To get a sense of just how influential Stella Adler was to American theatre and film, just look at the long list of successful actors who trained in her method: Melanie Griffith, Warren Beatty, and Harvey Keitel are just a few of the Oscar nominees among them.
Born into a New York acting family in 1901, Adler, like many of her contemporaries, was profoundly influenced by the work of the Moscow Art Theatre, a Russian theatre troupe that toured the US in the early 1920s. They were practising Konstantin Stanislavsky’s acting method, which emphasises naturalistic performances that arise from actors’ authentic thoughts, desires, and emotions. That was a major departure from the stylised manner of acting that had come before. Adler, along with several others, was inspired to take on the idea and develop it.
In 1931, Lee Strasberg, another actor who was inspired by Stanislavsky’s method, invited Adler to join the newly formed Group Theatre, which aimed to follow Stanislavsky’s teachings in a highly disciplined way. Adler joined, but differences in approach began to emerge between she and Strasberg. Adler believed actors should find the truth of how a performance should be in the script, while Strasberg focused on the affective memory element of Stanislavsky’s method.
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Strasberg, Adler, and their contemporaries initially adopted affective memory, one of Stanislavsky’s key techniques. It involves actors creating realistic performances by recalling emotions felt during real-life experiences similar to the characters’ situations. The actors would then access those feelings on stage, transferring them to the characters. Although Strasberg prioritised it, Adler felt that affective memory presented a risk to the actors’ mental health. She also felt that, because most actors haven’t shared the extreme experiences of the characters they’re playing, affective memory wasn’t a practical method for creating believable performances.
Growing up in the Yiddish theatre scene, Adler learned to research her characters in depth and develop an understanding of them and their historical period based on the circumstances in the script. Using research to access the truth of her characters informed her approach to acting – and her rejection of affective memory. She also found that focusing on her own experiences as a source of emotions – a requirement of affective memory – distanced her from the character she was trying to inhabit.
In 1934, Adler studied privately with Stanislavsky in Paris, becoming the only one of his American disciples to do so. She found that Stanislavsky had begun rejecting affective memory, feeling that it was exhausting for actors and could have negative psychological effects. That convinced Adler that her method was truly beneficial for actors, which gave her the courage to continue developing her technique.
At its heart, Adler’s technique is about using the power of imagination, detailed text analysis, and a deep understanding of a character’s circumstances to inform your performance. It emphasises understanding the given circumstances in a script and making characters seem real by imagining those circumstances.
Several principles emerge from that foundation.
Imagination over memory
Adler firmly believed that actors should rely on their imagination rather than personal emotional memory. “Don’t use your conscious past. Use your creative imagination to create a past that belongs to your character,” she once instructed a student. “I don’t want you to be stuck with your own life. It’s too little.” In Adler’s view, drawing only on your personal experiences can limit the range and depth of a performance. Instead, she urged actors to immerse themselves in the fictional circumstances of the script. That is why many exercises from her school of acting focus on sparking the imagination.
In-depth text analysis
Another cornerstone of Adler’s method is a thorough understanding of the text. Actors are encouraged to delve into the writer’s intentions, historical context, and the underlying themes of the play and its writer’s wider work. It isn’t about overcomplicating things; rather, it’s about unlocking the meaning in every word and pause in the script. Detailed text analysis allows performers to ground their work in the material’s truth.
Physical and vocal expression
Adler believed physical expression is vital to fully inhabiting a role. Exercises that improve vocal projection, clarity, and physical presence are key components of her method. Whether it’s through movement work or vocal drills, the exercises help actors fully inhabit their characters. That focus on physicality is not about gesture-driven acting; it is about ensuring that the performance communicates clearly and effectively with the audience.
Cultivation of a rich inner life
Adler stressed that actors must cultivate a rich inner life for their character. That means developing a detailed inner world for their characters, complete with emotions, desires, and backstories that may not be explicitly written in the script. By building that inner landscape, actors can deliver more layered, nuanced performances.
The benefits of Adler’s technique, which has led to its continued use by many leading actors, include:
- Enhanced creativity: By prioritising imagination, the technique opens a broader range of emotional and creative responses. Actors can explore scenarios that extend beyond their own experiences.
- Comprehensive character development: The emphasis on text analysis and understanding circumstances means characters are built from the ground up. That leads to performances that feel authentic and well rounded.
- Emotional safety: Adler’s method creates a boundary between the actor’s personal life and the character’s emotional landscape. That separation can protect actors from the mental toll that more emotionally invasive techniques, such as affective memory, may take.
No method is without its challenges, and critics of Adler’s techniques have pointed out the following:
- Intensive preparation: One of the main drawbacks is the considerable time required for research and rehearsal. In fast-paced production environments, the depth of preparation demanded by Adler’s technique can be a problem.
- Risk of overintellectualisation: There is a danger that some actors may become too wrapped up in analysing the text, which could get in the way of spontaneous emotional expression.
- Exhaustion: Adler’s method isn’t as emotionally taxing as affective memory, but critics argue it is mentally exhausting due to the intensive script analysis and research required.
If you’re keen to start learning, here are some Stella Adler acting exercises to try.
Imagination exercise: Choose an object – a chair, a book, or even an abstract shape – and imagine it in a completely different setting. Visualise its texture, colour, and a story behind it. The aim is to engage all your senses until the object feels real in your mind. The exercise not only sharpens your imaginative faculties, but also prepares you to draw on that creativity when approaching a role.
Action-based exercise: Focus on a particular moment from your script and identify your character’s objective, rather than the emotions they may be feeling. Then devise a series of physical actions that could express that objective. It may involve a gesture, a change in posture, or a simple shift in your facial expression. Such exercises help tie emotional intention to physical movement, reinforcing the idea that body and mind work together.
Given circumstances exploration: Choose a scene from your script and research the historical period, social context, physical environment, and personal experiences of the character. Imagine the world they inhabit in as much detail as possible. The exercise deepens your understanding of the role and grounds your performance in the reality of the scene.
The route to a great performance is different for everyone. If Adler’s techniques appeal to you, your next steps could be:
- Enroll in workshops or classes. Look for places that specialise in Adler’s methodology. The Stella Adler Studio of Acting in New York City was founded by Adler herself, and it remains a leading institution. You can even audition in London to attend the studio in the US. Many other recognised drama schools offer courses influenced by her teachings, often combined with lessons in the methods of other leading practitioners, such as this course at The Actor’s Craft.
- Study Adler’s writings. Adler’s books, such as The Art of Acting and The Technique of Acting, are primary sources of instruction in her method. Reading them can give you a deeper understanding of her approach and help you internalise her principles. She’s also a witty writer, making her books a fun read.
- Practise regularly. Incorporate daily exercises into your routine. Whether it’s an imagination exercise or action-based work, regular practise is essential for developing muscle memory and a strong creative toolkit.
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Many well-known actors have trained in the Adler technique. Marlon Brando is often cited for his transformative performances in 1951’s film adaptation of A Streetcar Named Desire and 1972’s The Godfather, showing a level of immersion in his characters that would win him Oscar nominations and, in the case of Streetcar, popularise method acting in general. Robert De Niro and Salma Hayek also attribute part of their success to training with Adler.
Adopting elements of Adler’s technique can enhance your practice while avoiding the mental health risks that may come with affective memory. Many actors have found that Adler’s methods provide the tools to build more nuanced and authentic performances, so why not give it a go?
