Class One: First Steps on Stage

The opening chapter of The Art of Acting sets the tone for Stella Adler’s uncompromising approach to the craft. Adler begins by urging actors to leave their personal lives and external distractions at the door. She establishes that the theatre demands total focus and commitment, describing acting as a two-thousand-year-old tradition that actors must honour with discipline and dedication. This isn’t just a profession, she asserts—it’s a calling that requires the entire self.

Adler critiques the modern phenomenon of “instant actors” who rise to fame without truly understanding their craft. She contrasts this with the historic practice of learning through repertory companies, where actors developed gradually by playing smaller roles. Today, Adler argues, the classroom has replaced the company, and while it’s not ideal, it is the actor’s best opportunity to learn the skills and traditions necessary for greatness.

Central to this class is Adler’s focus on the actor’s independence. She believes that true confidence comes not from applause or external validation but from the actor’s inner mastery of their craft. Adler emphasises that security as an artist is only achieved through continuous growth and rigorous training. She dismisses complacency and demands that actors aim high, reminding them that this is a lifelong journey.

Finally, Adler introduces the concept of “size” in acting—the ability to rise to the scale of the roles and playwrights one encounters. Acting, she explains, is not about playing yourself but about reaching beyond, embodying characters and ideas that are larger than life. This call to greatness challenges actors to elevate their artistry and reminds them that their work has the potential to transform audiences and themselves.

Class Two: The World of the Stage Isn’t Your World

In the second class of The Art of Acting, Stella Adler delves into the profound role of theatre as a reflection of the human condition. She begins by asserting that theatre is far more than entertainment—it is a vital cultural force that preserves and transmits the values and ideas of civilisation. Adler urges actors to see themselves as part of a grand tradition, stretching back thousands of years, which links the past to the future through the power of storytelling.

Adler describes the theatre as a “spiritual and social X-ray” of its time, exposing the truths of society and human nature. She explains that the stage cannot lie, just as an X-ray reveals the internal workings of the body. Using Sophocles’ Oedipus Rex and Arthur Miller’s All My Sons as examples, she shows how great playwrights use their work to explore morality, justice, and responsibility. These plays, she emphasises, highlight the power of theatre to provoke deep thought and challenge societal norms.

In this class, Adler also critiques modern complacency in acting and in society at large. She warns against mediocrity and urges actors to rise above it, embracing the discipline and energy required to create meaningful art. Theatre, she insists, is not just about performance—it is about asking big questions and confronting essential truths. This, Adler argues, is what separates great acting from shallow imitation.

Ultimately, Adler frames acting as a profound responsibility. By engaging fully with their craft, actors have the power to elevate their audiences, provoke thought, and inspire change. This class serves as both a celebration of theatre’s timeless impact and a challenge to actors to rise to the occasion, embodying the greatness demanded by their art.

Class Three: Acting is Doing

In the third class of The Art of Acting, Stella Adler emphasises the essential relationship between acting and action, stating that “acting is doing.” She explains that acting must be rooted in physical, purposeful actions that have clear objectives and a defined conclusion. Without action, a performance risks becoming empty or abstract, losing its connection to the audience and the character’s truth.

Adler begins the class by introducing exercises that focus on tangible actions, such as identifying and interacting with specific objects in a room. These foundational “baby actions” are, she argues, the building blocks of every performance. By mastering simple, concrete actions, actors develop the ability to approach more complex roles with clarity and authenticity. Adler insists that actors must fully commit to their actions, ensuring that they are specific, deliberate, and complete.

The importance of finishing actions properly is another key focus. Adler explains that incomplete actions are like unfinished sentences—they lack impact and clarity. She encourages actors to bring intention and purpose to every movement, word, and gesture. This discipline, she asserts, transforms performances, allowing actors to connect deeply with their craft and their characters.

Ultimately, Adler’s teaching in this class centres on control and precision. By anchoring their performances in the simplicity of “doing,” actors gain the tools to approach even the most dramatic and emotional scenes with authenticity. This class reinforces Adler’s philosophy that great acting begins with mastering the basics, creating a foundation of truth and clarity that can carry an actor through any role.

Class Four: The Actor Needs to Be Strong

In the fourth class of The Art of Acting, Stella Adler emphasises the critical role of strength in an actor’s life. She defines this strength as both physical and mental, highlighting that acting requires a fortitude far beyond everyday activities. To deliver a truthful performance, an actor must harness discipline, focus, and the ability to sustain themselves through the challenges of the craft. Adler argues that the stage demands more from an actor than the simplicity of daily life—it requires actions that are elevated, purposeful, and imbued with dignity.

A cornerstone of this class is the practice of observation. Adler recalls her own upbringing, where she was taught by her father, the esteemed actor Jacob P. Adler, to closely observe people, capturing their gestures, movements, and habits. She stresses that actors must treat the world around them as their classroom, drawing from the infinite variety of human experience to enrich their craft. This habit of observation, she explains, enables actors to create performances that feel authentic and deeply nuanced.

Building on her previous teachings, Adler insists that every action an actor performs must be truthful and complete. She warns against overacting or forcing emotions, explaining that such habits can alienate audiences. Instead, she advocates for actions rooted in genuine engagement with the imagined circumstances of the play. Through exercises like imagining specific sensations or interacting with imaginary objects, Adler helps actors train their ability to respond naturally and truthfully.

Ultimately, Adler presents acting as a lifelong pursuit that demands strength, preparation, and resilience. By observing the world, committing to their craft, and approaching every role with authenticity, actors can rise to the level of the stories and characters they are entrusted to portray. This class serves as a reminder that strength is not merely about endurance but about the ability to act with integrity and purpose.

Class Five: Developing the Imagination

In the fifth class of The Art of Acting, Stella Adler delves into the power and necessity of imagination in an actor’s craft. She teaches that while physical preparation and discipline are essential, it is the actor’s imagination that truly animates a performance. Without it, even the most technically proficient actor risks creating lifeless and uninspired work. Adler asserts that the imagination is not a luxury for an actor but the core of their creative power.

Adler compares an actor’s preparation to that of a musician. Just as a violinist must tune their instrument and a pianist must warm up their hands, an actor must prepare their mind. This mental conditioning involves staying alert, disciplined, and connected to their creativity. Adler critiques the complacency and laziness she often observes in society, arguing that actors must rise above such tendencies. They belong to a unique class of individuals who must remain vibrant, engaged, and ready to tackle their craft with energy and precision.

A significant part of this class focuses on the use of observation and sensory memory to fuel the imagination. Adler explains that actors must go beyond simply identifying objects or actions—they must fully engage with them. Exercises like imagining the sticky sensation of glue on the hands or the cold resistance of water during washing help actors connect with the truth of imagined circumstances. These sensory exercises enable actors to create realism and believability on stage.

Ultimately, Adler positions imagination as the soul of an actor’s craft. It is through imagination that actors can transform the ordinary into the extraordinary, breathing life into their roles and making their performances resonate with audiences. This class is a reminder of the deep creative potential actors can unlock by cultivating their imagination, allowing them to elevate their art and connect authentically with their characters and stories.

Class Six: Complicating the Action

In Class Six of The Art of Acting, Stella Adler focuses on the necessity of complicating actions to bring truth, depth, and authenticity to performances. She teaches that actions must be more than routine—they must reflect the specific, nuanced truths of the character and their circumstances​.

Adler demonstrates her philosophy through exercises that challenge students to add layers to seemingly simple tasks. For example, when asked to sit on chairs, students first find books placed on the seats, then coffee spilled on them, introducing obstacles that require thoughtful responses. This process helps actors to slow down and engage fully with their surroundings, training them to navigate real-life complexity on stage. By adding these "complications," actors are forced to connect more deeply to their actions, enhancing realism​.

She emphasises that actions are composed of a series of "tiny little truths." Neglecting these truths leads to a breakdown in authenticity, creating performances that feel hollow or forced. Adler gives examples such as cleaning mud off shoes or sterilising a needle to remove a splinter. Each of these tasks involves small, deliberate steps that actors must approach with care and patience. Adler insists that skipping over these details or rushing through them erodes the connection between actor and audience.

The class also introduces the concept of justification, where actors find reasons for their actions that make them specific and personal. For example, when putting on shoes, the actor might imagine the laces are knotted, the shoes are wet, or there’s a stain that needs to be polished. These justifications anchor the action in reality, making it believable and unique to the character’s experience​.

Adler concludes by reinforcing that complicating actions enriches both the actor’s experience and the audience’s understanding. Through attention to detail, patience, and justification, actors create performances that resonate with truth and vitality. This teaching serves as a cornerstone of Adler’s method, illustrating how the smallest choices can elevate an entire performance​.

Class Seven: Getting Hold of Acting’s Controls

In Class Seven of The Art of Acting, Stella Adler addresses the core of truthful acting by teaching actors to focus on “controls” rather than performance. Adler begins by challenging the conventional idea of acting, arguing that when the audience notices the “acting,” the performer has failed. She critiques artificiality and emphasises that contemporary audiences demand realism. For Adler, the foundation of great acting lies in the execution of actions, not in showcasing emotions or external displays.

Adler introduces the concept of “controls,” which are physical and mental adjustments actors can use to embody their characters authentically. She demonstrates how small changes in posture or movement can significantly alter how an actor inhabits a role. For example, leaning on one’s heels while wearing glasses can immediately create the impression of age. She emphasises that these physical controls must be consistent and affect the entire body, ensuring that the performance remains truthful and coherent.

A significant focus of the class is on the importance of preparation. Adler explains that actors must create a fully realised world for themselves, complete with imagined relationships to props, sets, and circumstances. This preparation is not for the audience’s sake but to ensure that the actor believes in the reality they are portraying. She warns that skipping this process leaves the actor metaphorically naked on stage, relying solely on the text, which risks a hollow performance.

Ultimately, Adler reinforces that acting is not about “indicating” or externalising emotions but about truthfully performing actions within the given circumstances. By mastering controls and building a rich inner world, actors can achieve authenticity and connect more deeply with their craft and audience. This class lays the groundwork for understanding that truthful actions, rooted in preparation and control, are the essence of impactful acting.

Class Eight: Learning Actions

In Class Eight of The Art of Acting, Stella Adler focuses on the significance of actions in modern theatre, particularly the pivotal action "to discuss." Adler emphasises that, in plays from the 19th century onward, such as those by Henrik Ibsen, the theatre evolved into a space where ideas of equal weight are debated. She explains that this dynamic requires actors to understand and convey opposing truths, allowing audiences to wrestle with the questions posed by the play rather than being handed easy answers.

Adler uses Ibsen’s A Doll’s House as an example, highlighting the critical moment when Nora declares that her first duty is to herself, countering Torvald’s belief in her duty to her husband and children. She asserts that the play’s power lies in presenting both viewpoints as valid, urging actors to avoid oversimplifying their delivery. This balance is essential to maintaining the tension and depth of the work, ensuring that audiences leave the theatre engaged with its ideas.

Adler introduces exercises to help actors refine their understanding of actions like "to discuss." She begins with foundational actions such as "to talk," "to chat," and "to converse," explaining how each differs in tone and intention. For instance, "to talk" is casual and often lacks depth, whereas "to discuss" involves a more deliberate exchange of ideas. Through these exercises, actors learn to embody the layered dynamics of conversation and debate, essential skills for modern theatre.

Ultimately, Adler’s teaching in this class underscores the actor’s role as an active participant in the intellectual and emotional fabric of the play. By mastering the nuances of discussion and debate, actors can breathe life into complex narratives, presenting the audience with a rich and thought-provoking experience.

Class Nine: Making Actions Doable

In Class Nine of The Art of Acting, Stella Adler emphasises the foundational role of actions in creating believable and truthful performances. She explains that an actor develops a character through their actions, as each movement on stage carries its own truth and logic. To perform authentically, Adler stresses that every action must be grounded in reality and carried out with a clear sequence: a beginning, middle, and end.

Adler teaches that modern plays often provide only a skeletal outline of actions, leaving it to the actor to flesh out the character and bring the script to life. She underscores that it is not the words of the script alone that make a performance; rather, it is the actions that breathe life into the story. For Adler, the actor’s challenge lies in translating the complex inner world of the character into clear, purposeful actions on stage.

A significant part of this class focuses on observing and practising physical truths. Adler encourages students to reflect on actions they have personally performed, seen, or imagined. Exercises like opening a tightly sealed bottle or writing in a notebook help actors develop precision and detail in their movements. Adler warns against skimming over actions or indicating them superficially, explaining that the body must fully believe the action for the soul to follow.

Ultimately, Adler asserts that preparation and rehearsal are key to mastering even the simplest actions. She advises actors to approach their work with patience and attention to detail, as truthful physical activity is the cornerstone of effective acting. By making actions doable and authentic, actors can connect deeply with their characters and engage audiences with compelling and believable performances.

Class Ten: Building a Vocabulary of Actions

In Class Ten of The Art of Acting, Stella Adler focuses on helping actors expand their "vocabulary of actions," a critical skill for delivering varied and authentic performances. Adler explains that acting is rooted in performing actions rather than displaying emotions, and actors must have a wide range of actions at their disposal to navigate the complexities of different characters and scripts.

Adler begins by categorising actions into specific types, such as "to talk," "to chat," "to discuss," "to argue," and "to fight." Each action represents a different level of intensity and intention, reflecting the circumstances and relationships within a scene. She highlights that actions like "to reminisce" and "to grieve" are especially nuanced and require actors to access emotional depth while staying connected to the physicality of the role.

The class includes exercises to develop this vocabulary. Adler encourages actors to explore the same action in varying contexts or with different emotional stakes. For example, caring for a fragile object like a cactus versus an injured animal demonstrates how circumstances transform the action. Similarly, actions like "to pray" evolve depending on the imagined context or relationship with a higher power. These exercises teach actors to adapt their actions to fit the given circumstances of the play, creating more believable performances.

Adler concludes by emphasising that every action must be purposeful and specific, shaped by the character’s intentions and environment. By mastering a vocabulary of actions, actors can approach roles with greater versatility and authenticity, ensuring that their performances resonate deeply with audiences.

Class Eleven: Instant and Inner Justifications

In Class Eleven of The Art of Acting, Stella Adler delves into the concept of justification, a critical tool for creating authenticity on stage. She explains that justification involves giving a logical and emotional reason for every action and line an actor performs. Without this underpinning, actions and dialogue can appear hollow, disconnected from the character’s truth.

Adler distinguishes between two types of justification: instant and inner. Instant justification relates to the immediate, practical reasons behind an action, such as closing a window to keep out the cold or opening it to let in fresh air. These justifications bring clarity and specificity to physical actions, ensuring they feel purposeful and real. Inner justification, on the other hand, delves into the emotional and psychological motivations of a character. This requires actors to connect deeply with their characters’ circumstances, exploring why they feel compelled to act as they do.

Adler uses exercises to help actors practice these skills. She asks students to justify simple actions like picking up a glass of water, encouraging them to consider multiple reasons: taking vitamins, quenching thirst, or using the water to clean something. Through these exercises, actors learn to root their actions in reality while avoiding superficiality or overcomplication.

Ultimately, Adler emphasises that justification is a creative act that enriches both the actor’s performance and the audience’s experience. By continuously asking “why” and ensuring their choices align with the character and scene, actors can bring a heightened sense of truth and engagement to their work.

Class Twelve: Complicating Actions

In Class Twelve of The Art of Acting, Stella Adler focuses on mastering actions to prepare for dramatic texts and the complexities of characters. Adler insists that actors must not only study and understand actions but make them entirely their own. This level of mastery allows actors to take control of their performances, giving them the confidence to command their craft and the material.

Adler stresses the importance of rehearsal and preparation, noting that mastery comes from relentless practice. She illustrates this with an analogy to riding a horse, where the rider must take control to avoid disaster. Similarly, actors must take charge of their work, ensuring that every action is deliberate and imbued with purpose.

A key focus of the class is using imagination and circumstances to find emotional and physical truths. Adler recalls lessons from Stanislavski, highlighting that all the emotion required for acting stems from the circumstances of the play and the actor’s ability to imagine them vividly. Actions, rather than past emotions, should guide the performance. Borrowing physical details from personal experiences can help actors connect with actions while staying grounded in the play’s reality.

Adler encourages actors to embrace a sense of ownership over their work. By fully mastering actions and building authentic connections to the circumstances of the play, actors can approach even the most challenging material with confidence and clarity. This class reinforces Adler’s philosophy that preparation and control are fundamental to artistic success.

Class Thirteen: Giving Actions Size

In Class Thirteen of The Art of Acting, Stella Adler introduces the concept of giving size to actions, focusing on the need to elevate an actor’s work to match the demands of weightier plays and complex characters. Adler explains that some actions, such as "to grieve," "to philosophise," or "to advise," require an actor to bring more depth and intensity compared to simpler actions like "to talk" or "to chat." She challenges actors to develop their skills to handle these larger actions authentically and powerfully.

Adler uses examples to illustrate the anatomy of these bigger actions. For instance, "to grieve" involves portraying the permanent loss of something precious, requiring actors to access their own experiences or observations of such moments. "To philosophise," often seen in works by Shaw, involves probing the deeper questions of human behaviour and life’s mysteries. These actions demand a certain rhythm, fluency, and intellectual engagement that bring the character’s motivations to life.

She also focuses on "to advise," an action rooted in logic and order. Adler explains that advising differs from teaching because it stems from the mind rather than the heart. She encourages actors to explore real-life scenarios where they’ve been asked for advice, such as consulting with a doctor, lawyer, or mentor, to understand its unique qualities and gestures. This practice ensures the portrayal feels genuine and relatable.

Adler concludes by reminding actors that giving size to actions is not about exaggeration but about fully committing to the emotional and intellectual demands of the character and the story. By mastering these larger actions, actors can elevate their performances, creating moments of depth and resonance that captivate audiences.

Class Fourteen: Understanding the Text

In Class Fourteen of The Art of Acting, Stella Adler shifts the focus from exercises to the analysis and understanding of dramatic texts. She begins by explaining that all previous work on imagination, justification, and vocabulary of actions is preparation for bringing characters to life on stage. Adler emphasises that audiences come to the theatre not to witness exercises but to experience fully realised characters and stories.

Adler highlights the actor’s responsibility to reveal the inner life of their character. While costumes, sets, and dialogue provide context, the true communication lies in how the actor interprets and expresses the character’s internal world. She stresses that acting is the art of human behaviour, assembled in novel and meaningful ways. Each portrayal must delineate the uniqueness of the character, whether it’s Hamlet as a revolutionary or a romantic. This process involves going beyond national or cultural archetypes to capture the individuality of the character.

To connect deeply with texts, Adler urges actors to consider the historical, political, and social context of the play. She explains that in Shakespearean works, the text often provides everything an actor needs. However, for modern plays, actors must rely more heavily on their imagination to create the world of the character. Without this preparation, performances risk feeling hollow and disconnected.

Ultimately, Adler presents text analysis as a fundamental skill for actors. By understanding the context, motivations, and individuality of their characters, actors can create performances that resonate with depth and authenticity, offering audiences a rich and transformative theatrical experience.

Summary of Class Fifteen: Character Elements

Stella Adler’s fifteenth class focuses on how actors can craft multidimensional characters by identifying and embodying "character elements." Adler begins by emphasizing the significance of understanding the playwright’s intent. She underscores that plays are not written solely to entertain but to convey profound ideas to the world. To serve this purpose, actors must develop a stage presence, or "size," capable of delivering these ideas effectively to a global audience​​.

Adler provides a list of character traits—such as carefree, reliable, meticulous, and adventurous—that actors can observe and adapt into their performances. She stresses the importance of studying life in all its forms, from nature to human behavior. For example, observing a bird's lightness might inspire a carefree persona, while a well-trained dog's dependability could inform the development of a reliable character. Actors must find concrete, physical actions to express these traits and practice them until they become part of their repertoire​​.

She highlights the actor’s role as an “undercover agent,” always observing, studying, and absorbing human behavior. The depth of a character comes from integrating professional traits, personal habits, and situational behaviors. Adler also reminds actors that dialogue exists only when they react authentically to their partner, reinforcing that acting is a collaborative art​​.

Finally, Adler introduces an exercise where students explore animal behaviors—such as those of monkeys, dogs, and chickens—to understand natural instincts and reactions. By studying these behaviors, actors learn to develop authentic responses and attitudes, avoiding forced or superficial choices. For Adler, this process is key to creating truthful, organic performances that resonate deeply with audiences.

Summary of Class Sixteen: Dressing the Part

In this class, Stella Adler examines the relationship between an actor’s costume and their ability to embody a character. She begins by analyzing the clothing of six men standing on stage. Their casual, modern attire—rolled-up sleeves, loosened ties, and sneakers—is reflective of the late 20th century. Adler stresses that clothing is not just functional but a historical artifact, representing specific social and cultural attitudes. By understanding these nuances, actors can gain insight into their characters’ backgrounds and ideologies.

Adler contrasts modern casual dress with historical styles, such as the structured, formal clothing of the 1950s, and highlights how dress shapes behavior. For instance, starched collars and tailored jackets once enforced a certain posture and decorum, which modern, relaxed clothing does not. She emphasizes that actors must develop the ability to see clothing as a cultural and historical expression, which can shape their character’s physicality and mentality.

Actors are reminded that “we dress the way we think,” and Adler explains how posture, mannerisms, and attitudes are affected by costume. To truly inhabit a role, an actor must allow the clothing to influence their behavior, from the way they sit to how they carry themselves on stage. Costumes are not merely decorative but integral tools for character development.

By understanding the significance of costume and its historical context, actors can deepen their connection to their roles. Adler encourages her students to think critically about what their costumes represent and to use this knowledge as a pathway to authentic performance.

Summary of Class Seventeen: Learning a Character’s Rhythm

In Class Seventeen, Stella Adler explores the significance of rhythm in understanding and portraying a character. She begins by asking her students, dressed in medieval clergy costumes, to observe how their attire influences their posture, gestures, and overall demeanor. Adler highlights that such costumes are not merely garments but representations of the character's mindset and values. For example, a nun’s habit symbolizes purity and self-sacrifice, stripping away individuality in favor of collective belonging.

Adler contrasts this with the modern individualistic mindset, which lacks the communal values represented by religious orders. She explains that actors today are isolated in their thinking, emphasizing personal desires over the cosmic values of sacrifice and service. This perspective, she argues, makes it harder for contemporary actors to inhabit historical roles authentically.

To bridge this gap, Adler introduces exercises that focus on embodying the rhythm of the characters' lives. She asks students to imagine and act out the deliberate, restrained movements of a nun or monk. These movements, rooted in discipline and devotion, reveal the internal world of the character. For Adler, rhythm is a gateway to understanding how a character exists within their specific societal and cultural context.

The class concludes with Adler urging students to embrace the rhythm of their characters fully. She emphasizes that every detail—from costume to movement—contributes to creating an authentic and powerful performance. By aligning themselves with the rhythms of the character’s life, actors can transcend personal habits and embody roles truthfully.

Summary of Class Eighteen: Actors Are Aristocrats

In Class Eighteen, Stella Adler emphasizes the role of the actor as an intellectual and artistic aristocrat. She begins by urging her students to break free from their ordinary, democratized mindsets, which she sees as limiting their ability to transcend societal norms and expectations. For Adler, acting requires an elevated sense of self, one that is not confined to the conventions of any particular class or societal structure.

Adler explains that actors must learn from the traditions of aristocracy, a class that once held a decisive and noble role in society. The aristocratic mindset is marked by a spacious and elevated perspective, an appreciation for aesthetics, and a sense of responsibility toward culture. Unlike modern culture, which Adler critiques as disposable and superficial, the aristocratic perspective values continuity, history, and beauty. Actors, she insists, must adopt these values to bring depth and tradition to their craft.

The class also touches on the decline of these ideals in contemporary society. Adler contrasts the English actor, who benefits from a sense of tradition rooted in the monarchy and its symbolism, with the American actor, who lacks such a foundation. She challenges her students to adopt the aristocratic qualities of clarity, individuality, and aesthetic appreciation to enrich their work on stage.

Adler concludes by encouraging her students to embrace the heritage of the actor as an "aristocrat of the mind" and to embody this spirit in their roles. For their next class, she assigns them to dress as aristocrats, urging them to explore the connection between external presentation and internal elevation.

Summary of Class Nineteen: Making the Costume Real

In Class Nineteen, Stella Adler emphasizes the transformative power of costumes in shaping an actor’s physicality and understanding of their character. She begins by highlighting how physicality—such as posture, gestures, and movement—communicates character to an audience. She stresses that costumes are not mere adornments but tools that help actors embody the mindset, social status, and context of their roles.

Adler points out how costumes influence behavior, noting that the way actors sit, walk, and carry themselves changes based on what they wear. A well-fitted costume demands dignity and formality, contrasting with the casual, slouched postures common in modern attire. She reminds her students that historical costumes often symbolized the values and traditions of a specific class, urging them to study the societal norms behind the garments they wear on stage.

Through examples, Adler demonstrates how costumes evoke a sense of history and elevate the actor’s imagination. She encourages her students to think beyond their own era, immersing themselves in the mindset of the character’s time. For instance, aristocratic attire reflects a lineage of education, refinement, and clarity, while working-class clothing conveys resilience and practicality.

Adler concludes the class by challenging her students to make their costumes feel natural and integral to their performance. She insists that costumes should not only enhance physical transformation but also deepen the actor’s connection to the cultural and emotional world of the character.

Summary of Class Twenty: The Actor Is a Warrior

In Class Twenty, Stella Adler explores the actor’s connection to the military mind and how its discipline, precision, and sense of purpose can inform powerful performances. She begins by urging her students to embrace courage and avoid passivity, emphasizing the importance of daring to take risks on stage. Adler argues that actors must possess inner strength and aggression, akin to a soldier’s commitment, to effectively convey the size and scope of their roles.

Adler highlights the historical and cultural significance of the military archetype, from Shakespeare’s Henry V to historical figures like Napoleon and Joan of Arc. She explains that military figures represent more than physical strength; they embody the power of ideas, discipline, and leadership. Joan of Arc, for instance, led men into battle through her vision and intelligence, not physical might. Adler connects this to the actor’s task of using their mind and presence to command attention and inspire belief.

To deepen their understanding, Adler leads her students through military exercises, including drills, marching, and reciting military-inspired texts like the Pledge of Allegiance. These activities teach discipline, rhythm, and precision, all of which are vital for embodying the military mindset. Adler emphasizes that this training isn’t about replicating soldiers but about understanding their collective power and focus.

Adler concludes by reminding actors that their role is to convey the size and depth of ideas in great works of literature. She stresses that laziness in speech or thought has no place in acting, just as it has no place in battle. By adopting the military’s precision, clarity, and commitment, actors can achieve performances filled with power and purpose.

Summary of Class Twenty-One: Stanislavski and the New Realistic Drama

In Class Twenty-One, Stella Adler reflects on her transformative encounter with Konstantin Stanislavski and the profound influence of his methods on modern acting and the realistic drama of the late 19th century. She recounts meeting Stanislavski in Paris, initially reluctant but soon captivated by his insights into acting, imagination, and the power of circumstances. His teachings emphasized the actor’s ability to inhabit the world of the play, understanding that "where you are is what you are," a cornerstone of his technique.

Stanislavski’s approach was born out of his struggle with realism in plays by Ibsen, Chekhov, and Strindberg. He recognized that traditional methods of acting could not capture the subtlety and complexity of these works. Realism, as Adler explains, demands truth—overthrowing public and private lies—and explores the intricacies of middle-class life. It shifts the focus from grand heroes to ordinary people navigating social and familial conflicts, challenging actors to portray their struggles authentically.

Adler delves into the unique rhythms of middle-class life as depicted in realistic drama, contrasting it with the grandeur of aristocratic or military traditions. The middle class is practical, focused on material success, and shaped by industrialization and capitalism. Plays like Ibsen’s A Doll’s House or Arthur Miller’s Death of a Salesman reveal the tensions and disillusionments within this world. Adler underscores that realism requires actors to approach prose with the same depth and intensity as poetry, uncovering the profound truths beneath everyday dialogue.

The class concludes with Adler encouraging her students to deeply analyze the social, cultural, and historical contexts of realistic drama. By immersing themselves in the rhythms and values of the middle-class world, actors can faithfully serve the playwright’s vision and bring the characters’ struggles to life.

Summary of Class Twenty-Two: Portraying Class on Stage

In Class Twenty-Two, Stella Adler examines how actors can authentically portray class distinctions on stage, focusing on the archetype of the peasant and its evolution into the working class. She begins by urging her students to find common ground with the characters they play while also reaching beyond personal experience to embody the physicality, mindset, and cultural nuances of different social classes.

Adler uses Breughel’s The Wedding Dance as a reference to illustrate the joy, unity, and earthy connection of the peasant class. She emphasizes that peasants are not "low" or inferior; rather, they are deeply tied to the land and live with boldness, physicality, and unashamed simplicity. Their joy comes from an innate understanding of their connection to the earth, and their clothing and traditions reflect a vibrant, communal way of life. To embody a peasant, Adler insists actors must embrace spontaneity, physicality, and a sense of harmony with the world around them.

The class transitions to exploring the working class, rooted in the same earthy traditions as the peasant but shaped by urbanization and industrialization. Adler notes the shift in values, where the working class adapted to practicality and tools of production while maintaining a sense of dignity and resilience. She discusses how modern industrialization eroded traditional class structures, leaving today's society more homogenized but with lingering echoes of historical class distinctions.

Adler concludes by discussing the Southern United States as depicted in Tennessee Williams' plays. She highlights the complex interplay of aristocracy, working class, and poverty in the South, where grandeur and tragedy coexist. Adler encourages actors to fully inhabit these roles by understanding the cultural, historical, and emotional depths of their characters, portraying conflicts and contrasts with authenticity and size.