Stella Adler Studio

“Life is meaningless without art.” 
- Karen Finley

“Above all, you must remain open and fresh and alive to any new idea.”
- Laurence Olivier

“The body does not have memory.  It is memory.” 
- Jerzy Grotowski

“In everything, without doubt, truth has the advantage over imitation.”
- Cicero

“The actor must constantly remember that he is on the stage for the sake of the public.”
- Johann Wolfgang von Goethe

“One wishes to know something but the answer is in a form of being more aware – of being open to a richer level of experience.” 
- Peter Brook



















Spotlight On




















Spotlight On


Ronald Rand in Let It Be Art


Rose Bruford College of Theatre and Performance - London’s International Drama School

Washington, D.C.'s Studio Theatre

San Francisco Ballet

Grand Ball in the Belle Epoch - Edwardian Period Style Salon Workshop

Keegan Theatre

Pan Asian Repertory Theatre Celebrates its 39th Anniversary

MetroStage Theatre

Swine Palace Theatre

Asolo Repertory Theatre

Ontological-Hysteric Theatre

Amelia Community Theatre

Discovering Lunt & Fontanne

Harlem Repertory Theatre

Santa Fe Playhouse

Opera Colorado

National Hispanic Cultural Center

Red Eagle Soaring Native Youth Theatre

Lorraine Hansberry Theatre

Coatlicue Theater Company

London's Finborough Theatre

New Repertory Theatre in Boston

The Work of Yat Malmgren: Christopher Fettes’ New Book “A Peopled Labyrinth”

Terry Knickerbocker Studio in New York City

Hirschfeld on line

“To flourish, society depends on a strong cultural heritage as well as innovation. The challenge is to breathe new life into the arts. Creativity is at the heart of every successful nation. It finds expression in great visual art, wonderful music, fabulous performances, stunning writing, gritty new productions and countless other media. Giving form to our innate human creativity is what defines us to ourselves and the world.
This is what the arts have always done. The lasting value and evidence of a civilization are its artistic output and the ingenuity that comes from applying creativity to the whole range of human endeavor. What is education if it doesn't teach our children to think creatively and innovatively? What use is a robust economy unless it is within an innovative country that can attract and stimulate the world? How can good governance exist without a population that is engaged, educated and able to form its own opinions?”  Excerpt from an essay, “Reviving a creative nation,”
 – by Cate Blanchett and Julianne Schultz, April 16, 2008, For the Creative Australia Stream at the 2020 Summit

“What is done in love is done well.”
- Vincent Van Gogh

“Wake at dawn with a winged heart and give thanks for another day of loving.”
- Kahil Gibran

“You must not write because you think it’s going to be a hit or because it’s expedient. The only reason to write is from love.”
- Stephen Sondheim

"There is a difference between passive goodness and active goodness, which is, in my opinion, the giving of one's time and energy in the alleviation of pain and suffering. It entails going out, finding and helping those in suffering and danger and not merely in leading an exemplary life in a purely passive way of doing no wrong."
- Nicholas Winton

“There is a vitality, a life force, a quickening that is translated through you into action--and because there is only one of you in all time, this expression is unique. If you block it, it will never exist through any other medium and be lost. The world will not have it. It is not your business to determine how good it is; nor how valuable it is; nor how it compares with other expressions. It is your business to keep it yours, clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly of the urges that motivate you. Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is only a divine dissatisfaction, a blessed unrest that keeps us marching, and makes us more alive than the others.”
- Martha Graham to Agnes de Mille

"Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world.”
- Harriet Tubman

“It is a great piece of good fortune when an actor can instinctly grasp a play with his whole being. In such happy but rare circumstances it is better to forget all about laws and methods, and give himself up to the power of his creative nature.”
- Constantin Stanislavsky

“Integrity is doing the right thing when no one is watching.”
- C.S. Lewis

“Be silly. Be honest. Be kind.”
- Ralph Waldo Emerson

They took away what should have been my eyes. But I remembered Milton’s Paradise. They took away what should have been my ears, Beethoven came and wiped away my tears. They took away what should have been my tongue, but I talked with God when I was young. He would not let them take away my soul – possessing that, I still possess the whole.”
- Helen Keller, Tuscumbia, Alabama

“The only revolution that counts is a revolution of the human spirit.”
- Henrik Ibsen

 “You are not your thoughts or behavior. You are beneath the thinker. You are the stillness beneath the mental noise. You are the love and joy beneath the pain.”
- Eckhart Tolle

“Only those who dare to fail greatly can ever achieve greatly.”
- Robert F. Kennedy

“Faith is taking the first step, even when you don’t see the whole staircase.”
- Martin Luther King, Jr.

“Do not wait; the time will never be ‘just right.’ Start where you stand, and work with whatever tools you may have at your command, and better tools will be found as you go along.”
- Napoleon Hill

“Life shrinks or expands according to one’s courage.” 
- Anais Nin

“For me, acting is not about showing my presence or displaying my technique. Rather it is about revealing, through acting, ‘something else,’ something that the audience doesn’t encounter in daily life. The actor doesn’t demonstrate it. It is not physically visible, but, through the engagement of the onlooker’s imagination, ‘something else’ will appear in his or her mind. For this to happen, the audience must not have the slightest awareness of what the actor is doing. They must be able to forget the actor. The actor must disappear.”
- Yoshi Oida

“Today, I do not have anger. I do not worry and I am filled with gratitude. I devote myself to my work. I am kind to people.”
- Usui Mikao


 When you feel in your gut what you are and then dynamically pursue it, don't back down and don't give up – then you're going to mystify a lot of folks.”
- Bob Dylan

“A frequent change of role, and of the lighter sort – especially such as one does not like forcing one's self to use the very utmost of his ability in the performance of – is the training requisite for a mastery of the actor’s art.”
- Edwin Booth

“But Nature cast me for the part she found me best fitted for, and I have had to play it, and must play it till the curtain falls.”
- Edwin Booth

“If the sight of the blue skies fills you with joy, if a blade of grass springing up in the fields has power to move you, if the simple things in nature have a message you understand, Rejoice, for your soul is alive.”
- Eleanora Duse

"Feelings come and go like clouds in a windy sky. Conscious breathing is my anchor."
- Thích Nhất Hạnh

The Group Theatre and How it Transformed American Culture: An Event at CUNY

Co-curated by Ronald Rand & Mel Gordon
Featuring Ellen Adler, Laila Robins, Wendy Smith, John Strasberg, Fritz Weaver (and others)
Monday, June 4, 2012
Martin E. Segal Theatre Center in Elebash Hall, The Graduate Center, CUNY
365 Fifth Avenue
event site


(L-R) Lee Strasberg, Harold Clurman, Cheryl Crawford. Image as published in “Real Life Drama: The Group Theatre and America, 1931-1941″ (1990) by Wendy Smith.

We assemble in the lovely Elebash Hall of the CUNY Graduate Center this cool June Monday to celebrate, analyze, synthesize, rhapsodize about, and contend with the art and the legacy of the individuals who came together out of hope and vision and the need to make a new kind of American theatre. As one commentator says: this was “the last time the avant garde merged with Broadway theatre.” We have come together to parse that statement and celebrate the 75th anniversary of the founding of the Group Theatre. What a day it is.

The celebration events have been planned by experts on the people and legacies of the Group Theatre. Ronald Rand writes and shares the legacy of Harold Clurman and his colleagues and was a student of several of the Group members. Mel Gordon writes and teaches about Stanislasky, the Group members, cinema, and related topics.  Wendy Smith, another expert who has written on the Group and several of the Group personalities is present throughout the festivities and takes an active role in the final panel of the day. Consistent with the Group members themselves who created theatre, acted and directed productions, and became teachers — the experts are themselves teachers.  This is not a static kind of knowledge. It lives and breathes and begs to be shared and debated and passed along.

The afternoon portion of the program gives us an hour-plus on three of the charismatic characters essential to the founding, short life, and lasting legacy of the Group: Lee Strasberg (1901-1982), Stella Adler (1901-1992), and Harold Clurman (1901-1980).


Mel Gordon at the podium and Lee Strasberg in 1982. Image by Martha Wade Steketee.

Lee Strasberg. We are welcomed with a section of a 1982 interview with Lee Strasberg conducted by co-host Mel Gordon.  (And I feel the first rumblings of my conviction that repeat foraging adventures into the archives and interview footage held by Professor Gordon — and from which he draws for much of the day’s video content — would be a thrill.)  As with all the archival interview, screen test and other footage we are shown this day, one is both energized and frustrated by the need to edit for time. Gordon goes on to provide several slide demonstrations — on the Group exercises, and on the main plot points of the Group’s first and wildly successful play  Men in White (1933). ( I provide a summary of the history and plot of this political medical melodrama in a 2010 blog entry on a reading by a young company dedicated to producing the Group Theatre’s work called Regroup Theatre.)

CarnovskyStrasberg-wendy-smith-real-life-drama.jpg(L-R) Morris Carnovsky and Lee Strasberg. Image as published in Wendy Smith’s “Real Life Drama” (1990).

At this point one might legitimately have feared that the day was to be entertainingly filled with academic slideshows, to be passively consumed, notes dutifully taken.  The brilliance of the event curators’ vision, however, is to break up this style of information delivery to bring the events, the style, the substance of the issue at hand — acting and exercises and the people who embodied them — to life in several ways.  In our first example of instruction by physical illustration, Mel Gordon and acting teacher Robert Ellermann read and perform a reading of an affective memory exercise transcribed from 1932 involving Lee Strasberg and a young actor in rehearsal to take over a role for Franchot Tone.  Strasberg presses the actor over and over to feel to recall useful memories of place and time and feeling, and to get the actor to articulate what he sees and feels.  ”Speak in the present tense please,” Strasberg repeatedly prods the actor. “Talk as if it’s happening now.” These “sensorial details” are used, we are told, to establish the inner rhythm, to bring change to a character.

John StrasbergJohn Strasberg on the edge of the stage. Image by Martha Wade Steketee.

We also learn about the legacies through teachers who embody them. The Strasberg family is represented in words, and projected images, and in the presence of Lee’s son John Strasberg, himself now a teacher, who first speaks to us during this section of the program.  Taking his seat at the edge of the stage saying that he is “not a big fan of the fourth wall,” Strasberg provides a few choice quotations.

Gordon and Strasberg reflect to close out this section of the program upon the historic transition effected by the Group.  Before the Group, according to the men, American actors-in-training apprenticed themselves to individual actors to learn their styles. The Group introduced exercises and built a sense of community goals while focusing on individual creativity and personal acting instruments.  Theatre training in America moved from individual apprenticeships to a more systematic strategy to develop and hone skills and artistic purpose.


Mel Gordon standing before Cheryl Crawford and Lee Strasberg — Harold Clurman is obscured (on screen) at left. Image by Martha Wade Steketee.

Stella Adler. Mel Gordon introduces this section of the proceedings with the gift of several minutes from his own 1985 filmed conversation with Stella Adler, then in her mid 80s. She reflects from that 50 year remove on the Group Theatre’s heyday, remarking that “I was used to the big time” so wasn’t initially keen on joining the ensemble.  When asked about historical details as reported in Harold Clurman’s 1957 book The Fervent Years: The Group Theatre and the Thirties, she notes with a laugh that his book is “great literature.”  1939 audio recordings of Adler’s monologues from Success Story (1932) and Awake and Sing (1935) are played, and we are able to enjoy, soon after the time of these storied performances, the vocal qualities of this fine actress in her youth.


(L-R) On screen: Konstantin Stanislavsky, Stella Adler. On stage: Mel Gordon, Joanna Rotte, Ronald Rand. Image by Martha Wade Steketee.

As in the section on Strasberg, we move into another enactment — these are actors and theatre historians, of course we’ll have additional dramatic readings.  Drawn from notes and letters documenting from two distinct perspectives, we hear Stella Adler and Konstantin Stanislavsky and Herald Clurman on the topic of their 1934 meeting in Paris.  Actress Joanna Rotte comes up from the audience to read Stella Adler’s 1934 notes on her meeting with Stanislavky — “It was Herald who wanted to see him and dragged me along.”

the-chart-of-the-Stanislavsky-System-1934.jpgChart of the Stanislavski System, copied down by Bobby Lewis, as presented by Stella Adler after her time with Stanislavski in Paris in 1934. Chart provided by Ronald Rand.

The name Bobby comes up frequently by the presenters during the day — referencing Robert Lewis (1909-1997), an actor who had been part of Eva Le Gallienne‘s Civic Repertory Theatre, and was the youngest founding member of the Group. Bobby’s notes provided the basis for the Stella readings for this section of the program, and it is Bobby’s handwriting (taking down Stella’s instructions to the Group) on the famous chart of the cryptic components of the Method, which was a binding and divisive force in the Group, and among actors to this day.  Debate continues on what the components mean, who supports which element, and what is the lineage and legacy of the tradition.

The Group members were taught from this method, though Lee dismissed it, preferring his approach.  Students became teachers who went out and taught what they were good at, focusing on different elements of the Method, thereby creating a rift in the theatre and in the Method, according to our presenters.

Ellen-Adler.jpgEllen Adler shares family history. Image by Martha Wade Steketee.

Stella’s daughter Ellen Adler takes the stage to give her memories of growing up among the Group members as family. While she did not end up going into the family business of acting, she lived among them, dated a number, and went on to a painting career. She is reflective about the personalities she knew well, a bit protective, and generous with her memories.


(L-R) Ronald Rand and Harold Clurman. Image by Martha Wade Steketee.

Harold Clurman. Ronald Rand introduces his inspiration and his teacher Harold Clurman. When taking class with Clurman, Rand notes, “every time you left class with Harold, you were floating on air” imbued with humor and investment in your future and your art.  As a producer, a teacher, a critic, Harold inspires generations.

Mel Gordon digs into his archives once more for interviews with Harold himself, actor Karl Malden (who performed in a number of the Group productions), and notetaking actor and teacher Robert Lewis

Gordon provides a slide show recreation to a partial recording of Golden Boy (1937) by Clifford Odets, directed by Clurman, starring Luther Adler and Frances Farmer.  The archival treats in this section are four Hollywood features selected by Gordon to illustrate how Group actors took on movie roles that essentially reprised their stage characters in Golden Boy.  Morris Charnovsky in Thieves Highway (1949), Elia Kazan in City for Conquest (1940), John Garfield in Four Daughters (1938), and Frances Farmer in Flowing Gold (1940).

Ronald Rand concludes this section of the day by reading what he notes was Clurman’s last essay entitled “The Future of Theatre.” While the essay lays out the failed attempts over most of the 20th century to create true lasting resident repertory companies, Clurman’s observations and perhaps his philosophical tendency toward hope shines through. Toward the end of Clurman’s essay we find these inspirational words:


The Group at Brookfield Center the first 1931 summer. Clurman at far left holding stick; Stella at far right on porch leaning forward in rocking chair. Image by Ralph Steiner.

Diary, Drama, and Legacy. The evening section provides performance, the voices of the Group Theatre members themselves, and discussion and debate over the meaning, the measure, the legacy of the individuals and their combined efforts as the Group.

Actors including Rita Fredericks, Sabra Jones, Tom Oppenheim, Elizabeth Parrish, Ronald Rand, Joanna Rotte, Penny Templeton, and Gene Terruso read sections of the Group Theatre’s Diary from their first summer at  Brookfield Center, Connecticut in 1931.  One member each day records his or her thoughts, recollections, experiences, pronouncements. Clifford Odets wrote that “the night is a loving mother.” Stella Adler wrote “I don’t know when the work finishes and life begins.”  Cheryl Crawford noted that “it’s hard to tell the truth.”  Phoebe Brand mused on the question “should an actor feel his part?”  Lee Strasberg wished that “the actor would realize how often the director’s happiness depends on him.”

We are treated to a scene from Ronald Rand’s play about the Group entitled The Group! featuring Laila Robins as Stella, Fritz Weaver as Stanislavsky, and Rand as Clurman.  The scene addresses the 1934 Paris meeting of the trio that we have heard about earlier in the day in Stella’s filmed interview and in the transcribed notes and Stanislavsky’s letters at the time.  Here we have Stanislavsky reflecting on “the Chart, the Method of physical actions … my life work.”  And as a side treat, we are honored to watch these three gifted and acclaimed actors perform.  Following this Mel Gordon gives us some final treats from his film archive — Group Theatre screen tests show scenes from Group shows Success Story, Men in White, Awake and Sing, and Weep for the Virgins.


(L-R) Robert Ellermann, Ronald Rand, John Strasberg, Ellen Adler.
Image by Martha Wade Steketee.

Panel Discussion. The final section of the day allows for teachers, students, family members, historians all to reflect on the disputes, the successes, and the legacy of the Group. My notes here are a combination of queries as posed and selected responses, and musings of my own.  I make no claim to full documentation here, but rather provide events of the day as funneled through my brain, resulting in themes and notes that resonate for me personally.

Q: What speaks to people across the generations about the Group?


(L-R) Wendy Smith, Mel Gordon, Fritz Weaver. Image by Martha Wade Steketee.

Q: What about regional theatres with strong ensemble traditions? What about theatres like Chicago’s Stepppenwolf?

Q: Are people trained as deeply as they used to be?

Q: Someone said “an actor needs a group and groups need other groups” — where are the other groups today?

Q: Is a national theatre possible in the United States?

Final words.  Clearly these are my subjective notes on an objectively fascinating and provocative day.  Great acting, solid presentations, deep content, and deep connections to be made among schools of thought, among plays and playwrights, among the people creating the theatre and the people in their lives.  Overlapping worlds of family and commitment and needs — need to communicate, need to collaborate, need to create theatre. It seems to me that a grand next step might be to convene some of those regional long-term ensemble theatres with Group “family” such as many present in the gathering this day to discuss the Group’s legacy in concrete terms — beyond philosophy to regional reality.  Ensemble theatres, regional richness, the form and format of a “national theatre” in our rambling country, and other related topics.  Many who attended Monday’s sessions would be game to continue the conversations.

© Martha Wade Steketee (June 9, 2012) Reprinted with the permission of the author. From Ms. Stekette’s website:  urbanexcavations – visit: Posted by Martha Wade Steketee June 9, 2012.". •

“How do we re-establish a culture of caring? There are many things that we can and do. The arts can help. Becoming educated – but having a good education doesn’t necessarily mean that a person knows how to be a “caring” person. It’s time to re-define what “being human” means. What is it that makes us different from animals? Mainly, it’s when we accept the discipline of “being human.” When we genuinely care about each other.”
- Rita Fredricks
The Soul of the American Actor Newspaper