1. And “The Method”

2. Early Days Born in 1901 Budzanow, Poland. Traveled to America in 1909 and grew up in immigrant neighborhood on the Lower East Side of NY. Joined the American Laboratory Theatre in 1923 after deciding to walk in off the street, ready to learn but with no idea what there was to know.

3. American Laboratory Theatre (ALT) ALT was run and owned by Richard Boleslavsky & Maria Ouspenskaya Both Maria and Richard had studied directly beneath Stansilavsky at The Moscaw Art Theatre. However, they had worked with him early in his career and his System changed over his lifespan of 50 years. So they knew only the early version of his System. Ouspenskaya tended to focus her energy on concentration training and Boleslavsky focused on developing a literary canon across artistic mediums Strasberg learned here that an actor could develop his technical means (body and voice) as well as internal means (imagination, inspiration, and emotion).

4. The Group Theatre  Started in 1931 by Lee Strasburg, Cheryl Crawford, and Harold Clurman  Was an ensemble group of actors, some professional, some amateur.  A serious undertaking that used Strasberg’s understanding of Stanislavski’s System exclusively for productions.  Clurman was the main motivator and idea man and Strasberg was main director who would put their ideas into practice.  Created several highly successful shows and successfully introduced Stanislavsky to American public.

5. Trip to the Master  Becoming discontent that no one had seen or studied with Stanislavsky, Strasberg, Clurman, and Stella Adler decided to travel to Moscow to see a show there.  At the time, Stanislavsky was sick and had not been involved with the Moscow Art Theater for a few years. Also, it was suffering under the current Soviet regime.  Also visited Meyerhold and Vakhtangov theatre and was impressed, but highly disappointed with the MAT.  Left Russia disappointed that the MAT had abandoned its search for “truth” in acting and committed more deeply to emotion memory.

6. End of The Group While Strasberg returned early committed to the work of emotion memory and truth in acting, Adler traveled to France to work with Stanislavsky one on one. When she returned, she confronted Strasberg in front of everyone about how wrong his version of the System was. He then announced that Stanislavsky was wrong and he didn’t teach Stanislavsky, he taught Strasberg’s Method. This lead to friction and unhappy times amongst the member s and in 1937, he left The Group Theatre. It closed its doors in 1941.

7. Rise of the Actor’s Studio Originally started in 1947 in NY by Elia Kazan and Robert Lewis, both of whom thought Strasberg’s version of Stanislavsky was too dangerous. Lewis left in 1948 after a major argument with Kazan. Kazan then hired Strasberg after having a hard time finding a good instructor and then left himself since he felt it important to be a single method of instruction for the studio actors. After Kazan left in 1951, Strasberg became the artistic director of The Actor’s Studio.

8. Actor’s Studio prominence At the Actor’s Studio, Strasberg had a profound effect upon upcoming theater and film actors. The popularity of his disciples brought much fame and recognition to his teachings and to the Actor’s Studio which still exists today.

9. Actors from the Actor’s Studio Marilyn Monroe

10. Actors from the Actor’s Studio Marlon Brando

11. Actors from the Actor’s Studio Anne Bancroft, James Dean, Paul Newman

12. Actors from the Actor’s Studio Al Paccino, Robert De Niro, Dustin Hoffman

13. Actor from the Actor’s Studio Sidney Potier, Gene Wilder, Jack Nicholson

14. Actor’s Studio Quality Due to high standards for actors, it was not uncommon for actors to have to audition multiple times for entry. After an actor auditioned, they had to wait an entire year before auditioning again. One year only 2 actors made it in out of over 2,000 applicants. Jack Nicholson auditioned 5 times and Dustin Hoffman had to audition 6 times before being allowed in.