute to Harold Clurman, 1980.
42 7 Book on Samuel Beckett, 1980. Photocopies of Contributers' Articles, Parts I-II.
42 8 Book on Samuel Beckett, Photocopies of Contributers' Articles, Parts I-II, 1980. Photocopies of Contributers' Articles, Parts I-II.
42 9 ENTRANCES, 1984. Book Credits.
42 10 ENTRANCES, 1971 - 1984. General Correspondence.
42 11 ENTRANCES, 1981 - 1984. Correspondence with Frank Heller.
42 12 ENTRANCES, 1984. Manuscripts, Editing Copy, Annotated, Part I.
43 1 ENTRANCES, 1984. Manuscripts, Editing Copy, Annotated, Parts II-III.
43 2 ENTRANCES, 1984. Manuscripts, Editing Copy, Annotated, Parts II-III.
43 3 ENTRANCES. Material dated 1983.
43 4 ENTRANCES, 1984. Notebook.
43 5 ENTRANCES, 1984. Notes, Typescripts.
43 6 ENTRANCES, 1984. Miscellaneous Materials.
43 7 ENTRANCES, 1984. Notes for Book, Parts I-III.
43 8 ENTRANCES, 1984. Notes for Book, Parts I-III.
43 9 ENTRANCES, 1984. Notes for Book, Parts I-III.
44 1 ENTRANCES, 1984. Notes for Book, Part IV.
44 2 ENTRANCES, 1972 - 1984. Notes on Visits with Samuel Beckett.
44 3 ENTRANCES, 1984. Typescript, Annotated, Part I.
44 4 ENTRANCES, 1984. Typescript, Annotated, Part II.
44 5 ENTRANCES, 1984. Typescript, Annotated, Part III.
44 6 ENTRANCES, 1984. Typescript, Annotated, Part IV.
44 7 THINGS TO COME TO, 1984.
44 8 ANOTHER PART OF THE ELEPHANT.
44 9 CARE AND FEEDING OF PLAYWRIGHTS.
44 10 ESSAY ON BECKETT.
44 11 MOTHER COURAGE.
44 12 NOTHING EASIER.
45 1 ON PLAY AND OTHER PLAYS.
45 2 Poems.
45 3 SECOND CITY, D.C..
45 4 SO WHAT DO YOU REALLY DO, MR. DIRECTOR?.
45 5 YOUNG MEN.
45 6 Miscellaneous Writings.
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45 7 ONE THEATRE, 1941. Social Construction Conference.
45 8 NOT SILENT IS GOLDEN, 1944. Catholic University.
45 9 Radio Speeches for WQQW, 1947. Washington, D.C.
45 10 MODERN AMERICAN THEATRE, 1949.
45 11 Miscellaneous Speeches -- Notes and Outlines, 1960 - 1975.
45 12 THEATRE IN TRANSITION, 1960 - 1962.
45 13 ORGANIZED CHAOS, 1961. Iowa City.
45 14 BROADWAY SEESAW, 1961. Indiana University.
45 15 THEATRE IN TRANSITION, 1961. Univerisity of Wisconsin.
45 16 AGE OF REVOLUTION -- SOMETHING IS UP, 1962. Hofstra University.
45 17 BROADWAY PROCESS, 1962.
45 18 FUTURE OF AVANT-GARDE THEATRE IN AMERICA, 1962. Bucknell University.
45 19 THEATRE OF THE ABSURD, 1962. Adelphi University.
45 20 DIRECTOR AND THE THEATRE IN TRANSITION, 1963.
45 21 WHO'S AFRAID OF BROADWAY, 1963. University of Texas.
45 22 ARTS AND EXISTENCE, 1964.
45 23 REGIONAL THEATRE PROBLEMS, 1964. Florida.
45 24 SEARCH FOR A THEATRE, 1964. 555 Club.
45 25 ESSENCE OF MAN AND THE ARTS, 1964.
45 26 THEATRE IN TRANSITION, 1965. Kalamazoo College.
45 27 PERILS OF PROPHECY, 1965. Yale University.
46 1 THEATRE IN CHANGING SOCIETY, 1967. Valparaiso University.
46 2 WHO'S AFRAID OF EDWARD ALBEE, 1967. University of Missouri.
46 3 THEATRE ANYONE?, 1968.
46 4 THEATRE: DOES IT EXIST?, 1969.
46 5 ARENA THEATRE, 1970.
46 6 GOOD AND BAD THINGS IN AMERICAN THEATRE, 1970.
46 7 Lectures from Salzburg Seminar, 1970.
46 8 THEATRE: DOES IT EXIST?, 1970.
46 9 Miscellaneous Speeches -- Title Pages, 1970 - 1978.
46 10 THEATRE MARCHES ON, 1971.
46 11 PROFESSIONAL LOOKS AT UNIVERSITY THEATRE, 1971. University of Wisconsin.
46 12 EUROPEAN THEATRE, 1972.
46 13 FUTURE OF AMERICAN THEATRE, 1972.
46 15 WAITING FOR BECKETT, 1973. University of Missouri, Kansas City.
46 16 Commencement Address, 1974. Hofstra University.
46 17 Directing Colloquium Speech, 1974. Southern Methodist University.
46 18 THEATRICAL ENDS AND THEATRICAL MEANS, 1975. West Virginia University.
46 19 THEATRE IN TRANSITION, 1976.
47 1 36 DRAMATIC SITUATIONS, 1941 - 1977. Cornell University.
47 2 FROM REALISM TO REALITY, 1977. Smithsonian Institution.
47 3 WORLD OF DIRECTOR, 1977. Williams College.
47 4 NEW DRAMATISTS, 1978.
47 5 THEATRE IN TRANSITION, 1978.
47 6 ACTOR-DIRECTOR RELATIONSHIP, 1978.
47 7 Speech for Ibsen Symposium, 1978. Pratt Institute.
47 8 Speech for Induction into Honor Society, 1978. New York High School of Performing Arts.
47 9 THEATRE ADVANCING, 1978. American Theatre Association, New Orleans.
47 10 AMERICAN THEATRE, 1979.
47 11 HOW NOT TO DIRECT A PLAY, 1979.
47 12 LETTER FROM RUSSIA, 1979.
47 13 Mac Lowry Speech, 1980. Wharton Theatre Award.
47 14 REALITY/REALISM IN THE THEATRE, 1980.
47 15 NATURE OF THE THEATRE, 1980.
47 16 THEATRICAL ENDS AND MEANS, 1981.
47 17 THEATRE: DOES IT EXIST?, 1981.
47 18 THEATRE IN TRANSITION, 1981. Trinity University.
47 19 RECENT TRENDS IN CONTEMPORARY AMERICAN THEATRE, 1982. The American Center, Tokyo.
47 20 ESSENCE OF EXISTENCE SEEN IN THE ARTS, 1984.
47 21 AVANT-GARDE TODAY.
47 22 Speech for Hume Cronyn and Jessica Tandy.
47 23 Theatre Speech.
47 24 Miscellaneous Speeches.

Interviews

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48 1 VILLAGE VOICE (by Jerry Tallmer), 1962.
48 2 REALITY IS NOT ENOUGH (by Richard Schechner), 1965.
48 3 SPEAKING FREELY, 1970. NBC news.
48 4 ALAN SCHNEIDER, CAMPUS ARTIST IN RESIDENCE (by Robert Jorge), 1971.
48 5 Southeastern Massachusetts University (by Alex Hawkins), 1974.
48 6 Miscellaneous Interviews, 1974 - 1978.
48 7 DIRECTOR ALAN SCHNEIDER ON THEATRE (by Steven Stosny), 1975.
48 8 ARTS IN AMERICA, 1979. For Voice of America.
48 9 BELL TELEPHONE MAGAZINE, 1981.
48 10 INTERVIEW WITH ALAN SCHNEIDER (by Parks).

WRITINGS OF OTHERS

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48 11 Anderson, Robert, THE KISSING WAS ALWAYS THE BEST.
48 12 Arikha, Avigdor, THE NORTH.
48 13 Beckett, Samuel, BEGINNING TO END.
48 14 Beckett, Samuel, CATASTROPHE.
48 15 Beckett, Samuel, EH, JOE.
48 16 Beckett, Samuel, ELEUTHERIA.
48 17 Beckett, Samuel, FIRST LOVE.
48 18 Beckett, Samuel, FOOTFALLS. Photocopies of MSS and TSS Annotated by Author.
48 19 Beckett, Samuel, IMAGINATION DEAD IMAGINE.
48 20 Beckett, Samuel, LOST ONES.
48 21 Beckett, Samuel, MERCIER AND CAMIER. Typescripts, Carbon Copy, in French.
48 22 Beckett, Samuel, MERCIER AND CAMIER. Typescripts, Photocopy, in English.
48 23 Beckett, Samuel, NACHT UND TRAUME.
48 24 Beckett, Samuel, NOT I.
49 1 Beckett, Samuel, OHIO IMPROMPTU.
49 2 Beckett, Samuel, PLAY.
49 3 Beckett, Samuel, QUAD.
49 4 Beckett, Samuel, RADIO I AND II, THEATRE I AND II.
49 5 Beckett, Samuel, STILL. Photocopy of Annoatated Text.
49 6 Beckett, Samuel, THAT TIME. Photocopy of TSS Annotated by Author.
49 7 Beckett, Samuel, WHAT WHERE.
49 8 Beckett, Samuel, WORSTWARD HO.
49 9 Bishop, Tom, BECKETT ANTHOLOGY.
49 10 Fehsenfeld, Martha, HAPPY DAYS REHEARSAL ACCOUNT.
49 11 Foote, Horton, THE NIGHT SEASONS.
49 12 Gontarski, Stanley. Writings on Beckett.
49 13 Libera, Antoni, SAMUEL BECKETT: "THAT TIME".
49 14 Lindsay, Howard, A NEW DRAMATISTS CRAFT.
49 15 Markson, John W., The Plays of Edward Albee.
49 16 Marowitz, Charles, ARTAUD AT RODEZ.
49 17 McMillan, Dougald and Fehsenfeld, Martha. Essays on Beckett's Work.
49 18 Miller, Arthur, A NEW DRAMATISTS CRAFT DISCUSSION.
49 19 Moliere, THE MISER. KIernodle, George, Translator.
49 20 Pinter, Harold, ONE FOR THE ROAD.
49 21 Quintero, Jose. Proposed Book on Directing.
49 22 Reeve, F.D., WHO THEY WERE.
50 1 Saroyan, William, JIM DANDY.
50 2 Scott, Duncan, LIGHT PLAY.
50 3 Selwerth, Ralph, THE APPEAL FOR SAMUEL BECKETT.
50 4 Stein, Joseph, BEFORE THE DAWN.
50 5 Tabori, George, BRECHT ON BRECHT.
50 6 Unidentified, PLAY and FIVE ANOTHER.
50 7 Various authors, Beckett Book - Part I.
50 8 Various authors, Beckett Book - Part II.
50 9 Various authors, Beckett Book - Part III.
50 10 Various authors, Beckett Book - Part IV.
51 1 Various authors, Beckett Book - Part V.
51 2 Student Essays.
51 3 Student Essays.
51 4 Warner, Francis, LYING FIGURES (with Correspondence).
51 5 Weller, Michael, THE GREATEST LITTLE SHOW ON EARTH.

PHOTOGRAPHS

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51 6 Actors, Various.
51 7 Arena Stage -- Facilities. Personnel.
51 8 Autographed Photographs.
51 9 Beckett, Samuel.
51 10 Beckett Festival, Paris, 1981.
51 11 Catholic University. Actors and Productions.
51 12 Catholic University. Productions not directed by Schneider.
52 1 Cornell University -- Student Productions.
52 2 Dartington Hall, England.
52 3 Hartke, Gilbert (Catholic University).
52 4 Ithaca Festival Center for Performing Arts.
52 5 Olivier, Laurence.
52 6 Productions (Not Directed by Schneider) - British Theatre.
52 7 Productions (Not Directed by Schneider) - Canadian Theatre.
52 8 Productions (Not Directed by Schneider) - DAWN IS QUIET.
52 9 Productions (Not Directed by Schneider) - ENDGAME (Foreign Productions).
52 10 Productions (Not Directed by Schneider) - HOUSE OF ATREUS.
52 11 Productions (Not Directed by Schneider) - INHERIT THE WIND.
52 12