Jr Adler Biography & Facts
Stella Adler (February 10, 1901 – December 21, 1992) was an American actress and acting teacher. She founded the Stella Adler Studio of Acting in New York City in 1949. Later in life she taught part time in Los Angeles, with the assistance of her protégée, actress Joanne Linville, who continues to teach Adler's technique. Her grandson Tom Oppenheim now runs the school in New York City, which has produced alumni such as Marlon Brando, Robert De Niro, Harvey Keitel, Elaine Stritch, Kate Mulgrew, Kipp Hamilton, and Jenny Lumet.Irene Gilbert, a longtime protégée and friend, ran the Stella Adler Studio of Acting in Los Angeles, until her death. The Los Angeles school continues to function as an acting studio and houses several theaters. Alumni of the Stella Adler-Los Angeles school include Mark Ruffalo, Benicio del Toro, Brion James, Salma Hayek, Clifton Collins Jr., Herschel Savage and Sean Astin.
Stella Adler was born in the Lower East Side of New York City. She was the youngest daughter of Sara and Jacob P. Adler, the sister of Luther and Jay Adler, and half-sister of Charles Adler and Celia Adler, star of the Yiddish Theater. All five of her siblings were actors. The Adlers comprised the Jewish American Adler acting dynasty, which had its start in the Yiddish Theater District and was a significant part of the vibrant ethnic theatrical scene that thrived in New York from the late 19th century to the 1950s. Adler became the most famous and influential member of her family. She began acting at the age of four as a part of the Independent Yiddish Art Company of her parents.
Adler began her acting career at the age of four in the play Broken Hearts at the Grand Street Theatre on the Lower East Side, as a part of her parents' Independent Yiddish Art Company. She grew up acting alongside her parents, often playing roles of boys and girls. Her work schedule allowed little time for schooling, but when possible, she studied at public schools and New York University. She made her London debut, at the age of 18, as Naomi in Elisa Ben Avia with her father's company, in which she appeared for a year before returning to New York. In London, she met her first husband, Englishman Horace Eliashcheff; their brief marriage, however, ended in a divorce.
Adler made her English-language debut on Broadway in 1922 as the Butterfly in The World We Live In, and she spent a season in the vaudeville circuit. In 1922–23, the renowned Russian actor-director Konstantin Stanislavski made his only U.S. tour with his Moscow Art Theatre. Adler and many others saw these performances, which had a powerful and lasting impact on her career and the 20th-century American theatre. She joined the American Laboratory Theatre in 1925; there, she was introduced to Stanislavski's theories, from founders and Russian actor-teachers and former members of the Moscow Art Theater—Richard Boleslavsky and Maria Ouspenskaya. In 1931, with Sanford Meisner and Elia Kazan, among others, she joined the Group Theatre, New York, founded by Harold Clurman, Lee Strasberg, and Cheryl Crawford, through theater director and critic, Clurman, whom she later married in 1943. With Group Theatre, she worked in plays such as Success Story by John Howard Lawson, two Clifford Odets plays, Awake and Sing! and Paradise Lost, and directed the touring company of Odets's Golden Boy and More to Give to People. Members of Group Theatre were leading interpreters of the method acting technique based on the work and writings of Stanislavski.
In 1934, Adler went to Paris with Harold Clurman and studied intensively with Stanislavski for five weeks. During this period, she learned that Stanislavski had revised his theories, emphasizing that the actor should create by imagination rather than memory. Upon her return, she broke away from Strasberg on the fundamental aspects of method acting.In January 1937, Adler moved to Hollywood. There, she acted in films for six years under the name Stella Ardler, occasionally returning to the Group Theater until it dissolved in 1941. Eventually, she returned to New York to act, direct, and teach, the latter first at Erwin Piscator's Dramatic Workshop at the New School for Social Research, New York City, before founding Stella Adler Conservatory of Theatre in 1949. In the following years, she taught Marlon Brando, Steve McQueen, Dolores del Río, Robert De Niro, Elaine Stritch, Martin Sheen, Manu Tupou, Harvey Keitel, Melanie Griffith, Peter Bogdanovich, and Warren Beatty, among others, the principles of characterization and script analysis. She also taught at the New School, and the Yale School of Drama. For many years, Adler led the undergraduate drama department at New York University, and became one of America's leading acting teachers.
Stella Adler was much more than a teacher of acting. Through her work she imparts the most valuable kind of information—how to discover the nature of our own emotional mechanics and therefore those of others. She never lent herself to vulgar exploitations, as some other well-known so-called "methods" of acting have done. As a result, her contributions to the theatrical culture have remained largely unknown, unrecognized, and unappreciated.—Marlon Brando
In 1988, she published The Technique of Acting with a foreword by Marlon Brando. From 1926 until 1952, she appeared regularly on Broadway. Her later stage roles include the 1946 revival of He Who Gets Slapped and an eccentric mother in the 1961 black comedy Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' So Sad. Among the plays she directed was a 1956 revival of the Paul Green/Kurt Weill antiwar musical Johnny Johnson. She appeared in only three films: Love on Toast (1937), Shadow of the Thin Man (1941), and My Girl Tisa (1948). She concluded her acting career in 1961, after 55 years. During that time, and for years after, she became a renowned acting teacher.
Stanislavski and the method
Adler was the only member of the Group Theatre to study with Konstantin Stanislavski. She was a prominent member of the Group Theatre, but differences with Lee Strasberg over Stanislavski's system (later developed by Strasberg into method acting) made her leave the group. She once said: "Drawing on the emotions I experienced — for example, when my mother died — to create a role is sick and schizophrenic. If that is acting, I don't want to do it."
Adler met with Stanislavski again later in his career and questioned him on Strasberg's interpretation. He told her that he had abandoned emotional memory, which had been Strasberg's dominant paradigm, but that they both believed that actors did not have what is required to play a variety of roles already instilled inside them, and that extensive research was needed to understand the experiences of characters who have different values originating from different cultures.
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