 Born in 1901 to a family of actors with 5 older siblings.  Debuted on stage when she was 5.  Performed primarily at the Yiddish Theatre in New York.  Had her English speaking debut at 20.  Decided to study acting “seriously”  Had to take off 3 years due to Tuberculosis

 Joined the Group Theatre in 1931 and married original founder Harold Clurman.  Only member to have studied with Stanislavsky personally  Confronted Strasberg and his use of the actor’s emotional memories and substitution causing friction in the Group and prompting Strasberg’s break from teaching Stanislavsky’s System.

 Went to Hollywood to pursue film in  Founded the Stella Adler School of Acting in New York City in 1949

 Unlike Strasberg, she believed in focusing on the given circumstances to create emotion through imagination, and not by using the actor’s memories.  Heavy emphasis on understanding historical context of texts and character analysis.  Heavy focus on voice and movement to create an epic quality so as not to be boring.  Believed strongly in justification for action

 Upon Strasberg’s death, she had her class sit in a moment of silence. When finished, she then declared that it would take centuries to undo the harm Strasberg did to the art of acting.

 Born to a Hungarian Jewish immigrant family in 1905 and grew up in the Bronx.  Joined the Theater Guild when he was 19.  Met Harold Clurman and Lee Strasberg while there.  Became a founding member of The Group when Clurman and Strasberg decided to leave instead of going into the fur business.

 He learned as much as he could from Adler, Strasberg, and Clurman while in The Group.  He surrounded himself with big name contacts and people who would be serious through Strasberg and Clurman.  He headed the drama department at the Neighborhood Playhouse in New York in 1935.

 Director of New Talent for 20 th Century Fox in  he was Head of the Neighborhood Playhouse.  In 1985, opened the Meisner/Carville School of Acting.  Died in 1997.

 Believed that using one’s own memories caused actors to be too focused on themselves and not telling the story.  Believed in being in “the moment”  Exercises focus on acting and reacting to a partner in an organic way.  Actors should commit to an objective and task instead of focusing too much on dialogue.