Lee Strasberg

Lee Strasberg (1901–1982) was an American actor, director, and acting teacher who helped develop Method acting and led the Actors Studio.

Konstantin Stanislavski: A Russian theatre practitioner whose system of actor training emphasized truthful, psychologically grounded performance. Strasberg adapted ideas from Stanislavski’s early system into his own approach to acting.
Method acting: An approach to acting that draws on psychological and behavioral techniques to create convincing performance. Strasberg became the best-known American teacher of this approach.
Group Theatre (New York): A New York theatre collective founded in 1931 that pursued socially engaged plays and ensemble acting. Strasberg directed the group and developed his acting ideas through its productions.
Actors Studio: A New York organization founded in 1947 to provide professional actors with a setting for rehearsal and study. Strasberg led the Studio from 1951 and made its workshops central to his teaching.
Stella Adler: An American actor and teacher who developed an approach to acting grounded in imagination, research, and script analysis. Adler challenged Strasberg’s emphasis on personal memory after studying with Stanislavski.
Affective memory: An acting exercise that recalls sensory details associated with a past experience to stimulate emotion. Strasberg taught actors to use remembered sensations as a route to emotional truth.
American Laboratory Theatre: A New York acting school founded by Richard Boleslawski and Maria Ouspenskaya, teaching techniques derived from Stanislavski. Strasberg encountered Stanislavski-based training through performances and teachers associated with this school.
Method acting in film: The use of psychologically grounded acting techniques in motion-picture performance. Strasberg’s students and public profile helped link Method acting with American cinema.
Sanford Meisner: An American actor and teacher who developed an approach centered on listening, repetition, and spontaneous response. Meisner shared the Group Theatre’s roots with Strasberg but rejected reliance on emotional memory.
Sense memory: An acting exercise in which performers recreate sensory impressions of an object or experience. This exercise trained actors to respond imaginatively to absent stimuli.

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