A charismatic and controlling man, Strasberg brought a high level of intensity and seriousness to the American theater. These physical and psychological exercises are still at the center of work done at the Actors Studio. Once accepted to the Studio, members attend as frequently as they wish. The Studio is a place where actors can experiment with roles they might not otherwise have the chance to perform. Forgot password? Don't have an account? Sign in via your Institution. You could not be signed in, please check and try again.
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Stanislavski's work literally stunned the theatre world in America. It was there that a young Lee Strasberg immersed himself in Stanislavski's "System" as taught by Boleslavski.
Eventually, driven by a burning desire to weave this revolutionary approach to the actors' art intrinsically into the fabric of the American Theatre Experience, Lee Strasberg, Harold Clurman The Fervent Years and Cheryl Crawford founded the Group Theatre , still considered the best of all of American theatre companies.
The Group Theatre was the first American company fully trained to perform as an ensemble. Among members invited to join this remarkable company were Robert Lewis and Elia Kazan joined in , becoming a leading actor. The Group Theatre finally dissolved in , for reasons ranging from finances to "artistic differences". It wasn't until six years later that the original founders of the Actors Studio decided it was time to "fan the spark" before the fire died out completely.
Fifty young professional actors were invited to become members. Robert Lewis conducted meetings for the advanced members, and Elia Kazan held sessions for beginners. By the end of the first year, Lewis resigned. During and several teachers kept the classes going, among them Sanford Meisner , Daniel Mann and Elia Kazan. It is not surprising, then, that the longstanding association between Strasberg, Crawford, Kazan and Lewis, would lead to Strasberg's invitation to join at the Actors Studio in Before long, he became the sole teacher of actors there.
By Strasberg was appointed Artistic Director of the Actors Studio, a position he retained until his death in Salted with rich detail, peppered with intuitive insight and sweetened with crystal clarity, this book is highly recommended reading. This book is highly recommended for a detailed understanding of how Strasberg conducted his sessions. The editorial comments by Mr. Hethmon are most insightful.
Pushkin, Russia's original literary hero and the father of the native realist tradition, wrote that the goal of the artist was to supply truthful feelings under given circumstances, which Stanislavski adopted as his lifelong artistic motto.
How does an actor act? In simplest terms, that was the question that haunted Stanislavski. Actors before Stanislavski had of course thought about how they work but it was the rare actor, then as now, who could be articulate about it: the actor's art, after all, is in speaking other people's words.
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