When she returned to The Group Theatre with the most current understanding of his work, and an inspired idea of what American theatre could be, she began to give acting classes for other members of the Group, including Sanford Meisner, Elia Kazan, and Robert Lewis, all of whom went on to become notable theatrical directors and acting teachers.ДЄlthough the Group provided her with some creative support, she never felt comfortable in that environment, and in 1937 she left for Hollywood. Stella Adler is the only American actor to have studied with him through intense, private training. Taking a brief leave of absence in 1934 to travel to Russia, she stopped off in Paris, where she met and studied for five weeks with Konstantin Stanislavski. During her climactic scene in Awake and Sing, actors all over New York City would sneak in to the back of the theatre to witness her power. While acting with the Group, she did some of her most celebrated work, including the notable roles of Sarah Glassman in Success Story, Adah Menken in Gold Eagle Guy, Bessie Berger in Awake and Sing, and Clara in Paradise Lost. When, in 1931 Clurman, Strasberg, and Cheryl Crawford created an influential theatre group that championed an imperative for realism and the teachings of Konstantin Stanislavski, they invited Stella Adler to become a founding member of that collective, which they called The Group Theatre.ДЄlthough neither the politics nor the cooperative energy of the company appealed to her greatly, Stella nevertheless joined the ensemble, having been promised leading roles and having been enamored of ClurmanвЂ™s vision. In 1924, she met her second husband, Harold Clurman, one of the co-founders of The Group Theatre, and in 1928, she participated in the ActorвЂ™s Laboratory where she met Lee Strasberg as well. She received a great deal of acclaim among Yiddish-speaking audiences as the leading lady of Jacob Ben Ami and Maurice Schwartz, yet she longed for wider recognition and the opportunity to play more varied roles.ДЇollowing her Broadway debut in Karel KapekвЂ™s The World We Live In, she joined the American Laboratory headed by Richard Boleslavsky and Maria Ouspenskaya, who were former members of the Moscow Art Theatre. She spent the next ten years performing throughout the United States, Europe, and South America, appearing in more than 100 plays in vaudeville and the Yiddish theatre. When she was eighteen, she went to London, where she made her debut at the Pavilion as Naomi in Elisa Ben Avia, a role she performed for a year, before returning to New York. The youngest daughter of the eminent Yiddish tragedians, Sara and Jacob Adler, Stella began her career on her fatherвЂ™s stage at the age of four in a production of Broken Hearts. Her final appearance on Broadway was in 1946 when she appeared in He Who Gets Slapped.Stella Adler dedicated her life to preserving and expanding the highest level of art in the theatre.

Stella Adler directed two plays on Broadway during the 1943-1944 season. Her stint in Hollywood was not overly successful as she preferred the scripts she was offered for the theatre, and she returned to New York City where she recommenced acting on Broadway and teaching drama. Working as an assistant producer with MGM, she was involved in DuBarry Was a Lady, Madame Curie, and For Me and My Gal.Дuring this time she returned to work with Group Theatre in New York City until it broke up in 1941. Films she acted in included Love on Toast, Shadow of the Thin Man and My Girl Tisa. In 1937 she moved to Hollywood acting in a variety of films. Upon her return to the Group Theatre, she began giving acting classes. Stella Adler and Cluman traveled to Russia in 1934 and on the way, she stopped in Paris where she had the opportunity to study with Stanislavski for five weeks. In 1931, she joined the Group Theatre in New York City and worked alongside the founders Cheryl Crawford, Lee Strasberg, and Harold Clurman. The ALT gave her the opportunity to familiarise and learn more about StanislavskiвЂ™s acting method.

In 1925, she joined American Laboratory Theatre in 1925. Around this time Konstantin Stanislavski was visiting with the Moscow Art Theatre, and she was impressed with his ideas and acting method.

She then appeared on Broadway in The World We Live In. After a year she returned to New York City. Stella Adler first appeared on stage in London in 1919 playing the role of Naomi in Elisa Ben Avia, a show produced by Jacob AdlerвЂ™s company.

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