Stella Adler’s first biography has been released and you can find it in bookstores and online. You can also win a free copy, which I explain at the end of this post (tweet this). However, there are two items I need to publically address and correct before the rebuttals come in.
Last week, I spoke about Stella! during what became a four-minute radio spot on KCRW, which you can listen to at “All Thing’s Considered.” The segment was edited down and what remains, I fear, may sound a bit like hagiography. Out of context, it could seem that I’m giving Stella sole credit for revolutionizing modern acting.
As I’ve written in the past, I wrote the biography to reclaim Stella’s contribution to contemporary acting, but she didn’t do it alone. Her colleagues, most notably Lee Strasberg and Sanford Meisner, led the pedagogical crusade that is often referred to as method acting. The most important point I made during my radio spot was that Stella was the only American teacher to have actually studied with the father of modern acting, Constantin Stanislvski (tweet this). It was he who first developed a comprehensive system that serves as the foundation of modern acting. Stella and her colleagues disseminated his system in the United States, each emphasizing particular aspects of it. It was Stanislavski’s system that transformed acting from an unappreciated, undeveloped trade to an actual craft one studies and hones like other art forms such as painting and architecture.
The other item, and more important, is an error I found on the book cover. When my author’s copies arrived in the mail, I opened the box, took out the hardback, and started from the beginning: the cover flap. Slowly I began reading the first paragraph, which I noted was not what I had entrusted to the copy editor: “Stella mentored successive generations of superstars, including Judy Garland, Elizabeth Taylor,” and I snapped the book shut. Stella did not mentor Garland or Taylor.
Working with producer Arthur Freed on the star-studded film Me and My Gal, Stella recommended Garland for her role, which was the first time Garland was cast as a woman as opposed to the girly persona Hollywood had cultivated. As far as I know, that is the extent to which Stella influenced Judy Garland’s career. I still don’t know how the error of Elizabeth Taylor occurred, but I contacted my editor and they issued an erratum to be placed inside each book as a correction. The other actors mentioned in that first paragraph are correct.
After seeing those errors on the cover, I couldn’t open the book further for fear of other errors. I need to get over this. I need to take the flap off, feel the book, smell it, and see my words (not a revised copy editor’s) over its new, pristine pages and admire the photographs I carefully chose for its inserts. Maybe I’ll do this tonight. Maybe I’ll do it next month. For now, it’s enough that the biography is available for others to open and discover Stella.
And on that note there are several ways you can get a free copy of the book:
Goodreads: Sign into Goodreads and Click Enter To Win.
ClassicMovieHub is hosting a giveaway of 6 copies.
Indiegogo: As part of my book launch, I’m mounting a performance of “Harold and Stella: Love Letters,” edited correspondence between Stella and her second husband Harold Clurman during 1942. If you contribute to my campaign there are great perks such as a signed copy of the book to DVDs of Stella’s masterclasses. Watch the 2 minute video on “Love Letters” below.