The method, p.60
The Method, page 60
and the HUAC hearings, 245, 247–48
and influence of Hollywood, 191–92
and Men in White, 162
and Odets Group Theatre productions, 185
Bromberg, Joe, 174
Bromley, Nadezhda, 105
Brookfield Center retreat, 146–48, 148–51, 151–53, 191
Brooks, Albert, 338
The Brothers Karamazov (Dostoyevsky), 111
Brown, John Mason, 187
Bryn Mawr College, 124
Büchner, Georg, 303
Budenz, Louis, 245
Building a Character (Stanislavski), 194
Burgess, Anthony, 307
Burn After Reading (film), xii
Burstein, Robert, 304
Burstyn, Ellen, 241, 321–22, 328, 333–34, 346–48
Burton, Tim, 355
Bus Stop (film), 273–74, 282
But for Whom, Charlie (film), 300
Byron, George Gordon (Lord Byron), 111
Caan, James, 323, 333
cable television, 355
Caffe Cino, 303
Cage, Nicolas, xi, 350, 357
Cagney, James, 200, 201, 254
Cain (Byron), 111
Cameron, James, 351–52
Camino Real (Williams), 251
Canby, Vincent, 334
Capote, Truman, 279
Carnovsky, Morris
and the Actors’ Lab, 214
and Awake and Sing!, 189–90
and battles over the Method, 301
and conflicts over Stanislavski’s system, 174
and the Group Theatre, 144, 146–47, 149, 150–51, 158–59
and the HUAC hearings, 247–48
and influence of Hollywood, 195
and Monroe’s career, 273
Casablanca (film), 201
Cassavetes, John, 275
Cazale, John, 323, 353
censors and censorship
and Alexander III, 28–29
and crisis in Russian theater, 13–14
and film decency standards, 196
and the Hollywood Renaissance, 310
and Moscow Open Art Theatre’s first season, 33, 42–45
and naturalism in Russian arts, 55
and origins of the Method, xx
and Stanislavski’s vision of acting, xix
Central Intelligence Agency (CIA), 342
Chaiken, Joseph, 303
Chandler, Joan, 232
Chaney, Lon, 337
The Changeling (film), 300
Chapman, John, 218
“Character and Emotion” (course), xvii
characterization and character acting, xvii, 14, 102, 260–62
Chase, Mary, 225
Chayefsky, Paddy, 252, 280–81
Chekhov, Anton
and Actors Studio Theatre productions, 298
death, 47, 48
and First Studio productions, 83–84
and goals for reform of Russian theater, 4–5
and the HUAC hearings, 245
influences on The Seagull, 69
and Moscow Open Art Theatre productions, 34, 36–41, 42, 44–46
and Pushkino productions, 33
and The Seagull premier, 34, 36–38, 40–41, 44–46
and the Slavic Bazaar, 11
Chekhov, Marya, 44
Chekhov, Michael, 85, 89, 97, 100–101, 273
The Cherry Orchard (Chekhov), 47, 110–11, 113–14
Children of the Sun (Gorky), 52
A Chorus Line (film), 292
Chronegk, Ludwig, 9
Chrystie Street Settlement, 122–23, 137–38
Church Committee, 341–42
Cimino, Michael, 340
Circle in the Square Theatre School, 293
City for Conquest (film), 201
Civic Repertory Theatre, 148, 187, 190, 220
Clare Tree Major School of the Theatre, 129
class struggles, 14, 189–90
clichés, 25
Clift, Montgomery
and Actors Studio origins, 223
and Actors Studio Theatre productions, 299
association with the Method, 285–86
and De Niro, 334
and Dean’s career, 266–67
and Garfield’s legacy, 202
and Group Theatre’s legacy, 206
and The Misfits, 283
and perceptions/critiques of the Method, 262, 269
and trend toward character acting, 242–43
and West Side Story, 276
Cloak of Innocence (film), 221
Clurman, Harold
and the Actors’ Lab, 215
and Adler, 160, 168
background, 109–11
and battles over the Method, 301
and Brando’s education, 213–14
and conflicts over Stanislavski’s system, 172, 174–75, 177
and conflicts within Actors Studio, 291
death, 344–45
divorce, 295
and the Group Theatre, 142–53, 155–60, 181, 184–87, 205–6, 208–9
and influence of Hollywood, 191–92, 199
and legacy of Method pioneers, 345, 355
marriage, 209
and MAT’s international tour, 114
meeting with Stanislavski, 169–70
and Monroe, 274
Moscow trip, 164–65, 167
and perceptions/critiques of the Method, 255–56, 279
and the post-Strasberg Actors Studio, 347
and Stanislavski’s An Actor Prepares, 193–94
and Stanley’s acting style, 281–82
and Strasberg, 137–38
and Streetcar Named Desire (touring show), 229
studies at American Lab Theatre, 139
on togetherness, 107
and Truckline Café, 218–19
and Waiting for Lefty, 182–84
Cobb, Lee J., 255, 275
codes of conduct, 23–24
Coen, Ethan, 311, 355
Coen, Joel, xiii, 311, 355
COINTELPRO, 341–42
Cole, Toby, 237
color film, 311
Columbia Pictures, 208
commedia dell’arte, 102
Commissariat of Education, 98, 104
Committee for the First Amendment, 222
Communism, 174
Communist Manifesto (Marx and Engels), 183
concentration, 61–62, 65, 132
conglomerates, 320
Connolly, Norma, 266
Cooper, Gary, 275
Copeau, Jacques, 98, 137–38, 169
Copeland, Joan, 231
Copland, Aaron
and Clurman, 109, 209
and the Group Theatre, 149, 159
influence on American theater, 138, 142
and legacy of Method pioneers, 345
Coppola, Francis Ford, 320–21, 324, 327, 334
Corsaro, Frank, 293, 297–98, 305, 347
costuming, 14, 84–85
Counterattack (newsletter), 247–48
COVID-19 pandemic, 363
Coward, Noël, 158, 225, 249
Coy, Walter, 184
Craig, Edward Gordon, 76–78, 98, 123
Crawford, Cheryl
and Actors Studio classes, 232
and Actors Studio origins, 220
and Actors Studio Theatre productions, 293, 296–97
and battles over the Method, 301
and conflicts over Stanislavski’s system, 174
and the Group Theatre, 143–44, 145–46, 147–48, 149, 155–57, 159, 161–62, 180, 206
and influence of Hollywood, 192–93
and Kazan’s HUAC testimony, 250
and legacy of the Method, 345
and Monroe, 271
Russia trip, 190
support for Strasberg, 237–38
and World Theatre Festival debacle, 307
Crawford, Joan, 187, 208
Creating a Role (Stanislavski), 301
“Creative If,” 165–66
Creative Theatre Lectures, 124
Cricket on the Hearth (Dickens), 89
Crisis (Kingsley), 161
Cronyn, Hume, 228–29
Cruise, Tom, 351
Cullen, Countee, 148
Curtiz, Michael, 202, 217
Dada, 142
Daily News, 146
Daily Worker, 245
Damn Yankees (film), 269
Darski, Mikhail, 25–26, 33, 43
Daughters Courageous (film), 204
Davis, Bette, 200
Davis, Miles, 298
Davis, Ossie, 356
Davis, Viola, 357
Day-Lewis, Daniel, 339–40, 354
De Niro, Robert
background and early works, 330–35
Godfather II Oscar, 329
and public perceptions of the Method, 337–40, 357
and Raging Bull, 335–37
and Strasberg’s death, 345
Streep compared to, 354
Deadline at Dawn (film), 208
Dean, James
and audience for Method actors, 252
and legacy of Method pioneers, 345
and perceptions/critiques of the Method, 263, 270, 285
on psychology of performance, 333
and schism over Stanislavski system, 264–67
Death of a Salesman (Miller), 269
The Death of Bessie Smith (Albee), 276
The Death of Tintagiles (Maeterlinck), 50, 53
decency standards, 196. See also Hays Code; Production Code Administration
Dee, Ruby, 356
The Deer Hunter (film), 334
The Defiant Ones (film), 286
DeKnight, Fanny, 148
Delsarte, Francois, 54, 119
The Deluge (Sienkiewicz), 90, 101
democracy and democratic reforms, 28, 92
Dennis, Sandy, 279, 305, 306
Dern, Bruce, 321, 322
“detachment” actors, 359–60
Diaghilev, Sergei, 70
Dickens, Charles, 89
Diderot, Denis, xv, xx
director’s scores, 24, 33, 39, 176–77
disaster films, 340
Diseases of Memory (Ribot), 64
Diseases of the Will (Ribot), 64
Do the Right Thing (film), 355–57
Dobuzhinsky, Mstislav, 70
Doctor Zhivago (film), 311
A Doll’s House (Ibsen), 55
Don’t Bother to Knock (film), 273
Dos Passos, John, 143
Dostoyevsky, Fyodor, 94–95, 110
Doukhobors, 60, 93
Dove, Arthur, 142
Dover Furnace, New York, 154–61, 187, 231
The Drama of Life (Hamsun), 61
Dramatic Workshop, 214, 231
dress rehearsals, 14
Drury, Norma, 141
Dullea, Keir, 322
Duma, 51, 75, 92, 96
Dunaway, Faye, 294, 317–18, 328
Duncan, Isadora, 76
Dunn, James, 207
Dunne, Philip, 222
Durning, Charles, 218
Duse, Eleonora, xvi, 56, 148, 240, 325
Duvall, Robert, 323
Dynamite Tonight (play), 298
East of Eden (film), 266–67, 270
Eastwood, Clint, 102
Easy Rider (film), 319–20
Edge of the City (film), 275
Efros, Nikolai, 88
“ego psychology,” 268
Egorov, Nikolai, 194
Eh? (Livings), 315
Eisenhower, Dwight, 268
Eisenstein, Sergei, 51, 68
Eisler, Gerhart, 222
Eisler, Hanns, 208, 222, 223
Eitingon, Bess, 160–61, 237–38
Electra (Sophocles), xv–xvi
The Elgin Hour (television), 252
Eliascheff, Horace, 136
Ellis Island, 116
Emergency Immigration Act (U.S.), 116
emotion memory, 166, 177, 301
An Enemy of the People (Ibsen), 54, 56
Engels, Friedrich, 21
English acting tradition, 230, 244, 339
Enlightenment, xv, xx
ensemble theater model, 121–22, 146, 151–52
Enterprise, 221
epic theater movement, 211
Epstein, Julius, 201
Epstein, Philip, 201
Erwin Piscator’s Drama Workshop, 209, 210–11, 237, 347
Esper, William, 321
Esposito, Giancarlo, 356
Esquire, 285
Estevez, Emilio, 351
études
and Actors Studio classes, 231
and Altman’s dialogue style, 322
and challenges to Stanislavski system, 102
and development of Stanislavski’s system, 83
and Group Theatre methods, 156, 161, 187
and Ouspenskaya’s teaching system, 132
and Strasberg’s teaching style, 258
Eugene Onegin (Tchaikovsky), 21
European cultural influences, 12–13, 29, 54–56
Ewald, Heinrich, 123
The Exorcist (film), 340
“experiencing”
and Actors Studio methods, 230
and American Method teachers, 256
and Boleslavsky’s methods, 127
and Do the Right Thing, 356
and incarnation of characters, 94
and legacy of Method pioneers, 363
and the Magic If, 77
and MAT Broadway productions, 127
and perceptions/critiques of the Method, 282, 359
and perezhivanie, xiv–xvi, 67, 359, 360
and representation, 73
and Stanislavski’s system, 8, 177
and ya yesm, 59, 86
The Experimental Novel (Zola), 55
experimental theater, 75, 81, 303
Experimental Theatre, 220
The Exploits of the Cossack Kuzma Kruchkov (propaganda film), 88
expressionism, 70, 350
Federal Theatre Project, 186–87, 205
Fedotov, Aleksandr, 6–8
Fellowship of the New Drama, 50
Fergusson, Francis, 140
The Fervent Years (Clurman), 107, 215, 255
The Festival of Peace (Hauptmann), 86, 174
Feury, Peggy, 321
Filippov, Boris, 172
film franchises, 341
First Studio
and anti-Soviet purges, 103–4
and Balladyna, 104–5
early years of, 81–87
and Suler’s death, 93
and wartime upheavals, 87–90, 93–97
Fiske, Minnie Maddern, 119, 325
Fitch, Clyde, 119
Five-Year Plans (Societ Union), 166
Flanagan, Hallie, 186
Flatley, Guy, 330
Fly Away Home (Bennet and White), 242
Flynn, Errol, 201
Fonda, Jane, 296, 320, 328
Fontainebleau School of Music, 109
Fontanne, Lynn, 242
Foote, Horton, 252
Force of Evil (film), 221, 223
Ford, Ford Madox, 110
Ford Foundation, 205, 302, 304, 305
Fornés, María Irene, 303
Four Daughters (film), 201–4
“fourth wall,” 39, 165, 302, 356
Frankenheimer, John, 292
Franz Ferdinand, Archduke of Austria, 87
Freie Bühne, 55
French Declaration of Human Rights, 92
French New Wave, 319
French theater, 12–13
Freud, Sigmund, 57, 135
The Front Page (Hecht and MacArthur), 225
The Fruits of Enlightenment (Tolstoy), 111
Funke, Lewis, 301
Gable, Clark, 162, 200, 201, 283, 284
Gale, Zona, 120
Galician Front, 92
Galileo (film), 296
The Gamblers (Gogol), 6–7
Garbo, Greta, 208
Gardner, Ava, 305
Garfein, Jack, 321
Garfield, David, 240, 337
Garfield, Julie (later John)
and the Actors’ Lab, 214–15
association with the Method, 285
and Awake and Sing!, 189
background, 163–64
Broadway productions, 238
and Dean’s career, 267
and ethnic character types, 254
and Group Theatre’s influence in Hollywood, 208
and Hollywood studio system, 199–204
and the HUAC hearings, 221–24, 248
and Raging Bull, 337
Garfinkle, Julius. See Garfield, Julie (later John)
Garner, Peggy Ann, 207
Garrick Theatre, 120
Gassner, John, 237
Gazzara, Ben, 273, 296
Gazzo, Michael V., 328
The Gentleman (film), 42
Gentleman’s Agreement (film), 221
Gentlewoman (Lawson), 168, 171, 178
Germanova, Maria, 113, 141
Gest, Morris, 112–13, 115, 116–17, 121
Getz, John, xii
Giant (film), 264, 270
Gide, Andre, 110
Gielgud, John, 227
Gilbert, Anne Hartley, 121–22
Gilbert, Lou, 231
Gilded Age, 119
given circumstances, 65, 171, 174, 179
Glaspell, Susan, 120
The Glass Menagerie (Williams), 224, 226
Glover, Crispin, 351
The Goddess (film), 280–81
The Godfather (film), 323–25, 340
The Godfather, Part II (film), 327–29, 330
Godunov, Boris, 27
Gogol, Nikolai, 21, 61, 65, 88
Gold Eagle Guy (Levy), 164, 180–81, 181–84
Golden Boy (Odets), 199, 271, 349
Goldthwait, Bobcat, 351
The Good, the Bad, and the Ugly (film), 102
Gordon, Mel, 171
Gordon, Ruth, 121
Gorky, Maxim, 47–48, 52, 60, 75, 99
Gorn, 101
The Government Inspector (Gogol), 21, 61, 65, 111
The Graduate (film), 315–17, 319, 341
Grant, Cary, xiv
Grant, Lee, 321
Great Depression
and Clift’s background, 242
and Group Theatre productions, 159
influence on American theater, 142, 146, 195–96
and origins of the Method, xvi
and perceptions/critiques of the Method, xix, 275
and Waiting for Lefty, 182
Great Terror, 194
Green, Paul, 146, 192
Green Mansions, 161
Greenwich Village, 119, 143
Gregory, Andre, 292
Gresham, Elizabeth Fenner, 133–34
Grodin, Charles, 333
Grosbard, Ulu, 292
Grotowski, Jerzy, 302
Group Idea, 144, 151–53, 187, 191, 206
Group Theatre
and Actors Studio classes, 231
and Actors Studio origins, 219–20
and Adler’s teaching system, 259
and Awake and Sing!, 187–90
and battles over the Method, 302
collapse of, 205–9
Communist members, 223
and influence of Hollywood, 191–92
and Men in White, 162
and Odets Group Theatre productions, 185
Bromberg, Joe, 174
Bromley, Nadezhda, 105
Brookfield Center retreat, 146–48, 148–51, 151–53, 191
Brooks, Albert, 338
The Brothers Karamazov (Dostoyevsky), 111
Brown, John Mason, 187
Bryn Mawr College, 124
Büchner, Georg, 303
Budenz, Louis, 245
Building a Character (Stanislavski), 194
Burgess, Anthony, 307
Burn After Reading (film), xii
Burstein, Robert, 304
Burstyn, Ellen, 241, 321–22, 328, 333–34, 346–48
Burton, Tim, 355
Bus Stop (film), 273–74, 282
But for Whom, Charlie (film), 300
Byron, George Gordon (Lord Byron), 111
Caan, James, 323, 333
cable television, 355
Caffe Cino, 303
Cage, Nicolas, xi, 350, 357
Cagney, James, 200, 201, 254
Cain (Byron), 111
Cameron, James, 351–52
Camino Real (Williams), 251
Canby, Vincent, 334
Capote, Truman, 279
Carnovsky, Morris
and the Actors’ Lab, 214
and Awake and Sing!, 189–90
and battles over the Method, 301
and conflicts over Stanislavski’s system, 174
and the Group Theatre, 144, 146–47, 149, 150–51, 158–59
and the HUAC hearings, 247–48
and influence of Hollywood, 195
and Monroe’s career, 273
Casablanca (film), 201
Cassavetes, John, 275
Cazale, John, 323, 353
censors and censorship
and Alexander III, 28–29
and crisis in Russian theater, 13–14
and film decency standards, 196
and the Hollywood Renaissance, 310
and Moscow Open Art Theatre’s first season, 33, 42–45
and naturalism in Russian arts, 55
and origins of the Method, xx
and Stanislavski’s vision of acting, xix
Central Intelligence Agency (CIA), 342
Chaiken, Joseph, 303
Chandler, Joan, 232
Chaney, Lon, 337
The Changeling (film), 300
Chapman, John, 218
“Character and Emotion” (course), xvii
characterization and character acting, xvii, 14, 102, 260–62
Chase, Mary, 225
Chayefsky, Paddy, 252, 280–81
Chekhov, Anton
and Actors Studio Theatre productions, 298
death, 47, 48
and First Studio productions, 83–84
and goals for reform of Russian theater, 4–5
and the HUAC hearings, 245
influences on The Seagull, 69
and Moscow Open Art Theatre productions, 34, 36–41, 42, 44–46
and Pushkino productions, 33
and The Seagull premier, 34, 36–38, 40–41, 44–46
and the Slavic Bazaar, 11
Chekhov, Marya, 44
Chekhov, Michael, 85, 89, 97, 100–101, 273
The Cherry Orchard (Chekhov), 47, 110–11, 113–14
Children of the Sun (Gorky), 52
A Chorus Line (film), 292
Chronegk, Ludwig, 9
Chrystie Street Settlement, 122–23, 137–38
Church Committee, 341–42
Cimino, Michael, 340
Circle in the Square Theatre School, 293
City for Conquest (film), 201
Civic Repertory Theatre, 148, 187, 190, 220
Clare Tree Major School of the Theatre, 129
class struggles, 14, 189–90
clichés, 25
Clift, Montgomery
and Actors Studio origins, 223
and Actors Studio Theatre productions, 299
association with the Method, 285–86
and De Niro, 334
and Dean’s career, 266–67
and Garfield’s legacy, 202
and Group Theatre’s legacy, 206
and The Misfits, 283
and perceptions/critiques of the Method, 262, 269
and trend toward character acting, 242–43
and West Side Story, 276
Cloak of Innocence (film), 221
Clurman, Harold
and the Actors’ Lab, 215
and Adler, 160, 168
background, 109–11
and battles over the Method, 301
and Brando’s education, 213–14
and conflicts over Stanislavski’s system, 172, 174–75, 177
and conflicts within Actors Studio, 291
death, 344–45
divorce, 295
and the Group Theatre, 142–53, 155–60, 181, 184–87, 205–6, 208–9
and influence of Hollywood, 191–92, 199
and legacy of Method pioneers, 345, 355
marriage, 209
and MAT’s international tour, 114
meeting with Stanislavski, 169–70
and Monroe, 274
Moscow trip, 164–65, 167
and perceptions/critiques of the Method, 255–56, 279
and the post-Strasberg Actors Studio, 347
and Stanislavski’s An Actor Prepares, 193–94
and Stanley’s acting style, 281–82
and Strasberg, 137–38
and Streetcar Named Desire (touring show), 229
studies at American Lab Theatre, 139
on togetherness, 107
and Truckline Café, 218–19
and Waiting for Lefty, 182–84
Cobb, Lee J., 255, 275
codes of conduct, 23–24
Coen, Ethan, 311, 355
Coen, Joel, xiii, 311, 355
COINTELPRO, 341–42
Cole, Toby, 237
color film, 311
Columbia Pictures, 208
commedia dell’arte, 102
Commissariat of Education, 98, 104
Committee for the First Amendment, 222
Communism, 174
Communist Manifesto (Marx and Engels), 183
concentration, 61–62, 65, 132
conglomerates, 320
Connolly, Norma, 266
Cooper, Gary, 275
Copeau, Jacques, 98, 137–38, 169
Copeland, Joan, 231
Copland, Aaron
and Clurman, 109, 209
and the Group Theatre, 149, 159
influence on American theater, 138, 142
and legacy of Method pioneers, 345
Coppola, Francis Ford, 320–21, 324, 327, 334
Corsaro, Frank, 293, 297–98, 305, 347
costuming, 14, 84–85
Counterattack (newsletter), 247–48
COVID-19 pandemic, 363
Coward, Noël, 158, 225, 249
Coy, Walter, 184
Craig, Edward Gordon, 76–78, 98, 123
Crawford, Cheryl
and Actors Studio classes, 232
and Actors Studio origins, 220
and Actors Studio Theatre productions, 293, 296–97
and battles over the Method, 301
and conflicts over Stanislavski’s system, 174
and the Group Theatre, 143–44, 145–46, 147–48, 149, 155–57, 159, 161–62, 180, 206
and influence of Hollywood, 192–93
and Kazan’s HUAC testimony, 250
and legacy of the Method, 345
and Monroe, 271
Russia trip, 190
support for Strasberg, 237–38
and World Theatre Festival debacle, 307
Crawford, Joan, 187, 208
Creating a Role (Stanislavski), 301
“Creative If,” 165–66
Creative Theatre Lectures, 124
Cricket on the Hearth (Dickens), 89
Crisis (Kingsley), 161
Cronyn, Hume, 228–29
Cruise, Tom, 351
Cullen, Countee, 148
Curtiz, Michael, 202, 217
Dada, 142
Daily News, 146
Daily Worker, 245
Damn Yankees (film), 269
Darski, Mikhail, 25–26, 33, 43
Daughters Courageous (film), 204
Davis, Bette, 200
Davis, Miles, 298
Davis, Ossie, 356
Davis, Viola, 357
Day-Lewis, Daniel, 339–40, 354
De Niro, Robert
background and early works, 330–35
Godfather II Oscar, 329
and public perceptions of the Method, 337–40, 357
and Raging Bull, 335–37
and Strasberg’s death, 345
Streep compared to, 354
Deadline at Dawn (film), 208
Dean, James
and audience for Method actors, 252
and legacy of Method pioneers, 345
and perceptions/critiques of the Method, 263, 270, 285
on psychology of performance, 333
and schism over Stanislavski system, 264–67
Death of a Salesman (Miller), 269
The Death of Bessie Smith (Albee), 276
The Death of Tintagiles (Maeterlinck), 50, 53
decency standards, 196. See also Hays Code; Production Code Administration
Dee, Ruby, 356
The Deer Hunter (film), 334
The Defiant Ones (film), 286
DeKnight, Fanny, 148
Delsarte, Francois, 54, 119
The Deluge (Sienkiewicz), 90, 101
democracy and democratic reforms, 28, 92
Dennis, Sandy, 279, 305, 306
Dern, Bruce, 321, 322
“detachment” actors, 359–60
Diaghilev, Sergei, 70
Dickens, Charles, 89
Diderot, Denis, xv, xx
director’s scores, 24, 33, 39, 176–77
disaster films, 340
Diseases of Memory (Ribot), 64
Diseases of the Will (Ribot), 64
Do the Right Thing (film), 355–57
Dobuzhinsky, Mstislav, 70
Doctor Zhivago (film), 311
A Doll’s House (Ibsen), 55
Don’t Bother to Knock (film), 273
Dos Passos, John, 143
Dostoyevsky, Fyodor, 94–95, 110
Doukhobors, 60, 93
Dove, Arthur, 142
Dover Furnace, New York, 154–61, 187, 231
The Drama of Life (Hamsun), 61
Dramatic Workshop, 214, 231
dress rehearsals, 14
Drury, Norma, 141
Dullea, Keir, 322
Duma, 51, 75, 92, 96
Dunaway, Faye, 294, 317–18, 328
Duncan, Isadora, 76
Dunn, James, 207
Dunne, Philip, 222
Durning, Charles, 218
Duse, Eleonora, xvi, 56, 148, 240, 325
Duvall, Robert, 323
Dynamite Tonight (play), 298
East of Eden (film), 266–67, 270
Eastwood, Clint, 102
Easy Rider (film), 319–20
Edge of the City (film), 275
Efros, Nikolai, 88
“ego psychology,” 268
Egorov, Nikolai, 194
Eh? (Livings), 315
Eisenhower, Dwight, 268
Eisenstein, Sergei, 51, 68
Eisler, Gerhart, 222
Eisler, Hanns, 208, 222, 223
Eitingon, Bess, 160–61, 237–38
Electra (Sophocles), xv–xvi
The Elgin Hour (television), 252
Eliascheff, Horace, 136
Ellis Island, 116
Emergency Immigration Act (U.S.), 116
emotion memory, 166, 177, 301
An Enemy of the People (Ibsen), 54, 56
Engels, Friedrich, 21
English acting tradition, 230, 244, 339
Enlightenment, xv, xx
ensemble theater model, 121–22, 146, 151–52
Enterprise, 221
epic theater movement, 211
Epstein, Julius, 201
Epstein, Philip, 201
Erwin Piscator’s Drama Workshop, 209, 210–11, 237, 347
Esper, William, 321
Esposito, Giancarlo, 356
Esquire, 285
Estevez, Emilio, 351
études
and Actors Studio classes, 231
and Altman’s dialogue style, 322
and challenges to Stanislavski system, 102
and development of Stanislavski’s system, 83
and Group Theatre methods, 156, 161, 187
and Ouspenskaya’s teaching system, 132
and Strasberg’s teaching style, 258
Eugene Onegin (Tchaikovsky), 21
European cultural influences, 12–13, 29, 54–56
Ewald, Heinrich, 123
The Exorcist (film), 340
“experiencing”
and Actors Studio methods, 230
and American Method teachers, 256
and Boleslavsky’s methods, 127
and Do the Right Thing, 356
and incarnation of characters, 94
and legacy of Method pioneers, 363
and the Magic If, 77
and MAT Broadway productions, 127
and perceptions/critiques of the Method, 282, 359
and perezhivanie, xiv–xvi, 67, 359, 360
and representation, 73
and Stanislavski’s system, 8, 177
and ya yesm, 59, 86
The Experimental Novel (Zola), 55
experimental theater, 75, 81, 303
Experimental Theatre, 220
The Exploits of the Cossack Kuzma Kruchkov (propaganda film), 88
expressionism, 70, 350
Federal Theatre Project, 186–87, 205
Fedotov, Aleksandr, 6–8
Fellowship of the New Drama, 50
Fergusson, Francis, 140
The Fervent Years (Clurman), 107, 215, 255
The Festival of Peace (Hauptmann), 86, 174
Feury, Peggy, 321
Filippov, Boris, 172
film franchises, 341
First Studio
and anti-Soviet purges, 103–4
and Balladyna, 104–5
early years of, 81–87
and Suler’s death, 93
and wartime upheavals, 87–90, 93–97
Fiske, Minnie Maddern, 119, 325
Fitch, Clyde, 119
Five-Year Plans (Societ Union), 166
Flanagan, Hallie, 186
Flatley, Guy, 330
Fly Away Home (Bennet and White), 242
Flynn, Errol, 201
Fonda, Jane, 296, 320, 328
Fontainebleau School of Music, 109
Fontanne, Lynn, 242
Foote, Horton, 252
Force of Evil (film), 221, 223
Ford, Ford Madox, 110
Ford Foundation, 205, 302, 304, 305
Fornés, María Irene, 303
Four Daughters (film), 201–4
“fourth wall,” 39, 165, 302, 356
Frankenheimer, John, 292
Franz Ferdinand, Archduke of Austria, 87
Freie Bühne, 55
French Declaration of Human Rights, 92
French New Wave, 319
French theater, 12–13
Freud, Sigmund, 57, 135
The Front Page (Hecht and MacArthur), 225
The Fruits of Enlightenment (Tolstoy), 111
Funke, Lewis, 301
Gable, Clark, 162, 200, 201, 283, 284
Gale, Zona, 120
Galician Front, 92
Galileo (film), 296
The Gamblers (Gogol), 6–7
Garbo, Greta, 208
Gardner, Ava, 305
Garfein, Jack, 321
Garfield, David, 240, 337
Garfield, Julie (later John)
and the Actors’ Lab, 214–15
association with the Method, 285
and Awake and Sing!, 189
background, 163–64
Broadway productions, 238
and Dean’s career, 267
and ethnic character types, 254
and Group Theatre’s influence in Hollywood, 208
and Hollywood studio system, 199–204
and the HUAC hearings, 221–24, 248
and Raging Bull, 337
Garfinkle, Julius. See Garfield, Julie (later John)
Garner, Peggy Ann, 207
Garrick Theatre, 120
Gassner, John, 237
Gazzara, Ben, 273, 296
Gazzo, Michael V., 328
The Gentleman (film), 42
Gentleman’s Agreement (film), 221
Gentlewoman (Lawson), 168, 171, 178
Germanova, Maria, 113, 141
Gest, Morris, 112–13, 115, 116–17, 121
Getz, John, xii
Giant (film), 264, 270
Gide, Andre, 110
Gielgud, John, 227
Gilbert, Anne Hartley, 121–22
Gilbert, Lou, 231
Gilded Age, 119
given circumstances, 65, 171, 174, 179
Glaspell, Susan, 120
The Glass Menagerie (Williams), 224, 226
Glover, Crispin, 351
The Goddess (film), 280–81
The Godfather (film), 323–25, 340
The Godfather, Part II (film), 327–29, 330
Godunov, Boris, 27
Gogol, Nikolai, 21, 61, 65, 88
Gold Eagle Guy (Levy), 164, 180–81, 181–84
Golden Boy (Odets), 199, 271, 349
Goldthwait, Bobcat, 351
The Good, the Bad, and the Ugly (film), 102
Gordon, Mel, 171
Gordon, Ruth, 121
Gorky, Maxim, 47–48, 52, 60, 75, 99
Gorn, 101
The Government Inspector (Gogol), 21, 61, 65, 111
The Graduate (film), 315–17, 319, 341
Grant, Cary, xiv
Grant, Lee, 321
Great Depression
and Clift’s background, 242
and Group Theatre productions, 159
influence on American theater, 142, 146, 195–96
and origins of the Method, xvi
and perceptions/critiques of the Method, xix, 275
and Waiting for Lefty, 182
Great Terror, 194
Green, Paul, 146, 192
Green Mansions, 161
Greenwich Village, 119, 143
Gregory, Andre, 292
Gresham, Elizabeth Fenner, 133–34
Grodin, Charles, 333
Grosbard, Ulu, 292
Grotowski, Jerzy, 302
Group Idea, 144, 151–53, 187, 191, 206
Group Theatre
and Actors Studio classes, 231
and Actors Studio origins, 219–20
and Adler’s teaching system, 259
and Awake and Sing!, 187–90
and battles over the Method, 302
collapse of, 205–9
Communist members, 223
