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|Named Person:||Uta Hagen; Oskar Hagen; Herbert Berghof; Samuel Beckett; José Ferrer; Ming Cho Lee|
|Material Type:||Internet resource|
|Document Type:||Archival Material, Internet Resource|
|All Authors / Contributors:||
Uta Hagen; Oskar Hagen; José Ferrer; Ming Cho Lee
|Language Note:||This collection contains materials in English, though there are many documents and notes in German.|
|Description:||49 linear feet (99 boxes)|
There are also a number of papers relating to the HB Studio and HB Playwrights Foundation, the school and developmental theater founded by Berghof. A significant number of the papers are in German, including some of Hagen's family correspondence, papers from Berghof's early career, as well as some later professional correspondence, and scripts. The bulk of the papers relate to productions and professional projects for the two. Joint projects on which they worked together are filed with Hagen's papers, with the exception of the road tour of "The Deep Blue Sea," which Hagen performed with Berghof on the road, following Margaret Sullavan who originated the role. Correspondence addressed to both is also filed with Hagen's papers. The papers are especially rich in numerous versions of scripts on which Hagen and Berghof worked, particularly those adapted and translated by one or both of them, "The Affairs of Anatol" (1957), "Cyprienne" (1955), "The Queen and the Rebels" (1959), "Prometheus Bound" (1973), and most notably "Charlotte," presented on Broadway in 1980. Many of the productions in the collection were presented at HB Playwrights Foundation. There are numerous handwritten notes and pages of dialogue, sometimes in German, by Berghof, relating to plays on which he was working, or hoped to develop. Uta Hagen's papers include correspondence to and from her family, as well as Hagen family papers. Many of these papers are in German. Hagen's letters to her father provide many details of her professional and personal life. Particularly interesting are letters mentioning segregation during the Othello tour (1943-1945) with Paul Robeson and her then-husband, José Ferrer. Correspondence consists largely of business-related letters, but also from friends, fans, and students. Of particular note are the numerous condolence letters Hagen received on Berghof's death in 1990. Productions are documented with scripts, correspondence, contracts, programs, production materials, notes, and ephemera. Of particular interest are Hagen's notebooks for "Who's Afraid of Virginia Woolf?" (1962), "Collected Stories" (1998), and "Six Dance Lessons in Six Weeks" (ca. 2001). The papers also document the numerous productions in which Berghof performed, directed, adapted, translated, or developed. The productions and projects span Berghof's entire career from the late 1920s to his final project in 1990. Material from Berghof's early years as a refugee actor and director in New York provide insight into the dilemma faced by creative émigré artists in that period of history. Of particular note is a letter from Albert Einstein wishing the Refugee Artists Group well (1938) and correspondence with Samuel Beckett re: "Waiting for Godot" which Berghof directed in its premiere on Broadway in 1956. Papers relating to HB Studio and HB Playwrights Foundation papers provide a glimpse into the history and workings of these organizations. Three of the four scrapbooks in the collection document Hagen's career from 1948 to 1961; the fourth contains programs and posters for many HB Playwrights Foundation productions spanning the 1971/1972 to 1975/1976 seasons. Oversized materials relate to both Hagen and Berghof and include awards, scripts, photographs, research material, and clippings. Of special interest is an autographed portrait of Berghof taken by Paul Draper (ca. 1965), as well as blueprints of Ming Cho Lee set designs for Jean Cocteau's "The Infernal Machine" (1958).