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getting sentimental—it is the waste in the theatre, the talent that gets up and the work that goes into getting it up and getting it where it should be. And then when it gets there, what the hell happens with it? The senseless destruction, the senseless waste, the hopping about from one thing to the next, the waste of the talent, the waste of your lives, the strange kind of behavior that not just Jimmy had, you see, but that a lot of you here have and a lot of other actors have that are going through exactly the same thing. ... As soon as you grow up as actors, as soon as you reach a certain place, there it goes, the drunkenness and the rest of it, as if, now that you've really made it, the incentive goes, and something happens which to me is just terrifying. I don't know what to do. ... The only answer possibly is that we somehow here find a way, a means, an organization, a plan should really contribute to the theatre, so that there should not only be the constant stimulus to your individual development, which I think we have provided, but also that once your individual development is established, it should then actually contribute to the theatre, rather than to an accidental succession of good, bad, or indifferent things. But I am very, very scared that despite how strongly I feel, or despite how stimulated you become, nothing will be done. ... nd we will just continue to get so caught up that in a strange way we do not really live our lives. ... To me that is the future of the Studio, that a unified body of people should somehow be connected with a tangible, consistent, and continuous effort. That is the dream I have always had. That is what got me into theatre in the first place. That was the thing that got me involved in The Actors Studio ... and now it becomes time to think a little bit more about our responsibility for that individual talent. ... I'm stuck. I don't know. And this is really the problem of the Studio.
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coming season, as he had the three plays of the season before, he would also give the basic instruction in acting, laying down the principles of the art by which the Group worked, the guides to their artistic training. He was the force that held the thirty-odd members of the theatre together, made them 'permanent.' He did this not only by his superior knowledge but by the threat of his anger. ... He enjoyed his eminence just as the admiral would. Actors are as self-favoring as the rest of humanity, and perhaps the only way they could be held together to do their work properly was by the threat of an authority they respected. And feared. No one questioned his dominance—he spoke holy writ—his leading role in that summer's activities, and his right to all power. To win his favor became everyone's goal. His explosions of temper maintained the discipline of this camp of high-strung people. I came to believe that without their fear of this man, the Group would fly apart, everyone going in different directions instead of to where he was pointing. ... I was afraid of him too. Even as I admired him. Lee was making an artistic revolution and knew it. An organization such as the Group – then in its second year, which is to say still beginning, still being shaped—lives only by the will of a fanatic and the drive with which he propels his vision. He has to be unswerving, uncompromising, and unadjustable. Lee knew this. He'd studied other revolutions, political and artistic. He knew what was needed, and he was fired up by his mission and its importance.
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Method more recondite for their commercial advantage, consists of recalling the circumstances, physical and personal, surrounding an intensely emotional experience in the actor's past. It is the same as when we accidentally hear a tune we may have heard at a stormy or an ecstatic moment in our lives, and find, to our surprise, that we are reexperiencing the emotion we felt then, feeling ecstasy again or rage and the impulse to kill. The actor becomes aware that he has emotional resources; that he can awaken, by this self-stimulation, a great number of very intense feelings; and that these emotions are the materials of his art. ... Lee taught his actors to launch their work on every scene by taking a minute to remember the details surrounding the emotional experience in their lives that would correspond to the emotion of the scene they were about to play. 'Take a minute!' became the watchword of that summer, the phrase heard most often, just as this particular kind of inner concentration became the trademark of Lee's own work when he directed a production. His actors often appeared to be in a state of self-hypnosis.
1046:... It does not matter who 'invented' Marlon Brando or how regularly or faithfully he, Dean, or Clift attended the Studio or studied the method at the feet of Lee Strasberg. In their signature roles—the most influential performances in the history of American films—these three performers revealed new kinds of body language and new ways of delivering dialogue. In the pauses between words, in the language 'spoken' by their eyes and faces, they gave psychological realism an unprecedented charge. Verbally inarticulate, they were eloquent 'speakers' of emotion. Far less protective of their masculinity than earlier film actors, they enacted emotionally wounded and vulnerable outsiders struggling for self-understanding, and their work shimmered with a mercurial neuroticism ... he method-trained performers in films of the '50s added an enhanced verbal and gesture naturalism and a more vivid inner life.
619:, Marilyn Monroe, Julie Harris, Paul Newman, Geraldine Page, Ellen Burstyn, and Al Pacino." Since its inception, the Studio has been a nonprofit educational corporation chartered by the state of New York, and has been supported entirely by contributions and benefits. "We have here the possibility of creating a kind of theatre that would be a shining medal for our country," Strasberg said in 1959. UCLA acting teacher Robert Hethmon writes, "The Actors Studio is a refuge. Its privacy is guarded ferociously against the casual intruder, the seeker of curiousities, and the exploiter... The Studio helps actors to meet the enemy within... and contributes greatly to Strasberg's utterly pragmatic views on training the actor and solving his problems... is kept deliberately modest in its circumstances, its essence being the private room where Lee Strasberg and some talented actors can work."
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Equity.' He reached over and patted me on the back, 'That's wonderful, dahling. Congratulations.' Those were the last words he ever said to me. ... Two days later, early in the morning, I was still asleep when the door to my bedroom opened. I woke up and saw my friend and assistant, Katherine Cortez, enter the room and walk toward me. ... 'We just got a call. Lee
Strasberg died.' No, no, no, I wailed, over and over. 'I'm not ready,' and pulled the covers over my head. I had told myself that I must be prepared for this, but I was not prepared. What was I to do now? Who would I work for when I was preparing for a role? Who would I go to when I was in trouble?. ... His memorial service was held at the
1041:"Whether directly influenced by Strasberg or not," wrote acting author Pamela Wojcik, "the new male stars all to some degree or other adapted method techniques to support their identification as rebels.... He recreates romance as a drama of male neuroticism and also invests his characterization 'with an unprecedented aura of verisimilitude.'" Acting teacher and author Alison Hodge explains, "Seemingly spontaneous, intuitive, brooding, 'private,' lit with potent vibrations from an inner life of conflict and contradiction, their work exemplified the style of heightened naturalism which (whether Brando agrees or not) Lee Strasberg devoted his life to exploring and promoting." Pamela Wojcik adds:
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and intensity. No actors idled about posing and preening (or thinking about where they might dine after the performance). More important, every actor seemed to project some sort of unspoken, yet palpable, inner life for his or her character. This was acting of a sort that one rarely saw on the
American stage ... where there was little stress on the psychology of the characters or their interactions. ... Strasberg was galvanized. He knew that his own future as an actor—he was a slight and unhandsome man—was limited. But he soon perceived that as a theoretician and teacher of this new 'system' it might become a major force in American theater.
446:), to Jewish parents, Baruch Meyer Strassberg and his wife, Ida (born Chaia), née Diner, and was the youngest of three sons. His father emigrated to New York while his family remained in their home village with an uncle, a rabbinical teacher. His father, who worked as a presser in the garment industry, sent first for his eldest son and his daughter. Finally, enough money was saved to bring over his wife and his two remaining sons. In 1909 the family was reunited on Manhattan's Lower East Side, where they lived until the early 1920s. Young Strasberg took refuge in voracious reading and the companionship of his older brother, Zalmon, whose death in the
740:, the actor claimed he learned nothing from Strasberg: "After I had some success, Lee Strasberg tried to take credit for teaching me how to act. He never taught me anything. He would have claimed credit for the sun and the moon if he believed he could get away with it. He tried to project himself as an acting oracle and guru. Some people worshiped him, and I never knew why. I sometimes went to the Actors Studio on Saturday mornings because Elia Kazan was teaching, and there were usually a lot of good-looking girls there, but Strasberg never taught me acting. Stella did—and later Kazan."
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795:, played in the movies. She attended Vassar College and went to Paris for two years to study art. Upon returning, she met Lee Strasberg and the meeting changed the course of her life, Fonda saying, "I went to the Actors Studio and Lee Strasberg told me I had talent. Real talent. It was the first time that anyone, except my father—who had to say so—told me I was good. At anything. It was a turning point in my life. I went to bed thinking about acting. I woke up thinking about acting. It was like the roof had come off my life!"
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Despite the heights and brilliance she had attained on the screen, she was planning for the future. She was looking forward to participating in the many exciting things. In her eyes, and in mine, her career was just beginning. ... She had a luminous quality. A combination of wistfulness, radiance, and yearning that set her apart and made everyone wish to be part of it—to share in the childish naiveté which was at once so shy and yet so vibrant.
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as it happens in life, but actually more fully and more expressively. Although the actor can do things in life quite easily, when he has to do the same thing on the stage under fictitious conditions, he has difficulty because he is not equipped as a human being merely to playact at imitating life. He must somehow believe. He must somehow be able to convince himself of the rightness of what he is doing in order to do things fully on the stage.
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615:, and Cheryl Crawford, also members of the Group Theatre, started the Actors Studio as a nonprofit workshop for professional and aspiring actors to concentrate on their craft away from the pressures of the commercial theatre. Strasberg assumed leadership of the studio in 1951 as its artistic director. "As a teacher and acting theorist, he revolutionized American actor training and engaged such remarkable performers as
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called the most controversial aspect of his teaching—summoning emotions from their own lives to illuminate their stage roles. ... Strasberg believed he could codify this system, a necessary precursor to teaching it to anyone who wanted to learn it. ... e became a director more preoccupied with getting his actors to work in the "correct" way than he was in shaping the overall presentation.
629:," said Elia Kazan, proudly. Beginning in a small, private way, with a strictly off-limits-to-outsiders policy, the Studio quickly earned a high reputation in theatre circles. "It became the place to be, the forum where all the most promising and unconventional young actors were being cultivated by sharp young directors." Actors who have worked at the studio include Julie Harris, Paul Newman,
818:, Strasberg required that an actor, when preparing for a role, delve not only into the character's life in the play but also, "Far more importantly, into the character's life before the curtain rises. In rehearsal, the character's prehistory, perhaps going back to childhood, is discussed and even acted out. The play became the climax of the character's existence."
780:' plays have been populated by graduates of the studio, where he felt, "studio actors had a more intense and honest style of acting." He wrote, "They act from the inside out. They communicate emotions they really feel. They give you a sense of life." Williams was a co-founder of the group and a key member of its playwright's wing; he later wrote
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Because of their tendency to substitute their personal feelings for those of the characters they were playing, Actors Studio performers were well suited to become
Hollywood stars. ... In short, Lee Strasberg transformed a socialistic, egalitarian theory of acting into a celebrity-making machine.
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At his classes in the technique of acting, Lee laid down the rules, supervised the first exercises. These were largely concerned with the actor's arousing his inner temperament. The essential and rather simple technique, which has since then been complicated by teachers of acting who seek to make the
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Strasberg wrote, "At the studio, we do not sit around and feed each other's egos. People are shocked how severe we are on each other." Admission to the Actors Studio was usually by audition with more than a thousand actors auditioning each year and the directors usually conferring membership on only
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Lee
Strasberg is one of the few artists among American theater directors. He is the director of introverted feeling, of strong emotion curbed by ascetic control, sentiment of great intensity muted by delicacy, pride, fear, shame. The effect he produces is a classic hush, tense and tragic, a constant
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to the United States in 1923. He had seen good acting before, of course, but never an ensemble like this with actors completely surrendering their egos to the work. ... e observed, first of all, that all the actors, whether they were playing leads or small parts, worked with the same commitment
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Late in the evening, I wandered into the greenroom and saw Lee sitting next to Anna, watching the taping on the monitor. I sat next to him and we chatted a little. Lee wasn't one for small talk, so I didn't stay long. But before I got up, I said, 'Lee, I've been asked to run for president of Actors
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The human being who acts is the human being who lives. That is a terrifying circumstance. Essentially, the actor acts a fiction, a dream; in life, the stimuli to which we respond are always real. The actor must constantly respond to stimuli that are imaginary. And yet this must happen not only just
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In describing his teaching philosophy, Strasberg wrote, "The two areas of discovery that were of primary importance in my work at the Actors Studio and in my private classes were improvisation and affective memory. It is finally by using these techniques that the actor can express the appropriate
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classes, he could be mentally prepared by resort to analogous mental exercises. They worked on relaxation as well as concentration. They worked with nonexistent objects that helped prepare them for the exploration of equally ephemeral emotions. They learned to use "affective memory," as
Strasberg
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He carried with him the aura of a prophet, a magician, a witch doctor, a psychoanalyst, and a feared father of a Jewish home. He was the center of the camp's activities that summer, the core of the vortex. Everything in camp revolved around him. Preparing to direct the play that was to open the
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was playing. Lee's coffin was brought down the aisle and placed center stage. Everybody in the theater world came—actors, writers, directors, producers, and most, if not all of, his students. He was a giant of the theater and was deeply mourned. Those of us who had the great good fortune to be
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For us, Marilyn was a devoted and loyal friend—a colleague constantly reaching for perfection. We shared her pain and difficulties, and some of her joys. She was a member of our family. ... It is difficult to accept the fact that her zest for life has been ended by this dreadful accident.
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the other night, and I must say that— (he weeps) You see, that's what I was afraid of. When I got in the cab, I cried. ... What I cried at was the waste, the waste. ... If there is anything in the theatre to which I respond more than anything else—maybe I'm getting old, or maybe I'm
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James Dean: According to James Dean biographer W. Bast, "Proud of this accomplishment, Dean referred to the studio in a 1952 letter, when he was 21 years old, to his family as 'The greatest school of the theater. It houses great people like Marlon Brando, Julie Harris, Arthur
Kennedy, Mildred
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In an 80th birthday interview, he said that he was looking forward to his next 20 years in the theater. According to friends, he was healthy until the day he died. "It was so unexpected," Al Pacino said. "What stood out was how youthful he was. He never seemed as old as his years. He was an
700:, writes that the Actors Studio became "one of the most prestigious institutions in the world" as a result of its desire to set a higher "standard" in acting. The founders, including Strasberg, demanded total commitment and extreme talent from aspiring students.
290:. From the 1920s until his death in 1982, "he revolutionized the art of acting by having a profound influence on performance in American theater and film." From his base in New York, Strasberg trained several generations of theatre and film notables, including
465:, casting director of the Theater Guild, sensed that Strasberg could act, although he was not yet thinking of a full-time acting career and was still working as a shipping clerk and bookkeeper for a wig company. When he was 23 years old, he enrolled in the
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said, "the Group
Theatre was unique and probably will never be repeated. For a while it was literally the voice of Depression America." Co-founder Harold Clurman, in describing what Strasberg brought to the Group Theater, wrote:
578:, Elia Kazan, and an ill-assorted band of idealistic actors living hand to mouth are seen welded in a collective of creativity that was also a tangle of jealousies, love affairs, and explosive feuds." Playwright
877:(In the middle of his lecture on another topic) To hell with it! I hadn't planned to say this, because I don't know how I'll behave when I say it; I don't think it will bother me. But I saw Jimmy Dean in
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Al Pacino: "The Actors Studio meant so much to me in my life. Lee
Strasberg hasn't been given the credit he deserves. Brando doesn't give Lee any credit... Next to Charlie Laughton (an acting teacher at
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conflict so held in check that a kind of beautiful spareness results. The roots are clearly in the intimate experience of a complex psychology, an acute awareness of human contradiction and suffering.
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wrote, "The Group
Theatre ... with its self-defined mission to reconnect theater to the world of ideas and actions, staged plays that confronted social and moral issues ... with members
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inspiration." Actress Jane Fonda said after hearing of his death, "I'm not sure I even would have become an actress were it not for him. He will be missed, but he leaves behind a great legacy."
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died in a car accident, at age 24. Strasberg, during a regular lecture shortly after this accident, discussed Dean. The following are excerpts from a transcription of his recorded lecture:
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emotions demanded of the character." Strasberg demanded great discipline of his actors, as well as great depths of psychological truthfulness. He once explained his approach in this way:
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He gained a reputation with the
Theater Guild of New York and helped form the Group Theater in New York in 1931. There, he created a technique that became known as "The Method" or "
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auditioned five times before he was accepted; Dustin Hoffman, six times; and Harvey Keitel, 11 times. After each rejection, a candidate had to wait as long as a year to try again.
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Marlon Brando: Movie stars spawned by Strasberg's Actors Studio were of a new type that is often labeled the "rebel hero," wrote Pamela Wojcik. Historian Sam Staggs writes that "
725:), it sort of launched me. It really did. That was a remarkable turning point in my life. It was directly responsible for getting me to quit all those jobs and just stay acting."
562:. Called "America's first true theatrical collective," the Group Theater immediately offered a few tuition-free scholarships for its three-year program to "promising students."
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He dropped out of high school, worked in a shop that made hairpieces, drifted into the theater via a settlement house company and ... had his life-shaping revelation when
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and died on February 17, 1982, in New York City, aged 80. With him at the time of his death at the hospital were his third wife, Anna, and their two sons. He was interred at
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died at age 36. At the time of her death, she was at the height of her career. In 1999, she was ranked the sixth-greatest female star of classic Hollywood cinema by the
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931:(born April 16, 1939) and the mother of his two youngest children, Adam Lee Strasberg (born July 29, 1969) and David Lee Israel Strasberg (born January 30, 1971).
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Lee Strasberg's first marriage was to Nora Krecaum from October 29, 1926, until her death three years later in 1929. In 1934, he married actress and drama coach
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in New York City, considered "the nation's most prestigious acting school," and, in 1966, he was involved in the creation of Actors Studio West in Los Angeles.
1054:. The papers include 240 boxes containing correspondence, rehearsal notes, photographs, theatrical drawings and posters, sketches of stage designs, and more.
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What Strasberg ... took away from the Actors Lab was a belief that just as an actor could be prepared physically for his work with dance, movement, and
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School of the Theater. He became a naturalized United States citizen on January 16, 1939, in New York City at the New York Southern District Court.
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263:; November 17, 1901 – February 17, 1982) was an American theatre director, actor and acting teacher. He co-founded, with theatre directors
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was the hot, sleek engine on the Actors Studio express," and called him " embodiment of method acting," but Brando was trained primarily by
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only four years elapsed, but her world had changed. She had become one of the most celebrated personalities in the world. She had divorced
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Dunnock. ... Very few get into it. ... It's the best thing that can happen to an actor. I'm one of the youngest to belong.'"
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Although other highly regarded teachers also developed versions of "The Method," Lee Strasberg is considered to be the "father of
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in 1931, which was hailed as "America's first true theatrical collective". In 1951, he became director of the nonprofit
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for the young Strasberg that, despite being a straight-A student, he dropped out of high school.
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Strasberg eventually left the Clare Tree Major School to study with students of Stanislavski —
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Amid internecine tensions, Strasberg resigned as director of the Group Theatre in March 1937.
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By 1970, Strasberg had become less involved with the Actors Studio and, with his third wife,
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fertilized and quickened by his genius would feel the loss of him for the rest of our lives.
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Strasberg, Kazan, Clurman, and others with the Group Theater spent the summer of 1936 at
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were the only two students admitted one year, out of 2000 candidates who auditioned.
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1730:"81 years young, Renee Taylor opens 'My Life on a Diet' at Shea's Smith Theatre"
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Note: All works are plays and the original productions, unless otherwise noted.
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of acting. He began by directing, but his time was gradually taken up by the
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In 2012, Strasberg's family donated his library of personal papers to the
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with branches in New York City and in Hollywood, to continue teaching the
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Jane Fonda: Jane Fonda recalled that at the age of 5, her brother, actor
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A relative introduced him to the theatre by giving him a small part in a
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As an actor, Strasberg is best known for his portrayal of the primary
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Stanislavsky in Focus: An Acting Master for the Twenty-first Century
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described Strasberg's first experiences with the art of acting:
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Staggs, Sam. "When Blanche Met Brando: the Scandalous Story of
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as a philosophy of acting. The play was produced by Brustein's
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American theatre director, actor and acting teacher (1901–1982)
2237:"Strasberg Legacy: mostra online di Google Arts & Culture"
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Notable alumni of the Lee Strasberg Theatre and Film Institute
510:. In 1925, Strasberg had his first professional appearance in
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2268:. Jefferson, NC: McFarland & Company. pp. 143–144.
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Images of America, Trumbull Historical Society, 1997, p. 123
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The Cambridge Guide to American Theatre, Don Wilmeth, p. 21
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2399:"A method named desire:How Strasberg changed Hollywood"
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Star Texts: Image and Performance in Film and Television
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tracing the history of the realistic school of acting.
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Art and Society: Readings in the Sociology of the Arts
1351:(1943, apparently no relation to the Broadway musical
2175:"Lee Strasberg papers headed to Library of Congress"
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Emigrants from Austria-Hungary to the United States
2121:"Lee Strasberg, 'Method' Acting Mentor, Dies at 80"
1401:(1963), revival – produced by The Actors Studio –
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901:. Lee Strasberg gave the eulogy at her funeral.
1963:Al Pacino: In Conversation with Lawrence Grobel
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2424:The Lee Strasberg Theatre & Film Institute
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2151:Movie Acting, the Film Reader: The Film Reader
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2027:"The Complete Idiot's Guide to Screenwriting"
2020:
1879:
1877:
1454:Academy Award Best Actor in a Supporting Role
989:Actress Ellen Burstyn recalled that evening:
2059:, Wayne State University Press. (1991) p. 46
1884:The Houghton Mifflin Dictionary of Biography
1229:(1936) – director, produced by Group Theatre
1221:(1936) – director, produced by Group Theatre
721:, and not to be confused with English actor
430:Lee Strasberg was born Israel Strassberg in
400:, alongside his former student Al Pacino in
1850:
1848:
927:(born 1941). His third wife was the former
574:, Lee Strasberg, Stella, and Luther Adler,
2471:Audio Interview with Lee Strasberg on WGBH
2449:
2292:
2209:
1886:, Houghton Mifflin Reference Books, (2003)
1874:
1719:, Dutton, (2007) p. 14, other names listed
934:
375:Lee Strasberg Theatre & Film Institute
229: 1967–1982)
31:
2557:Naturalized citizens of the United States
1808:The Jewish Journal of Greater Los Angeles
1791:, University of Mississippi Press, (2006)
1405:co-nomination for Best Producer of a Play
2537:American people of Polish-Jewish descent
2067:
2065:
1845:
1709:
1707:
1705:
1703:
1617:
1602:"Lee Strasberg of Actors Studio Is Dead"
1596:
1037:has been designated "Lee Strasberg Way".
1017:
938:
857:
821:
514:, a play produced by the Theater Guild.
183:
152:Lee Strasberg Theatre and Film Institute
2396:
2261:
2038:Foster, Arnold W., and Blau, Judith R.
2007:
1594:
1592:
1590:
1588:
1586:
1584:
1582:
1580:
1578:
1576:
548:, Konstantin Stanislavski, whose book,
408:Academy Award for Best Supporting Actor
209: 1935; died 1966)
2514:
2049:
1955:
1942:
1889:
1861:
1800:
2612:Burials at Westchester Hills Cemetery
2363:
2361:
2359:
2328:
2326:
2324:
2322:
2320:
2296:Edmond O'Brien: Everyman of Film Noir
2210:Hirschhorn, Joel (December 4, 2001).
2114:
2062:
1871:, Jonathan David Company, Inc. (1996)
1700:
1648:
943:The rock at Lee Strasberg's grave at
839:
623:five or six. "The Studio was, and is
1994:
1779:
1573:
982:, he danced in the chorus line with
888:
814:According to film critic and author
1785:Lumet, Sidney, and Rapf, Joanna E.
1122:
826:In Elia Kazan's autobiography, the
13:
2562:Jews from Galicia (Eastern Europe)
2390:
2356:
2317:
2044:State University of New York Press
1961:Pacino, Al, and Grobel, Lawrence.
1505:(1981, TV movie) as Morton Weisman
1336:R.U.R. (Rossum's Universal Robots)
1309:(1940) – produced by Group Theatre
1283:(1939) – produced by Group Theatre
1277:(1938) – produced by Group Theatre
1243:(1937) – produced by Group Theatre
14:
2633:
2607:20th-century American male actors
2417:
1801:Tugend, Tom (November 23, 2000).
1257:(1938), produced by Group Theatre
692:The Emmy Award-winning author of
286:in America," according to author
2397:Thomson, David (July 20, 1982).
1897:Burt Lancaster: An American Life
910:
606:
596:, located in the countryside of
535:
2286:
2255:
2229:
2203:
2184:
2168:
2143:
2130:
2097:
2080:
2032:
1981:
1968:
1933:
1924:
1915:
1902:
1822:
1627:. Scott, Foresman and Company.
1425:
950:Lee Strasberg suffered a fatal
923:(1938–1999) and acting teacher
800:Teaching methods and philosophy
784:, Brando's greatest early role.
226:
206:
179:
1794:
1748:
1722:
1673:
1611:
1413:(1963) – production supervisor
1345:(1943) – producer and director
1069:, all appear as characters in
425:
1:
2243:(in Italian). October 7, 2020
1566:
1089:, and was later presented in
964:American Theater Hall of Fame
853:
186:; died 1929)
1096:Strasberg is a character in
960:Hastings-on-Hudson, New York
749:Marilyn Monroe: Film author
389:, for contemporary actors.
7:
2602:Jewish American male actors
2542:People from Ternopil Oblast
1965:, Simon and Schuster (2006)
1867:Slater, Robert and Elinor.
1834:New York: Routledge, 1988.
1756:"Michael Cimino – Obituary"
1619:Corrigan, Robert Willoughby
1509:
1295:– produced by Group Theatre
978:. Along with Al Pacino and
531:Acting director and teacher
508:American Laboratory Theatre
473:Encounter with Stanislavski
10:
2638:
2617:20th-century American Jews
2587:American male stage actors
2447:Internet Broadway Database
2293:Sculthorpe, Derek (2018).
2262:Neibaur, James L. (2021).
2138:Lessons in Becoming Myself
2029:Alpha Books, (2004), p. 56
2017:, Hal Leonard Corp. (1987)
1978:," Macmillan (2005), p. 88
1436:(1937) as Pat (uncredited)
1393:(1951), revival – director
1339:(1942), revival – director
1331:(1942), revival – director
1083:American Repertory Theater
956:Westchester Hills Cemetery
945:Westchester Hills Cemetery
869:In 1955 Strasberg student
93:Westchester Hills Cemetery
2577:American male film actors
2532:Jews from Austria-Hungary
2496:
2488:Artistic Director of the
2486:
2483:
2478:
2015:Billy Wilder in Hollywood
1989:Songs My Mother Taught Me
1950:A Method to Their Madness
1644:– via Google Books.
1109:Google Arts & Culture
1013:
738:Songs My Mother Taught Me
239:
160:
137:
129:
106:
98:
88:
72:
42:
30:
23:
2597:Jewish theatre directors
2429:Strasberg video lectures
2265:Clark Gable in the 1930s
2140:, Riverhead Books (2007)
2105:Marilyn Monroe's funeral
2004:, Barricade Books (2006)
1976:A Streetcar Named Desire
1803:"A Century of Strasberg"
1788:Sidney Lumet: Interviews
1624:The world of the theatre
1087:Cambridge, Massachusetts
1057:Lee Strasberg, his wife
782:A Streetcar Named Desire
2592:American drama teachers
2547:American Ashkenazi Jews
2088:Marilyn Monroe - Eulogy
1856:Elia Kazan: A Biography
1531:Constantin Stanislavski
1467:(1977) as Herman Kaplan
1219:Case of Clyde Griffiths
935:Death and commemoration
899:American Film Institute
594:Pine Brook Country Club
517:According to Schickel:
448:1918 influenza pandemic
383:Konstantin Stanislavski
2466:John Strasberg Studios
2192:"Noboy Dies on Friday"
2077:, Da Capo Press (1997)
1952:, Da Capo Publ. (1984)
1858:, HarperCollins (2005)
1481:(1979) as Sam Kirkland
1478:...And Justice for All
1464:The Cassandra Crossing
1048:
1038:
1007:
976:Actors Fund of America
947:
908:
886:
866:
851:
837:
812:
590:
528:
496:
419:...And Justice for All
410:. He also appeared in
1991:, Random House (1994)
1899:, DaCapo Press (2001)
1521:Stanislavski's system
1489:(1979) as David Rosen
1449:The Godfather Part II
1328:A Kiss for Cinderella
1164:The House of Connelly
1156:Green Grow the Lilacs
1075:Nobody Dies on Friday
1043:
1021:
991:
972:Radio City Music Hall
942:
903:
875:
861:
846:
832:
822:Elia Kazan as student
807:
611:In 1947, Elia Kazan,
585:
519:
483:
403:The Godfather Part II
2002:Surviving James Dean
1912:, Grove Press (1994)
1385:(1950) – co-producer
974:, a benefit for the
776:Tennessee Williams:
598:Nichols, Connecticut
2127:, February 18, 1982
1854:Schickel, Richard.
1621:(January 1, 1979).
1444:(1953) as Patterson
1361:Skipper Next to God
1167:(1931) – codirector
1113:Giovanni Morassutti
1052:Library of Congress
756:The Seven Year Itch
504:Richard Boleslawski
83:New York City, U.S.
2622:Jewish film people
2403:The Boston Phoenix
2197:The New York Times
2153:, Routledge (2004)
2074:Elia Kazan: A Life
2055:Butler, Jeremy G.
2046:(1989), pp. 118–19
2013:Zolotow, Maurice.
1828:Carnicke, Sharon.
1736:. November 6, 2014
1686:The New York Times
1608:February 18, 1982.
1452:(1974; nominated,
1274:Rocket to the Moon
1039:
968:Night of 100 Stars
948:
867:
840:Classroom settings
778:Tennessee Williams
769:. She had married
633:, Geraldine Page,
560:training of actors
491:Moscow Art Theatre
387:Yevgeny Vakhtangov
2510:
2509:
2497:Succeeded by
2484:Preceded by
2306:978-1-4766-7443-8
2275:978-1-4766-8044-6
2179:Los Angeles Times
2125:Los Angeles Times
1473:(1978, TV movie).
1398:Strange Interlude
1377:(1949) – director
1371:(1949) – director
1363:(1948) – director
1323:(1941) – director
1315:(1940) – director
1301:(1939) – director
1281:The Gentle People
1269:(1938) – director
1263:(1938) – director
1249:(1938) – director
1235:(1937) – director
1203:(1934) – director
1195:(1934) – director
1189:(1933) – director
1181:(1932) – director
1173:(1931) – director
1027:Union Square East
889:On Marilyn Monroe
637:, Anne Bancroft,
635:Maureen Stapleton
567:Publishers Weekly
551:An Actor Prepares
500:Maria Ouspenskaya
477:Kazan biographer
352:Andreas Voutsinas
261:Israel Strassberg
254:
253:
130:Years active
76:February 17, 1982
67:, Austria-Hungary
57:November 17, 1901
47:Israel Strassberg
37:Strasberg in 1976
2629:
2572:Acting theorists
2476:
2475:
2453:
2413:
2411:
2409:
2384:
2383:
2381:
2379:
2365:
2354:
2353:
2351:
2349:
2340:. Archived from
2330:
2315:
2314:
2290:
2284:
2283:
2259:
2253:
2252:
2250:
2248:
2233:
2227:
2226:
2224:
2222:
2207:
2201:
2200:(April 30, 1998)
2188:
2182:
2172:
2166:
2163:
2154:
2149:Wojcik, Pamela.
2147:
2141:
2136:Burstyn, Ellen.
2134:
2128:
2118:
2112:
2106:
2101:
2095:
2089:
2084:
2078:
2069:
2060:
2053:
2047:
2036:
2030:
2024:
2018:
2011:
2005:
1998:
1992:
1987:Brando, Marlon.
1985:
1979:
1972:
1966:
1959:
1953:
1948:Hirsch, Foster.
1946:
1940:
1937:
1931:
1928:
1922:
1919:
1913:
1906:
1900:
1893:
1887:
1881:
1872:
1869:Great Jewish Men
1865:
1859:
1852:
1843:
1826:
1820:
1819:
1817:
1815:
1798:
1792:
1783:
1777:
1776:
1771:
1769:
1752:
1746:
1745:
1743:
1741:
1726:
1720:
1711:
1698:
1697:
1695:
1693:
1681:"Burt Lancaster"
1677:
1671:
1670:
1668:
1666:
1660:Oxford Reference
1652:
1646:
1645:
1643:
1641:
1615:
1609:
1598:
1497:(1979) as Willie
1382:The Country Girl
1375:The Closing Door
1313:The Fifth Column
1215:by Group Theatre
1123:Broadway credits
1117:Strasberg Legacy
1111:, together with
1023:East 15th Street
762:Some Like It Hot
753:wrote: "Between
723:Charles Laughton
479:Richard Schickel
467:Clare Tree Major
350:, and directors
300:Montgomery Clift
230:
228:
210:
208:
187:
185:
181:
113:Theatre director
79:
56:
54:
35:
21:
20:
2637:
2636:
2632:
2631:
2630:
2628:
2627:
2626:
2512:
2511:
2506:
2502:
2493:
2461:Rotten Tomatoes
2420:
2407:
2405:
2393:
2391:Further reading
2388:
2387:
2377:
2375:
2369:"Lee Strasberg"
2367:
2366:
2357:
2347:
2345:
2344:on July 8, 2018
2334:"Lee Strasberg"
2332:
2331:
2318:
2307:
2291:
2287:
2276:
2260:
2256:
2246:
2244:
2235:
2234:
2230:
2220:
2218:
2208:
2204:
2189:
2185:
2181:, April 2, 2012
2173:
2169:
2165:Wojcik, op cit.
2164:
2157:
2148:
2144:
2135:
2131:
2119:
2115:
2104:
2102:
2098:
2087:
2085:
2081:
2070:
2063:
2054:
2050:
2037:
2033:
2025:
2021:
2012:
2008:
1999:
1995:
1986:
1982:
1973:
1969:
1960:
1956:
1947:
1943:
1938:
1934:
1929:
1925:
1920:
1916:
1910:Real Life Drama
1907:
1903:
1894:
1890:
1882:
1875:
1866:
1862:
1853:
1846:
1827:
1823:
1813:
1811:
1799:
1795:
1784:
1780:
1767:
1765:
1754:
1753:
1749:
1739:
1737:
1728:
1727:
1723:
1713:Lipton, James.
1712:
1701:
1691:
1689:
1679:
1678:
1674:
1664:
1662:
1656:"Lee Strasberg"
1654:
1653:
1649:
1639:
1637:
1635:
1616:
1612:
1606:New York Times,
1599:
1574:
1569:
1556:Sanford Meisner
1546:Michael Chekhov
1512:
1471:The Last Tenant
1428:
1288:Awake and Sing!
1125:
1071:Robert Brustein
1061:, his daughter
1016:
996:Shubert Theater
937:
921:Susan Strasberg
913:
891:
856:
842:
824:
802:
751:Maurice Zolotow
679:Shelley Winters
657:, Eli Wallach,
655:Eva Marie Saint
651:Mildred Dunnock
631:Joanne Woodward
609:
538:
533:
475:
440:Austria-Hungary
436:Austrian Poland
428:
396:, the gangster
269:Cheryl Crawford
235:
232:
224:
220:
212:
204:
200:
197:
189:
177:
173:
170:
156:
150:Founder of the
125:
102:American Jewish
84:
81:
77:
68:
58:
52:
50:
49:
48:
38:
26:
17:
12:
11:
5:
2635:
2625:
2624:
2619:
2614:
2609:
2604:
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2569:
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2554:
2549:
2544:
2539:
2534:
2529:
2524:
2508:
2507:
2498:
2495:
2485:
2481:
2480:
2479:Media offices
2474:
2473:
2468:
2463:
2454:
2440:
2431:
2426:
2419:
2418:External links
2416:
2415:
2414:
2392:
2389:
2386:
2385:
2355:
2316:
2305:
2285:
2274:
2254:
2228:
2202:
2190:Marks, Peter.
2183:
2167:
2155:
2142:
2129:
2113:
2096:
2079:
2061:
2048:
2031:
2019:
2006:
1993:
1980:
1967:
1954:
1941:
1932:
1923:
1914:
1908:Smith, Wendy.
1901:
1895:Buford, Kate.
1888:
1873:
1860:
1844:
1821:
1793:
1778:
1764:. July 3, 2016
1747:
1721:
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1633:
1610:
1571:
1570:
1568:
1565:
1564:
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1553:
1548:
1543:
1541:Marilyn Monroe
1538:
1536:Ivana Chubbuck
1533:
1528:
1523:
1518:
1511:
1508:
1507:
1506:
1498:
1494:Going in Style
1490:
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1320:Clash by Night
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1261:All the Living
1258:
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1226:Johnny Johnson
1222:
1216:
1204:
1200:Gold Eagle Guy
1196:
1190:
1182:
1174:
1168:
1160:
1159:(1931) – actor
1152:
1151:(1929) – actor
1146:
1135:
1134:(1927) – actor
1124:
1121:
1065:, and his son
1015:
1012:
980:Robert De Niro
936:
933:
925:John Strasberg
912:
909:
895:Marilyn Monroe
890:
887:
862:James Dean in
855:
852:
841:
838:
823:
820:
801:
798:
797:
796:
785:
774:
747:
742:
741:
726:
702:Jack Nicholson
667:Sidney Poitier
639:Dustin Hoffman
608:
605:
576:Clifford Odets
572:Harold Clurman
537:
534:
532:
529:
474:
471:
427:
424:
413:Going in Style
371:Anna Strasberg
364:Michael Cimino
344:Geraldine Page
332:Robert De Niro
308:Marilyn Monroe
296:Dustin Hoffman
265:Harold Clurman
252:
251:
241:
237:
236:
234:
233:
222:
218:Anna Strasberg
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138:Known for
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80:(aged 80)
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2582:Method actors
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2528:
2525:
2523:
2520:
2519:
2517:
2505:
2504:Ellen Burstyn
2501:
2492:
2491:
2490:Actors Studio
2482:
2477:
2472:
2469:
2467:
2464:
2462:
2458:
2457:Lee Strasberg
2455:
2452:
2448:
2444:
2443:Lee Strasberg
2441:
2439:
2435:
2434:Lee Strasberg
2432:
2430:
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2199:
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2187:
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2117:
2111:
2107:
2100:
2094:
2090:
2083:
2076:
2075:
2071:Kazan, Elia.
2068:
2066:
2058:
2052:
2045:
2041:
2035:
2028:
2023:
2016:
2010:
2003:
1997:
1990:
1984:
1977:
1971:
1964:
1958:
1951:
1945:
1939:Smith, p. 302
1936:
1927:
1918:
1911:
1905:
1898:
1892:
1885:
1880:
1878:
1870:
1864:
1857:
1851:
1849:
1841:
1840:0-203-88209-1
1837:
1833:
1832:
1825:
1810:
1809:
1804:
1797:
1790:
1789:
1782:
1775:
1763:
1762:
1761:The Telegraph
1757:
1751:
1735:
1731:
1725:
1718:
1717:
1716:Inside Inside
1710:
1708:
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1688:
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1651:
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1634:9780673151070
1630:
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1607:
1603:
1600:Gussow, Mel.
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25:Lee Strasberg
22:
19:
2487:
2408:September 7,
2406:. Retrieved
2402:
2376:. Retrieved
2372:
2346:. Retrieved
2342:the original
2337:
2311:Google Books
2309:– via
2295:
2288:
2280:Google Books
2278:– via
2264:
2257:
2247:December 18,
2245:. Retrieved
2241:Ecodelcinema
2240:
2231:
2219:. Retrieved
2215:
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1855:
1830:
1824:
1812:. Retrieved
1806:
1796:
1787:
1781:
1773:
1766:. Retrieved
1759:
1750:
1738:. Retrieved
1733:
1724:
1715:
1690:. Retrieved
1684:
1675:
1663:. Retrieved
1659:
1650:
1638:. Retrieved
1623:
1613:
1605:
1561:Stella Adler
1500:
1492:
1484:
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1426:Film credits
1416:
1410:Marathon '33
1408:
1396:
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1357:) – director
1352:
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1299:Summer Night
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1186:Men in White
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1049:
1044:
1040:
1031:Irving Place
1008:
999:
992:
988:
967:
952:heart attack
949:
929:Anna Mizrahi
917:Paula Miller
914:
904:
892:
878:
876:
868:
864:East of Eden
863:
847:
843:
833:
825:
813:
808:
803:
781:
767:Joe DiMaggio
760:
754:
737:
734:Stella Adler
698:James Lipton
693:
691:
659:Anne Jackson
624:
621:
613:Robert Lewis
610:
602:
591:
586:
565:
564:
549:
546:practitioner
539:
520:
516:
512:Processional
511:
497:
489:brought his
487:Stanislavski
484:
476:
456:
429:
417:
411:
401:
391:
368:
340:Renee Taylor
316:Julie Harris
281:
260:
256:
255:
195:Paula Miller
169:Nora Krecaum
119:acting coach
78:(1982-02-17)
18:
2527:1982 deaths
2522:1901 births
2373:TVGuide.com
2221:January 27,
1306:Night Music
1267:Dance Night
1254:Casey Jones
1193:Gentlewoman
793:Henry Fonda
789:Peter Fonda
687:Sally Field
675:Gene Wilder
671:Karl Malden
663:Ben Gazzara
647:Rod Steiger
626:sui generis
463:Philip Loeb
426:Early years
416:(1979) and
356:Frank Perry
348:Eli Wallach
336:Sally Field
320:Paul Newman
107:Occupations
99:Nationality
2516:Categories
2494:1951–1982
1665:October 6,
1567:References
1458:Hyman Roth
1403:Tony Award
1240:Golden Boy
1132:Four Walls
1079:the method
871:James Dean
854:James Dean
816:Mel Gussow
617:Kim Hunter
556:psychology
398:Hyman Roth
394:antagonist
360:Elia Kazan
312:Jane Fonda
304:James Dean
288:Mel Gussow
53:1901-11-17
2500:Al Pacino
2378:March 31,
2348:March 30,
2000:Bast, W.
1692:March 15,
1640:March 15,
1516:Ion Cojar
1486:Boardwalk
1390:Peer Gynt
1211:(1935) –
1142:(1929) –
1107:In 2020,
1091:Singapore
1035:Manhattan
893:In 1962,
719:HB Studio
506:— at the
452:traumatic
442:, now in
438:(part of
328:Al Pacino
144:Teaching
133:1925–1982
1510:See also
1291:(1939),
1213:produced
1149:Red Rust
1144:director
1025:between
432:BudzanĂłw
379:'system'
240:Children
61:BudzanĂłw
2445:at the
2216:Variety
2212:"Names"
2110:YouTube
2093:YouTube
1842:. p. 45
1814:May 27,
1768:May 30,
1740:June 9,
1433:Parnell
1343:Apology
1293:revival
970:in the
523:fencing
459:Yiddish
450:was so
444:Ukraine
422:(1979).
231:
223:
211:
203:
199:
188:
176:
172:
161:Spouses
65:Galicia
2303:
2272:
1838:
1631:
1502:Skokie
1247:Roosty
1014:Legacy
998:where
685:, and
271:, the
259:(born
182:
1456:) as
1098:Names
1063:Susan
1059:Paula
880:Giant
245:Susan
225:(
221:
205:(
201:
178:(
174:
116:actor
2438:IMDb
2410:2024
2380:2022
2350:2022
2301:ISBN
2270:ISBN
2249:2021
2223:2023
1836:ISBN
1816:2018
1770:2023
1742:2024
1734:WBFO
1694:2017
1667:2018
1642:2017
1629:ISBN
1171:1931
1067:John
1029:and
759:and
708:and
502:and
362:and
267:and
249:John
247:and
184:1926
73:Died
43:Born
2459:at
2436:at
2338:BFI
2108:on
2091:on
1085:in
1033:in
958:in
434:in
381:of
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2358:^
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2158:^
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2064:^
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207:m.
180:m.
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2412:.
2382:.
2352:.
2313:.
2282:.
2251:.
2225:.
1818:.
1744:.
1696:.
1669:.
55:)
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
