The method, p.61
The Method, page 61
and conflicts within Actors Studio, 289–90, 291
founded, 146
and Garfield’s career success, 202
and Golden Boy, 199–200
and the HUAC hearings, 245–46, 247
impact of Stanislavski meeting, 171–72
and influence of Hollywood, 191–93, 195, 198–99, 204
influence on the Actors’ Lab, 214–16
and Kazan’s HUAC testimony, 249–50
and Kazan’s values, 217
and legacy of Method pioneers, 345, 349, 355
and Method acting style, 255–56
and Monroe, 272
Moscow trip, 167
and Odets Group Theatre productions, 184–87
and perceptions/critiques of the Method, 275, 277–78, 338
and pessimism in American drama, 225, 227
and the Repertory Theatre of Lincoln Center, 294–95
schism over Stanislavski system, 172–78
and Stanislavski’s An Actor Prepares, 194
and Strasberg’s teaching career, 237–38
structural failures, 191
and summer retreats, 146–48, 148–51, 151–53, 154–61, 187, 231
and Waiting for Lefty, 182–84
Gurevich, Lyubov, 177
Guthrie, Tyrone, 274
Hackman, Gene, 269–70, 318
“hackwork,” 72
Hagen, Uta, 229, 260, 301, 321, 333, 357–58
Hall, Peter, 349
Hamlet (Shakespeare)
and Adler’s teaching system, 179
and development of Stanislavski’s system, 76–78, 81
and given circumstances of the play, 63
Kachalov Group production, 124
and legacy of Method pioneers, 360–61
and market for Broadway productions, 119
The Seagull compared to, 36
and Stanislavski’s early system, 58–59
and supertask concept, 65
Hamsun, Knut, 61
Handbook of Theatrical Poses (Morelli), 54
Hangmen Also Die (film), 223
Hanks, Tom, 351
Hansberry, Lorraine, 276, 298
Hapgood, Elizabeth, 193–94
Harlem Renaissance, 148
Harris, Julie, 220, 252
Harrison, Rex, 275
Harvey (Chase), 225
The Hasty Heart (Patrick), 225
Hatful of Rain (film), 328
Hauptmann, Gerhart, 36, 43–44, 54, 86
Havoc, June, 240, 297–98
Hawks, Howard, 321
Hayes, Helen, 279, 282
Hays, Will, 196
Hays Code, 196, 197, 198, 250, 311
Hayward, Susan, 208
He Ran All the Way (film), 248
Heaven’s Gate (film), 340
Hebrew Actors Club, 139
Hedaya, Dan, xii
Hedda Gabler (Ibsen), 45
Heijermans, Herman, 84
The Heiress (film), 242
Heitz, Mikhail Sergeievich, 166
Helburn, Theresa, 146
Henry VI (Shakespeare), 27
Hepburn, Katharine, xii
The Hermitage, 41, 45
Higgs boson, 57
Hill, Stephen, 280
Hiller, Arthur, 312
Hirson, Roger O., 252
Hiss, Alger, 268
Hitchcock, Alfred, 321
Hobart, Rose, 245
Hoffman, Dustin, 315–18, 319, 324, 328, 334, 339, 352–53
Hollywood Renaissance, 320–21, 340
Hollywood Reporter, 245–46
Hollywood Ten, 199, 223
Home of the Brave (Laurents), 225
home video market, 355
Hopper, Dennis, 320
Hopper, Hedda, 274
The House into Which We Are Born (Copeau), 138
The House of Connelly (Green), 146–48, 154, 158, 177–78
House Un-American Activities Committee
and Garfield’s career, 222–24, 248
high-profile spying cases, 268
and the Hollywood Ten, 199
and Kazan’s testimony, 245–46, 248–49, 250, 294
targeting of Federal Theatre Project, 205
Houseman, John, 186–87, 349
Hovick, Rose Louise (Gypsy Rose Lee), 297–98
Howard, Michael, 292, 323
Howard, Sidney, 120
Howe, James Wong, 337
Hud (film), 287
Hughes, Langston, 148
Humoresque (film), 221
Hunter, Kim, 231, 241, 244
The Hustler (film), 287
Huston, John, 222, 283
Huxley, Aldous, 208
I Got the Blues (Odets), 160, 181, 184
I Remember Mama (Van Druten), 214
Ibsen, Henrik, 27, 36, 55, 81, 119, 268–69
The Iceman Cometh (O’Neill), 226
identity politics, 361
The Imaginary Invalid (Molière), 86
imagination, 62, 126, 171
immigration, 115–16
Imperial Theatres, 12, 21, 43, 96, 98
improvisation
and Actors Studio classes, 231
and Adler’s classes, 211, 213
and on American Lab Theatre auditions, 130
and audience for Method actors, 251
and development of Stanislavski’s system, 75
and études, 102
and First Studio studies, 83
and Group Theatre methods, 161–62, 187
In Dreams (Nemirovich), 48, 49–50
In the Heat of the Night (film), 319
“indicating,” 151, 358
Inge, William, 250, 273, 276, 282, 287
Inside the Actors Studio (television), 348
Institute of International Education, 301
intermissions, 15
International Studio, 89, 98
“involvement” actors, 360
Iowa Writers’ Workshop, 250
Irons, Jeremy, 329
Irving, Jules, 303
Irving Place Theatre, 139
Isaacs, Edith, 193–94
Ivan IV, Tsar of Russia, 30
Jackson, Anne, 220, 223
Jackson, Samuel L., 357
Jackson, Shirley, 362–63
Jacobowsky and the Colonel (film), 206
Janus Films, 311
Jaws (film), 340–41, 351–52
jazz, 360
The Jazz Singer (film), 118, 196–98
Jehlinger, Charles, 121
Jeremiah Johnson (film), 321
Jewish culture, 110
Jewish National Radical School, 122–23
Johnny Johnson (Green and Weill), 192
Johnson, Lyndon, 314
Joyce, James, 110
Juilliard Drama Division, 291–92, 348–50
Julius Caesar (Shakespeare), 12, 111, 115, 130
justification, 100–101, 162, 258
Kabuki theater, 303
Kachalov, Vadim, 95
Kachalov, Vasily, 52–53, 76, 86, 88, 111, 113
Kachalov Group, 111–13, 124
Kael, Pauline, 337, 352
Kahn, Michael, 272, 292, 323, 349, 350
Kanin, Garson, 225
Kashdan, Lawrence, 355
Kass, Peter Meyer, 323
Kazan, Elia (“Gadge”)
and Actors Studio classes, 230–33
and Actors Studio origins, 220–21, 224
and the Actors Studio Playwrights Unit, 276
and Actors Studio Theatre productions, 293–94, 295–96, 300
and Adler’s teaching system, 179
and Awake and Sing! production, 188–89
background, 155
and Beatty, 287
Clurman collaborations, 217–19
and conflicts over Stanislavski’s system, 174–75
and conflicts within Actors Studio, 289–92
and Dean’s career, 267
and film acting methods, 206–7
and The Godfather, Part II, 327
and the Group Theatre, 155, 160, 184–87, 206, 207–8
and the Hollywood Renaissance, 321
and Hollywood studio system, 201
and the HUAC hearings, 247–49, 250–51, 264
and influence of Hollywood, 195, 199
and legacy of Method pioneers, 345
and Men in White, 163
and Monroe’s career, 271
and Nichols’s directing style, 317
and perceptions/critiques of the Method, 262
and the post-Strasberg Actors Studio, 347
and the Repertory Theatre of Lincoln Center, 294–95
replaced at Lincoln Center Theater, 303
and Stanley’s career, 280, 283
and Strasberg, 238–39
and Streetcar Named Desire, 227–29, 243–45, 337
and On the Waterfront, 254–55
Kazan, Molly, 276
Keaton, Diane, 323, 325, 333
Keitel, Harvey, 259, 329, 332–33
Kelleher, Joe, 181
Kennedy, John F., 285, 286, 287
Kerkorian, Kirk, 320
Keyes, Donald, 131
Kilmer, Val, 348
Kimball Stockton, Miriam, 127
King, Martin Luther, Jr., 342
The King of Comedy (film), 333
Kingsley, Sidney, 161–62, 164, 346
kitchen dramas, 252
Kline, Kevin, 348, 354
Knapp, Jacqueline, 258
Knight, Shirley, 265, 280, 299, 305
Knipper-Chekhova, Olga
and Boleslasky’s career, 124
conflicts with Stanislavski, 113
and development of Stanislavski’s system, 73–74
and MAT’s international tour, 113–14
and Moscow Open Art Theatre productions, 41, 45–46
and the Russian Civil War, 111
and tensions within Moscow Art Theatre, 48–50
visit from American actors, 169–70
Kolin, Nicholas, 105–6
Komissarzhevsky, Fyodor, 99–100
Komissarzhevsky, Vera, 99
Konijn, Elly A., 359–61
Koonen, Alisa, 72, 73
Kowalski, Stanley, 224, 280
Kraber, Tony, 174, 248
Kramer vs. Kramer (film), 352–54
Krane, Victoria, 346
Krause, Alvina, 292, 321
Kris, Marianne, 284
Ku Klux Klan, 137
Kubrick, Stanley, 322
La Guardia, Fiorello, 182
labor organizing and activism, 51, 91, 181–83, 210
Ladd, Diane, 328
Lady Windermere’s Fan (Wilde), 225
LaMotta, Jake, 335
Lances Down (Boleslavsky), 96, 97
Landau, Martin, 251, 272, 321, 322
Lane, Nathan, 357
Lane, Priscilla, 202
Langella, Frank, 294
LaSpina, Joe, 163–64
The Last Picture Show (film), 321
Laughton, Charles, 208, 323, 325
Laurents, Arthur, 225, 276
Lawson, John Howard, 137, 155–56, 168, 199, 223
lazzi routines, 102
Le Gallienne, Eva, 148, 220
Leachman, Cloris, 231, 321
Leblang, Joe, 118
Lee, Spike, 355–57
Lee, Will, 245
Lee Strasberg: Burning Ice (Rogoff), 304
Lee Strasberg Theatre and Film Institute, 326–27, 344, 346, 349–50, 354
The Left-Handed Gun (film), 276
Leigh, Vivien, 244
Lenin, Vladimir, 21, 103, 130
Lensky, Aleksandr, 21, 34
Leonidov, Leonid, 52
Lerner, Alan Jay, 232
Leto, Jared, 340
Leverett, Lewis, 147, 159, 248
Leverett, Louis, 174
Levitan, Isaak, 36
Levkeyeva, Elizabeth, 37
Lewis, Bobby
and Actors Studio classes, 230–32
and Actors Studio origins, 220, 221
and Adler’s teaching system, 179
and battles over the Method, 301
and Bonnie and Clyde, 318
and conflicts over Stanislavski’s system, 174–75
and Dean’s career, 264–66
and the Group Theatre, 147–48, 150, 156–57, 181, 187
and the Hollywood Renaissance, 321
and influence of Hollywood, 195
on Kazan/Strasberg relationship, 238
and Men in White, 163
and perceptions/critiques of the Method, 277–79
and the post-Strasberg Actors Studio, 347
and the Repertory Theatre of Lincoln Center, 294–95
and Streep, 352
teaching style of, 260
and West Side Story, 276
Lewis, Jerry, 333
Ley-Piscator, Maria, 331
licensing agreements, 311
Liebling, Bill, 224
Lilina, Maria, 7, 30, 47, 78, 88
Lincoln Center for the Arts, 290–91, 294–96, 300, 303, 348
Lindsay, John, 326
line readings, 25, 278
The Lion in Winter (Goldman), 308
Lippa, Max, 122
Lipton, James T., 347
literacy rates, 5, 103
Little Theatre movement, 120, 121
“living a part.” See perezhivanie
The Living Corpse (Tolstoy), 78
Living Newspaper, 186
Lloyd, Christopher, 294
Loden, Barbara, 294–95
Loeb, Philip, 137
Logan, Joshua, 166, 273
Loggia, Robert, 305, 306
London Theatre Studio, 348
Los Angeles Examiner, 245
Love Life (Chekhov), 232–33
Lowe, Leonard, 339
Lowe, Rob, 351
The Lower Depths (Gorky), 48, 54, 99, 113, 121
Loy, Myrna, 162, 222
Lucas, George, 341
Ludwig, Salem, 306
Lumet, Sidney, 223, 252, 275, 292, 312
Lunacharsk, Anatoly, 103–4, 111
Lunt, Alfred, 144, 242
LuPone, Patti, 348
Lux cinema, 81–82, 84–85
Lvov, Nikolai, 96
Lynch, David, 355
Lynn, Jeffrey, 202
Lyubimovka, 16
MacLeish, Archibald, 295
MacNicol, Peter, 354
Maeterlinck, Maurice, 50, 61, 63–64
The “Magic If,” 62, 67, 72, 77, 121, 193
Mailer, Norman, 276, 285, 286
Malden, Karl
and Actors Studio classes, 232
and Actors Studio origins, 223–24
on Brando, 228
on Kazan’s HUAC testimony, 249
and perceptions/critiques of the Method, 255, 262
and Strasberg’s teaching style, 239–40
and Streetcar Named Desire, 243–44
Malin Studios, 271
Malkovich, John, 351
Malloy, Terry, 280
Maly Theatre
and crisis in Russian theater, 11, 15
and Moscow Open Art Theatre’s first season, 21, 31, 42, 48
and Nemirovich’s background, 3–4
and Shchepkin, 13
and Stanislavski’s background, 7
Mamontov, Savva, 6
Manhattan, New York, 117
Mann, Daniel, 232
Mann, Delbert, 254
Mann, Michael, 355
Mann, Paul, 278
Mann, Thomas, 208
Marathon ‘33 (Havoc), 297–98
Marathon Man (film), 339
Marchand, Nancy, 253
Marco Millions (O’Neill), 300
Marin, John, 142
Marshall, E. G., 275
Martel, Jay, 338
Martin, Mardik, 335, 336
Martin, Nan, 305
Marty (television), 252–54
Marx, Karl, 21
Marxism, 163, 167, 223
The Mask (magazine), 85
masks, 102
Masks or Faces? A Study in the Psychology of Acting (Archer), 360
Mason, Marsha, 333
Mason, Marshall, 292, 300
Massie, Raymond, 267
The Mature Mind (Overstreet), 268
Maupassant, Guy de, 36, 81
Mayakovsky, Vladimir, 111
Mayer, Louis B., 208, 296
The Mayfair Theater, 118
McCarthy, Joseph, 199, 250, 255
McCarthy, Kevin, 299–300, 305
McClendon, Rose, 148
McDormand, Frances, xii–xiv
McKee, Grace, 270
McQueen, Steve, 272, 286, 287
Me Too movement, 361
Mean Streets (film), 330, 332–33, 334
Meiningen Ensemble, 9–10, 22
Meisner, Sanford
and Actors Studio classes, 232
and character acting methods, 333
and conflicts over Stanislavski’s system, 172, 174
and decline of the Method, 344
and The Godfather, 325
and the Group Theatre, 147, 157, 160, 183, 187
and the Hollywood Renaissance, 321–23
introduction to Strasberg, 137
and legacy of Method pioneers, 348, 357, 363
and the Neighborhood Playhouse, 214
teaching style of, 256, 260–61
melodramas, 55, 118–19
The Men (film), 243, 266
Men in White (Kingsley), 161–63, 168, 174, 176–78, 187, 346
The Merchant of Venice (Shakespeare), 24–25, 33, 43
Meredith, Burgess, 163, 297
A Message from Khufu (film), 210
Method of Physical Action, 176–77
Method—or Madness? (Lewis lecture), 277–79
Meyerhold, Vsevolod
and challenges to Stanislavski system, 100, 102
and Group Theatre summer retreats, 156
imprisonment, 195
influence on American acting, 166–67
and Moscow Open Art Theatre productions, 41
and Pushkino productions, 19–20, 25–26
and tensions within Moscow Art Theatre, 49–51
and Theatre Studio productions, 53
MGM, 200, 320
Midnight Cowboy (film), 334
Midnight Run (film), 333
A Midsummer Night’s Dream (Shakespeare), 163
Miller, Arthur
and Actors Studio origins, 221
and Actors Studio Theatre productions, 300
and All My Sons, 218
and the Group Theatre, 147, 206
and Kazan’s HUAC testimony, 249–50
and The Misfits, 282–84
and Monroe, 271
on naturalistic drama, 269
and pessimism in American drama, 226
Miller, Paula, 149, 174
The Miracle Worker (film), 292
mise-en-scène, 15, 49, 70
The Miserly Knight (Pushkin), 9
The Misfits (film), 282–83
Miss Julie (Strindberg), 55
Miss Lulu Bett (Gale), 120
Mission to Moscow (film), 222
Mizinova, Lika, 36–37
Mizrahi, Anna, 326
Modern Drama, 316–17
founded, 146
and Garfield’s career success, 202
and Golden Boy, 199–200
and the HUAC hearings, 245–46, 247
impact of Stanislavski meeting, 171–72
and influence of Hollywood, 191–93, 195, 198–99, 204
influence on the Actors’ Lab, 214–16
and Kazan’s HUAC testimony, 249–50
and Kazan’s values, 217
and legacy of Method pioneers, 345, 349, 355
and Method acting style, 255–56
and Monroe, 272
Moscow trip, 167
and Odets Group Theatre productions, 184–87
and perceptions/critiques of the Method, 275, 277–78, 338
and pessimism in American drama, 225, 227
and the Repertory Theatre of Lincoln Center, 294–95
schism over Stanislavski system, 172–78
and Stanislavski’s An Actor Prepares, 194
and Strasberg’s teaching career, 237–38
structural failures, 191
and summer retreats, 146–48, 148–51, 151–53, 154–61, 187, 231
and Waiting for Lefty, 182–84
Gurevich, Lyubov, 177
Guthrie, Tyrone, 274
Hackman, Gene, 269–70, 318
“hackwork,” 72
Hagen, Uta, 229, 260, 301, 321, 333, 357–58
Hall, Peter, 349
Hamlet (Shakespeare)
and Adler’s teaching system, 179
and development of Stanislavski’s system, 76–78, 81
and given circumstances of the play, 63
Kachalov Group production, 124
and legacy of Method pioneers, 360–61
and market for Broadway productions, 119
The Seagull compared to, 36
and Stanislavski’s early system, 58–59
and supertask concept, 65
Hamsun, Knut, 61
Handbook of Theatrical Poses (Morelli), 54
Hangmen Also Die (film), 223
Hanks, Tom, 351
Hansberry, Lorraine, 276, 298
Hapgood, Elizabeth, 193–94
Harlem Renaissance, 148
Harris, Julie, 220, 252
Harrison, Rex, 275
Harvey (Chase), 225
The Hasty Heart (Patrick), 225
Hatful of Rain (film), 328
Hauptmann, Gerhart, 36, 43–44, 54, 86
Havoc, June, 240, 297–98
Hawks, Howard, 321
Hayes, Helen, 279, 282
Hays, Will, 196
Hays Code, 196, 197, 198, 250, 311
Hayward, Susan, 208
He Ran All the Way (film), 248
Heaven’s Gate (film), 340
Hebrew Actors Club, 139
Hedaya, Dan, xii
Hedda Gabler (Ibsen), 45
Heijermans, Herman, 84
The Heiress (film), 242
Heitz, Mikhail Sergeievich, 166
Helburn, Theresa, 146
Henry VI (Shakespeare), 27
Hepburn, Katharine, xii
The Hermitage, 41, 45
Higgs boson, 57
Hill, Stephen, 280
Hiller, Arthur, 312
Hirson, Roger O., 252
Hiss, Alger, 268
Hitchcock, Alfred, 321
Hobart, Rose, 245
Hoffman, Dustin, 315–18, 319, 324, 328, 334, 339, 352–53
Hollywood Renaissance, 320–21, 340
Hollywood Reporter, 245–46
Hollywood Ten, 199, 223
Home of the Brave (Laurents), 225
home video market, 355
Hopper, Dennis, 320
Hopper, Hedda, 274
The House into Which We Are Born (Copeau), 138
The House of Connelly (Green), 146–48, 154, 158, 177–78
House Un-American Activities Committee
and Garfield’s career, 222–24, 248
high-profile spying cases, 268
and the Hollywood Ten, 199
and Kazan’s testimony, 245–46, 248–49, 250, 294
targeting of Federal Theatre Project, 205
Houseman, John, 186–87, 349
Hovick, Rose Louise (Gypsy Rose Lee), 297–98
Howard, Michael, 292, 323
Howard, Sidney, 120
Howe, James Wong, 337
Hud (film), 287
Hughes, Langston, 148
Humoresque (film), 221
Hunter, Kim, 231, 241, 244
The Hustler (film), 287
Huston, John, 222, 283
Huxley, Aldous, 208
I Got the Blues (Odets), 160, 181, 184
I Remember Mama (Van Druten), 214
Ibsen, Henrik, 27, 36, 55, 81, 119, 268–69
The Iceman Cometh (O’Neill), 226
identity politics, 361
The Imaginary Invalid (Molière), 86
imagination, 62, 126, 171
immigration, 115–16
Imperial Theatres, 12, 21, 43, 96, 98
improvisation
and Actors Studio classes, 231
and Adler’s classes, 211, 213
and on American Lab Theatre auditions, 130
and audience for Method actors, 251
and development of Stanislavski’s system, 75
and études, 102
and First Studio studies, 83
and Group Theatre methods, 161–62, 187
In Dreams (Nemirovich), 48, 49–50
In the Heat of the Night (film), 319
“indicating,” 151, 358
Inge, William, 250, 273, 276, 282, 287
Inside the Actors Studio (television), 348
Institute of International Education, 301
intermissions, 15
International Studio, 89, 98
“involvement” actors, 360
Iowa Writers’ Workshop, 250
Irons, Jeremy, 329
Irving, Jules, 303
Irving Place Theatre, 139
Isaacs, Edith, 193–94
Ivan IV, Tsar of Russia, 30
Jackson, Anne, 220, 223
Jackson, Samuel L., 357
Jackson, Shirley, 362–63
Jacobowsky and the Colonel (film), 206
Janus Films, 311
Jaws (film), 340–41, 351–52
jazz, 360
The Jazz Singer (film), 118, 196–98
Jehlinger, Charles, 121
Jeremiah Johnson (film), 321
Jewish culture, 110
Jewish National Radical School, 122–23
Johnny Johnson (Green and Weill), 192
Johnson, Lyndon, 314
Joyce, James, 110
Juilliard Drama Division, 291–92, 348–50
Julius Caesar (Shakespeare), 12, 111, 115, 130
justification, 100–101, 162, 258
Kabuki theater, 303
Kachalov, Vadim, 95
Kachalov, Vasily, 52–53, 76, 86, 88, 111, 113
Kachalov Group, 111–13, 124
Kael, Pauline, 337, 352
Kahn, Michael, 272, 292, 323, 349, 350
Kanin, Garson, 225
Kashdan, Lawrence, 355
Kass, Peter Meyer, 323
Kazan, Elia (“Gadge”)
and Actors Studio classes, 230–33
and Actors Studio origins, 220–21, 224
and the Actors Studio Playwrights Unit, 276
and Actors Studio Theatre productions, 293–94, 295–96, 300
and Adler’s teaching system, 179
and Awake and Sing! production, 188–89
background, 155
and Beatty, 287
Clurman collaborations, 217–19
and conflicts over Stanislavski’s system, 174–75
and conflicts within Actors Studio, 289–92
and Dean’s career, 267
and film acting methods, 206–7
and The Godfather, Part II, 327
and the Group Theatre, 155, 160, 184–87, 206, 207–8
and the Hollywood Renaissance, 321
and Hollywood studio system, 201
and the HUAC hearings, 247–49, 250–51, 264
and influence of Hollywood, 195, 199
and legacy of Method pioneers, 345
and Men in White, 163
and Monroe’s career, 271
and Nichols’s directing style, 317
and perceptions/critiques of the Method, 262
and the post-Strasberg Actors Studio, 347
and the Repertory Theatre of Lincoln Center, 294–95
replaced at Lincoln Center Theater, 303
and Stanley’s career, 280, 283
and Strasberg, 238–39
and Streetcar Named Desire, 227–29, 243–45, 337
and On the Waterfront, 254–55
Kazan, Molly, 276
Keaton, Diane, 323, 325, 333
Keitel, Harvey, 259, 329, 332–33
Kelleher, Joe, 181
Kennedy, John F., 285, 286, 287
Kerkorian, Kirk, 320
Keyes, Donald, 131
Kilmer, Val, 348
Kimball Stockton, Miriam, 127
King, Martin Luther, Jr., 342
The King of Comedy (film), 333
Kingsley, Sidney, 161–62, 164, 346
kitchen dramas, 252
Kline, Kevin, 348, 354
Knapp, Jacqueline, 258
Knight, Shirley, 265, 280, 299, 305
Knipper-Chekhova, Olga
and Boleslasky’s career, 124
conflicts with Stanislavski, 113
and development of Stanislavski’s system, 73–74
and MAT’s international tour, 113–14
and Moscow Open Art Theatre productions, 41, 45–46
and the Russian Civil War, 111
and tensions within Moscow Art Theatre, 48–50
visit from American actors, 169–70
Kolin, Nicholas, 105–6
Komissarzhevsky, Fyodor, 99–100
Komissarzhevsky, Vera, 99
Konijn, Elly A., 359–61
Koonen, Alisa, 72, 73
Kowalski, Stanley, 224, 280
Kraber, Tony, 174, 248
Kramer vs. Kramer (film), 352–54
Krane, Victoria, 346
Krause, Alvina, 292, 321
Kris, Marianne, 284
Ku Klux Klan, 137
Kubrick, Stanley, 322
La Guardia, Fiorello, 182
labor organizing and activism, 51, 91, 181–83, 210
Ladd, Diane, 328
Lady Windermere’s Fan (Wilde), 225
LaMotta, Jake, 335
Lances Down (Boleslavsky), 96, 97
Landau, Martin, 251, 272, 321, 322
Lane, Nathan, 357
Lane, Priscilla, 202
Langella, Frank, 294
LaSpina, Joe, 163–64
The Last Picture Show (film), 321
Laughton, Charles, 208, 323, 325
Laurents, Arthur, 225, 276
Lawson, John Howard, 137, 155–56, 168, 199, 223
lazzi routines, 102
Le Gallienne, Eva, 148, 220
Leachman, Cloris, 231, 321
Leblang, Joe, 118
Lee, Spike, 355–57
Lee, Will, 245
Lee Strasberg: Burning Ice (Rogoff), 304
Lee Strasberg Theatre and Film Institute, 326–27, 344, 346, 349–50, 354
The Left-Handed Gun (film), 276
Leigh, Vivien, 244
Lenin, Vladimir, 21, 103, 130
Lensky, Aleksandr, 21, 34
Leonidov, Leonid, 52
Lerner, Alan Jay, 232
Leto, Jared, 340
Leverett, Lewis, 147, 159, 248
Leverett, Louis, 174
Levitan, Isaak, 36
Levkeyeva, Elizabeth, 37
Lewis, Bobby
and Actors Studio classes, 230–32
and Actors Studio origins, 220, 221
and Adler’s teaching system, 179
and battles over the Method, 301
and Bonnie and Clyde, 318
and conflicts over Stanislavski’s system, 174–75
and Dean’s career, 264–66
and the Group Theatre, 147–48, 150, 156–57, 181, 187
and the Hollywood Renaissance, 321
and influence of Hollywood, 195
on Kazan/Strasberg relationship, 238
and Men in White, 163
and perceptions/critiques of the Method, 277–79
and the post-Strasberg Actors Studio, 347
and the Repertory Theatre of Lincoln Center, 294–95
and Streep, 352
teaching style of, 260
and West Side Story, 276
Lewis, Jerry, 333
Ley-Piscator, Maria, 331
licensing agreements, 311
Liebling, Bill, 224
Lilina, Maria, 7, 30, 47, 78, 88
Lincoln Center for the Arts, 290–91, 294–96, 300, 303, 348
Lindsay, John, 326
line readings, 25, 278
The Lion in Winter (Goldman), 308
Lippa, Max, 122
Lipton, James T., 347
literacy rates, 5, 103
Little Theatre movement, 120, 121
“living a part.” See perezhivanie
The Living Corpse (Tolstoy), 78
Living Newspaper, 186
Lloyd, Christopher, 294
Loden, Barbara, 294–95
Loeb, Philip, 137
Logan, Joshua, 166, 273
Loggia, Robert, 305, 306
London Theatre Studio, 348
Los Angeles Examiner, 245
Love Life (Chekhov), 232–33
Lowe, Leonard, 339
Lowe, Rob, 351
The Lower Depths (Gorky), 48, 54, 99, 113, 121
Loy, Myrna, 162, 222
Lucas, George, 341
Ludwig, Salem, 306
Lumet, Sidney, 223, 252, 275, 292, 312
Lunacharsk, Anatoly, 103–4, 111
Lunt, Alfred, 144, 242
LuPone, Patti, 348
Lux cinema, 81–82, 84–85
Lvov, Nikolai, 96
Lynch, David, 355
Lynn, Jeffrey, 202
Lyubimovka, 16
MacLeish, Archibald, 295
MacNicol, Peter, 354
Maeterlinck, Maurice, 50, 61, 63–64
The “Magic If,” 62, 67, 72, 77, 121, 193
Mailer, Norman, 276, 285, 286
Malden, Karl
and Actors Studio classes, 232
and Actors Studio origins, 223–24
on Brando, 228
on Kazan’s HUAC testimony, 249
and perceptions/critiques of the Method, 255, 262
and Strasberg’s teaching style, 239–40
and Streetcar Named Desire, 243–44
Malin Studios, 271
Malkovich, John, 351
Malloy, Terry, 280
Maly Theatre
and crisis in Russian theater, 11, 15
and Moscow Open Art Theatre’s first season, 21, 31, 42, 48
and Nemirovich’s background, 3–4
and Shchepkin, 13
and Stanislavski’s background, 7
Mamontov, Savva, 6
Manhattan, New York, 117
Mann, Daniel, 232
Mann, Delbert, 254
Mann, Michael, 355
Mann, Paul, 278
Mann, Thomas, 208
Marathon ‘33 (Havoc), 297–98
Marathon Man (film), 339
Marchand, Nancy, 253
Marco Millions (O’Neill), 300
Marin, John, 142
Marshall, E. G., 275
Martel, Jay, 338
Martin, Mardik, 335, 336
Martin, Nan, 305
Marty (television), 252–54
Marx, Karl, 21
Marxism, 163, 167, 223
The Mask (magazine), 85
masks, 102
Masks or Faces? A Study in the Psychology of Acting (Archer), 360
Mason, Marsha, 333
Mason, Marshall, 292, 300
Massie, Raymond, 267
The Mature Mind (Overstreet), 268
Maupassant, Guy de, 36, 81
Mayakovsky, Vladimir, 111
Mayer, Louis B., 208, 296
The Mayfair Theater, 118
McCarthy, Joseph, 199, 250, 255
McCarthy, Kevin, 299–300, 305
McClendon, Rose, 148
McDormand, Frances, xii–xiv
McKee, Grace, 270
McQueen, Steve, 272, 286, 287
Me Too movement, 361
Mean Streets (film), 330, 332–33, 334
Meiningen Ensemble, 9–10, 22
Meisner, Sanford
and Actors Studio classes, 232
and character acting methods, 333
and conflicts over Stanislavski’s system, 172, 174
and decline of the Method, 344
and The Godfather, 325
and the Group Theatre, 147, 157, 160, 183, 187
and the Hollywood Renaissance, 321–23
introduction to Strasberg, 137
and legacy of Method pioneers, 348, 357, 363
and the Neighborhood Playhouse, 214
teaching style of, 256, 260–61
melodramas, 55, 118–19
The Men (film), 243, 266
Men in White (Kingsley), 161–63, 168, 174, 176–78, 187, 346
The Merchant of Venice (Shakespeare), 24–25, 33, 43
Meredith, Burgess, 163, 297
A Message from Khufu (film), 210
Method of Physical Action, 176–77
Method—or Madness? (Lewis lecture), 277–79
Meyerhold, Vsevolod
and challenges to Stanislavski system, 100, 102
and Group Theatre summer retreats, 156
imprisonment, 195
influence on American acting, 166–67
and Moscow Open Art Theatre productions, 41
and Pushkino productions, 19–20, 25–26
and tensions within Moscow Art Theatre, 49–51
and Theatre Studio productions, 53
MGM, 200, 320
Midnight Cowboy (film), 334
Midnight Run (film), 333
A Midsummer Night’s Dream (Shakespeare), 163
Miller, Arthur
and Actors Studio origins, 221
and Actors Studio Theatre productions, 300
and All My Sons, 218
and the Group Theatre, 147, 206
and Kazan’s HUAC testimony, 249–50
and The Misfits, 282–84
and Monroe, 271
on naturalistic drama, 269
and pessimism in American drama, 226
Miller, Paula, 149, 174
The Miracle Worker (film), 292
mise-en-scène, 15, 49, 70
The Miserly Knight (Pushkin), 9
The Misfits (film), 282–83
Miss Julie (Strindberg), 55
Miss Lulu Bett (Gale), 120
Mission to Moscow (film), 222
Mizinova, Lika, 36–37
Mizrahi, Anna, 326
Modern Drama, 316–17
