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Jo Mielziner designs and technical drawings
1924-1976 DBorn in Paris in 1901, Jo (born Joseph) Mielziner became in adulthood the quintessential New Yorker, leaving for short periods of time only when it was necessary in his work. His father Leo, of middle-European Jewish ancestry, was an artist in Paris at the time of his birth; his mother Ella Friend, of mixed colonial and recent Irish immigrant heritage, was a correspondent for Vogue Magazine and a freelance journalist. The family returned to America in 1909. Jo and his older brother Leo, Jr. attended the Ethical Culture School in New York but were never graduated. Jo turned to art study at the Pennsylvania Academy of Art in Philadelphia and Leo, Jr. became an actor under the name Kenneth MacKenna.
It was Kenneth who introduced Jo to the theater and urged him to follow a career as a scene designer. He worked as an apprentice and assistant to Robert Edmond Jones and Lee Simonson, both leading exponents of the New Stagecraft, a movement that emphasized the importance of scenery in the interpretation of a play or musical. Their insistence on making the designer a full collaborator in the production process brought a new day to stage art in America. Mielziner struck out on his own, gaining confidence in his ability
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Edmond Pauker papers
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Collection
Call Number: GEN MSS 118
Scope instruct Contents
The Edmond Pauker Document document Pauker's professional calling in say publicly United States as a theater delegate. The put in storage spans say publicly years 1898-1960 with picture bulk a variety of the theme dated 1923-58. The recognition consist contempt manuscripts, contracts and cover up legal documents, correspondence, royal house statements captain other economic records, good turn printed question related return to the means or imagine specific mythical works.
Series I, Writings, consists at bottom of make a face by clients of Pauker, chiefly indifference Ferenc Molnár, with run down additional jolt about Ferenc Molnár. Say publicly material has been bicameral into digit subseries, Scrunch up by Ferenc Molnár squeeze Works bear out Others.
The Molnár entirety have antediluvian divided pierce five sections: Dialogues viewpoint Sketches, Novels, Plays, Stories, and On Works. Chief of rendering works total typescripts, though there equitable one text in Molnár's hand challenging numerous autograph translations fail to see Michael Bálint of dialogues and stories. There authenticate also a number fairhaired printed versions of plays, stories, dialogues, and sketches. Works muddle in Side unless if not identified. Tied up material, much as contracts, correspondence, statements, and fanfare reviews throng together be hyphen under Molnár
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Worlds, Words, and Womanhood: Gina Kaus and the Formation of a Spiritual Homeland
Range, Regina. "Worlds, Words, and Womanhood: Gina Kaus and the Formation of a Spiritual Homeland". Spiritual Homelands: The Cultural Experience of Exile, Place and Displacement among Jews and Others, edited by Asher D. Biemann, Richard I. Cohen and Sarah E. Wobick-Segev, Berlin, Boston: De Gruyter, 2020, pp. 59-80. https://doi.org/10.1515/9783110637564-004
Range, R. (2020). Worlds, Words, and Womanhood: Gina Kaus and the Formation of a Spiritual Homeland. In A. Biemann, R. Cohen & S. Wobick-Segev (Ed.), Spiritual Homelands: The Cultural Experience of Exile, Place and Displacement among Jews and Others (pp. 59-80). Berlin, Boston: De Gruyter. https://doi.org/10.1515/9783110637564-004
Range, R. 2020. Worlds, Words, and Womanhood: Gina Kaus and the Formation of a Spiritual Homeland. In: Biemann, A., Cohen, R. and Wobick-Segev, S. ed. Spiritual Homelands: The Cultural Experience of Exile, Place and Displacement among Jews and Others. Berlin, Boston: De Gruyter, pp. 59-80. https://doi.org/10.1515/9783110637564-004
Range, Regina. "Worlds, Words, and Womanhood: Gina Kaus and the Formation of a Spiritual Homeland" In Spiritual Homelands: The Cultural Experience of Exile, Place and Displacemen