Theatre Design & Technology - Summer 1982 - 29

___________Research
The Columbia University
Theatre Collection
by Tina Margolis

Although the Joseph Urban and Woodman Thompson Papers are two
of Columbia University's largest and best-known collections in the area
of stage design and technology, there are many smaller yet equally
significant collections which form part of the university's holdings. These
rare and unique materials, housed throughout the Morningside Heights
campus, pertain largely to nineteenth and twentieth century Western
theatre.
The impetus for creating a theatre arts archive at Columbia stemmed
from the energy and commitment of Brander Matthews (1852-1929).
Matthews joined the faculty of the English Department in 1892, and in
1900 was appointed the first professor of dramatic literature in the
United States. He was greatly influenced by the antiquarian movement,
became an avid collector, and donated his own resources to form the
nucleus of the archive. This collection opened in 1911 in Philosophy
Hall, and the following year, after he donated further materials, it was
named in his honor as the Brander Matthews Dramatic Museum.
The materials were organized into an exhibition room, on the ground
floor, and an office and library on the sixth. The purpose of the museum
was to provide a repository for books and artifacts and to serve as an
educational force for both the Columbia community and the general
public. During its sixty year history, the museum fulfilled its aim by
publishing anthologies and catalogs, sponsoring lecture series, and
mounting exhibitions.
Until a few years before its close in 1971, the Dramatic Museum
operated as an independent institution under the English Department.
As the university expanded, it became only one of a number of special
collections on campus. For example, in 1890 Avery Architectural Library
and Archives were opened; in 1930 the Rare Book and Manuscript
Library was founded; in 1948 the Oral History Collection was started;
and in 1964 the Office of Art Properties was created. Consequently,
theatre materials were acquired by the Dramatic Museum as well as
these other collections. Specifically, Avery Archives received unique
theatre plans, and the Rare Book and Manuscript Library obtained the
papers of noteworthy playwrights and directors. This overlapping produced two distinctly different effects: a greater number and variety of
materials were amassed, but information about the entire resource was
never centrally located for easy reference.
In 1959, in a drive to bring the museum's library-some 10,000 books,
acting editions, and promptbooks-into fuller use and to centralize
access to the university's holdings, most of the Dramatic Museum's
volumes were integrated into the general system. Except for a core
collection which was stored on the lower level of Butler Library and
briefly reinstated as a theatre arts library in the mid 1960s, these
volumes have since remained in the university's circulating and special
collections.
In December 1970, due to a variety of financial and social pressures,
Columbia disbanded its theatre arts program. In spring 1971, the
administration and trustees decided to close the exhibition rooms of the
museum. The museum's non-book holdings were dispersed throughout
the university, augmenting existing collections and forming new ones. A
brief survey of these non-book resources on stage design and technology, both transferred from the Dramatic Museum and acquired separately, will be outlined.

Fourteen-inch doll of Helen Hayes as Queen
Victoria in Victoria Regina, 1936,

The majority of Columbia's performing arts collections are located in
the Rare Book and Manuscript Division of Butler Library. There are more
than 100 separate collections housed between the Manuscript Reading
Room (833 Butler) and the Rare Book Reading Room (654 Butler). In
the Manuscript Department, along with the Urban and Thompson
Papers are two collections on avant garde performance, the Florine
Stettheimer Papers and the Virgil Thomson Papers. Stettheimer was an
American primitive artist who designed the sets and costumes for the
Gertrude SteinlVirgil Thomson/Frederick Ashton opera Four Saints in
Three Acts. Among the documents are photographs, original drawings,
and the puppets for the play. Complementing these are the Virgil
Thomson Papers, consisting of tapes and critical articles which reflect
the composer's interest in modern music and American hymns.
In contrast, commercial theatre and popular entertainments are
represented by Daly's Theatre (New York City) Office Files and the
Columbia University Brander Matthews Dramatic Museum Collection.
One of the volumes in the Daly's Theatre collection refers to stage sets
for his productions. Similarly, the Dramatic Museum papers contain
records on the management of the museum as well as subject files on
theatrical personalities, masks, puppets, and costumes.
Also deposited in the Manuscripts Department is the Bakhmeteff
Archive of Russian and East European History. Cataloging of these
papers is currently in process. However, one of the entries which has
been completed is the Mstislav Valerianovich Dobuzhinskii Collection. A
painter and stage designer, these materials include rendering of his
works for theatrical productions.
The Dramatic Museum Ephemera Collection is cataloged and housed
in the Rare Book Reading Room. This collection is subdivided into five
parts: the portrait file; the subject file; the program file; the scrapbook
file; and the playbill file. The portrait file contains some 34,000 prints.
photographs, cabinet photographs, and cartes de visite of primarily
English and American performers. The subject file, composed of over
15,000 items, lists entries ranging from opera and toy theatres to

Tina Margolis is a former assistant editor of The Drama Review currently compiling a detailed catalog of Columbia's theatre collection.
USITT/Summer, 1982

Theatre Design & Technology 27



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1982

Contents
Theatre Design & Technology - Summer 1982 - 1
Theatre Design & Technology - Summer 1982 - 2
Theatre Design & Technology - Summer 1982 - 3
Theatre Design & Technology - Summer 1982 - Contents
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