Answers and Explanations—3.2 Modern Schools of Acting

P1	Paragraph 1	Comments
S1	The eminent Russian theatre director Konstantin Stanislavski brought his Moscow Art Theatre to New York City in 1922.	A Russian director introduced a new acting approach to New York City.
2	The piercing, psychological truths portrayed by actors trained in his technique surprised and captivated the American theatrical community, since this realism was largely unknown in the mannered, external style then current in the United States.
3	The Stanislavski technique soon became the new standard.	The approach was embraced by theatre professionals and the public.
4	Its rise was spearheaded by a handful of young professional actors in New York; these disciples would form The Group Theatre, which dedicated itself to training and performing in that mode.
5	This technique would begin to dominate theatre acting.
6	Later it would spread to film in the United States, then throughout the Western world.
7	However, a philosophical schism split The Group Theatre, and three dominant sects emerged, each led by a former original member.	But three different interpretations emerged.
8	While all won success and respect, each became more convinced in the superiority of his or her approach.

	According to paragraph 1, what most interested actors and theatergoers in the United States about the Stanislavski technique initially?	Fact. The interest in Stanislavski in the United States is discussed in the first three sentences.
✗	A The arrival of Russian artists	The passage never states or suggests that the nationality of Stanislavski or his colleagues caused the interest in his work.
✓	B The revelation of psychological truths	Correct. S2: “The piercing psychological truths portrayed by actors trained in his technique surprised and captivated the American theatrical community …” In particular, the word “captivated” indicates intense interest.
✗	C The use of this technique in film	S6 indicates that its use in film came later, after the initial wave of interest.
✗	D The conflict among the three Group Theatre members	S7–8 describe this conflict, but it is not given as a reason for interest in Stanislavski’s techniques.

	According to paragraph 1, the Stanislavski technique was considered groundbreaking in the United States because	Fact. “Groundbreaking” = innovative or pioneering. In other words, how did the Stanislavski technique break new ground in the United States?
✓	A it portrayed realism	Correct. S2: “this realism was largely unknown in the mannered, external style then current in the United States.” The realism was “largely unknown” before Stanislavski arrived, so this aspect of the technique was groundbreaking.
✗	B it originated in Russia	S1 states that Stanislavski was Russian, but this fact is unrelated to the impact of his technique.
✗	C it produced mannered, artificial performances	S2 says the opposite: “this realism was largely unknown in the mannered, external style then current in the United States.” The word “mannered” means “artificial, unnatural, stilted.”
✗	D it was also applicable to film acting	Not mentioned. S6 states that the technique was eventually used in film, but this is not given as evidence that it was groundbreaking.

P2	Paragraph 2	Comments
S1	Lee Strasberg and The Actors’ Studio.
2	Undoubtedly, Lee Strasberg (1901–82) garnered the greatest share of fame and fortune.	Strasberg is most famous of the three.
3	His school, The Actors’ Studio, at which a mere handful of the thousand annual applicants were accepted, won world renown as the epicenter of theatrical craft without commercial constraints.	Actors’ Studio = center of theatrical craft.
4	This was not surprising, as Strasberg had already basked in the limelight as a co-founder and acknowledged leader of The Group Theatre—itself known for both its acting and its intensive summer retreats devoted to training in virtually an athletic sense—during its groundbreaking successes in the 1930s.
5	Furthermore, Strasberg codified Stanislavski’s approach into a famous educational system of actor training known as “The Method.”	“The Method” training system.
6	Strasberg’s training revolved around “affective memory,” infusing the emotional memories from the actor’s own life into that of the character.	Personal experiences go into acting.

	According to paragraph 2, as part of their educational development, Strasberg trained actors to	Fact. S5–6 discuss Strasberg’s training system.
✗	A apply for admission to the Actors’ Studio	S3 mentions that few applicants were accepted to Strasberg’s school, but his training came later.
✗	B portray athletes on stage	S4 describes “intensive summer retreats” that were “devoted to training in virtually an athletic sense.” But this does not mean that the actors were being literally trained to perform as athletes. Here, “in virtually an athletic sense” means that the training was as difficult and intense as it would be for high-level athletes.
✓	C draw on their personal experiences while acting	Correct. S6: “Strasberg’s training revolved around ‘affective memory,’ infusing the emotional memories from the actor’s own life into that of the character.”
✗	D find alternatives to Stanislavski’s techniques	The training was to teach actors how to use Stanislavski’s techniques, not look for alternatives.

	Which of the sentences below best expresses the essential information in the highlighted sentence in paragraph 2? Incorrect choices change the meaning in important ways or leave out essential information.	Simplify Sentence. "Codify" means to systematize or organize. S5 (highlighted) therefore indicates that Strasberg “codified” Stanislavski’s approach, or turned it into a formal system for training actors. This famous system was called “The Method.”
✗	A Additionally, Strasberg and Stanislavski worked together to write a training manual called “The Method.“	This sentence discusses Strasberg creating a training based on Stanislavski’s techniques. There is no mention of the two working together or of writing an actual manual.
✗	B In addition, Strasberg created a covert code called “The Method" so that actors could study acting privately.	“Codified” means “systematize” and is not related to secret or “covert” codes. Moreover, there is no discussion of doing any of this privately.
✗	C Moreover, Stanislavski approved of “The Method,” Strasberg’s training system for actors.	There is no mention in this sentence of Stanislavski’s approval.
✓	D Strasberg also organized Stanislavski’s techniques into the well-known training system, “The Method.”	Correct. This version captures the key ideas of the original sentence: Strasberg took Stanislavski’s approach and turned it into a famous educational system for actors.

P3	Paragraph 3	Comments
S1	Public recognition of Strasberg as the guru of the art form was bolstered by the notable list of stars who studied with him.	Other achievements of Strasberg contributed to his fame.
2	In addition, while he rarely worked as an actor, one such performance earned him an Academy Award nomination for Best Supporting Actor.
3	Today, decades after his death, The Actors’ Studio remains an acclaimed institution, although belief in its superiority is now more prevalent in the general public than in the professional community.

	The word “bolstered” in the passage is closest in meaning to	VOCABULARY. “Bolstered” = strengthened or supported.
✓	A supported	Correct. “Public recognition … was bolstered by the notable list of stars” = it was supported by that list of stars.
✗	B celebrated	Something that is “celebrated” is greatly admired or honored.
✗	C undermined	Opposite. To “undermine” is to damage or weaken.
✗	D tainted	Opposite. Something that is “tainted” is undesirable or disgraced.

	According to paragraphs 2 and 3, all of the following are mentioned as Strasberg’s achievements EXCEPT:	Negative Fact. Three answers are true and supported by the passage. One answer is false or unsupported. Facts on Strasberg’s achievements could be found anywhere in P2 or P3.
✗	A He founded a successful school.	P2 S3: “His school, The Actors’ Studio… won world renown as the epicenter of theatrical craft… ”
✗	B He helped start a professional theatre.	P2 S4: “Strasberg had already basked in the limelight as a co-founder… of The Group Theatre.”
✓	C He won several Academy Awards.	Correct. The passage only states that he was nominated for a single award, not several and not that he won. P3 S2: “one such performance earned him an Academy Award nomination for Best Supporting Actor.”
✗	D He taught many successful film stars.	P3 S1: “Public recognition of Strasberg as the guru of the art form was bolstered by the notable list of stars who had studied with him.”

P4	Paragraph 4	Comments
S1	Sanford Meisner and The Neighborhood Playhouse.
2	Sanford Meisner (1905–97) was Strasberg’s junior by four years.
3	The younger man became a founding member of The Group Theatre and scored several artistic triumphs, including directing a production of Waiting for Lefty, which won acclaim both artistically and for its condemnation of the suffering of the working class during the Great Depression.	Meisner had artistic success.
4	Eventually, however, Meisner disagreed with Strasberg over the effectiveness of “affective memory.”	But he disagreed with Strasberg.
5	After it became known that Stanislavski himself had abandoned this technique, this disagreement became an artistic breach between the two men.

	The word “condemnation” in the passage is closest in meaning to	VOCABULARY. “Condemnation” = a strong statement of disapproval.
✗	A example	The strong negative meaning of “condemnation” is not reflected here.
✗	B promotion	Opposite. “Promotion” might indicate encouragement or support.
✓	C criticism	Correct. The production of a play was known “for its condemnation of the suffering of the working class” = the production criticized this suffering.
✗	D exploitation	“Exploitation” (taking advantage or using) can have a negative meaning but it is not related to condemnation.

	According to paragraph 4, all of the following are true statements about Sanford Meisner EXCEPT:	Negative Fact. Three answers are true and supported by the passage. One answer is false or unsupported. Facts on Meisner could be anywhere in P4.
✗	A He was younger than Strasberg.	S2: “Strasberg’s junior by four years.”
✓	B He acted in Waiting for Lefty.	Correct. S3: Meisner directed a production of Waiting for Lefty, but it is not mentioned whether he performed in the production.
✗	C He disagreed with Strasberg.	S4: “Eventually, however, Meisner disagreed with Strasberg.”
✗	D He was artistically successful.	S3: Meisner directed a production of Waiting for Lefty, which won artistic acclaim.

P5	Paragraph 5	Comments
S1	Meisner then headed the acting program at The Neighborhood Playhouse School of the Theatre.	Meisner’s school.
2	In that capacity, he transformed the school into a prestigious institution that exists to this day and developed his own acting curriculum, in which the actor prepared by channeling emotional imagination rather than delving into past experiences.	Meisner’s technique of emotional imagination.
3	While Meisner also trained an abundance of stars, he remained less widely known than Strasberg.	Less famous.
4	Professionally, however, the Meisner technique is now the preferred and predominant technique in modern actor training.	But dominant technique today.
5	Sadly, the friendship between these two men did not survive their artistic divorce.	Artistic “divorce” between Meisner and Strasberg.
6	While they both largely remained in Manhattan, they rarely spoke in the decades before Strasberg’s death.

	According to paragraph 5, which of the following is true of Meisner and his career?	Fact. The entire paragraph is relevant.
✓	A His technique made use of imagination rather than memory.	Correct. S2: “He… developed his own acting curriculum, in which the actor prepared by channeling emotional imagination rather than delving into past experiences.”
✗	B His technique was shunned by professionals.	S4 says the opposite: “the Meisner technique is now the preferred and predominant technique in modern actor training.”
✗	C His methods relied on accurate portrayals of physical mannerisms.	Not mentioned in the passage.
✗	D He taught in the neighborhood where he lived.	Not mentioned. The Neighborhood Playhouse is merely the name of the school at which he taught.

	The phrase “delving into” in the passage is closest in meaning to	VOCABULARY. “Delve into” = dig into deeply, study in great detail.
✗	A fantasizing about	“Fantasizing” isn’t the same as “delving,” which is anchored in reality.
✓	B closely examining	Correct. “Delving into past experiences” = digging into them and examining them closely.
✗	C largely ignoring	Opposite.
✗	D disagreeing with	Because an actor digs more deeply into something does not mean that he or she will no longer agree with it.

P6	Paragraph 6	Comments
S1–2	Stella Adler and the Stella Adler Studio of Acting. Stella Adler (1901–92), another original member of The Group Theatre, also broke with Strasberg over “affective memory” and developed her own version of actor training in the studio that she created.
Adler also broke with Strasberg.
3	Unlike the men, who were the children of tradesmen, Stella Adler was part of a legendary acting family of the Yiddish theatre in New York.	Part of an acting family.
4–5	While she had a more extensive acting career, she too became most admired as an acting coach. Some of great stars, including Marlon Brando, publicly credited their success to Adler’s coaching.	Most admired as a coach.

6	Although the studio she founded continues, her version of actor training has been less impactful, probably because the two men had a stronger institutional base and because the force of her singular personality was an immensely important component of her teaching.	Less impactful version of training. Less institutional, more her personality.

	The word “singular” in the passage is closest in meaning to	VOCABULARY. “Singular” can mean “unique, unusual, out of the ordinary.” Often this has a positive meaning, in that the thing is remarkable or exceptionally good.
✗	A abrasive	A “singular personality” is not necessarily abrasive (= rubbing the wrong way) or pleasant.
✗	B pleasant	This is not strong enough to support the meaning of “singular.”
✗	C ordinary	Opposite. “Ordinary” is to have no special or distinctive features.
✓	D striking	Correct. “The force of her singular personality” = the impact of her striking (impressive or noticeable) personality and unique character.

	What is the author’s purpose in presenting the information in paragraph 6?	Purpose. Paragraph 6 discusses Stella Adler’s career and contrasts it to those of Strasberg and Meisner.
✗	A To demonstrate that Adler was the most successful of the three	This paragraph does not claim that one or another of the three leaders was the most successful. If anything, S6 states that Adler’s training system has been less impactful.
✗	B To illustrate the importance of the Yiddish theatre	The text mentions the Yiddish theatre to note that her background was different. But this sentence is just an aside to deepen the portrayal of Adler.
✓	C To contrast Stella Adler’s career with those of her two former colleagues	Correct. S2, S4, and S5 describe Adler’s professional achievements. S3 and S6 compare her career to the careers of Strasberg and Meisner.
✗	D To offer a feminist critique of New York theatre in the 1930s	The paragraph does not attribute Adler’s relative standing to her gender or otherwise draw on feminist theory.

P6	Paragraph 6	Comments
S1–2	Stella Adler and the Stella Adler Studio of Acting. Stella Adler (1901–92), another original member of The Group Theatre, also broke with Strasberg over “affective memory” and developed her own version of actor training in the studio that she created.

3	A Unlike the men, who were the children of tradesmen, Stella Adler was part of a legendary acting family of the Yiddish theatre in New York.	The prior text doesn’t directly lead to the idea that all three were great coaches but that only two of the schools were lasting.
4-5	B While she had a more extensive acting career, she too became most admired as an acting coach. Some of great stars, including Marlon Brando, publicly credited their success to Adler’s coaching.	The prior text doesn’t directly lead to the idea that all three were great coaches but that only two of the schools were lasting.

6	C Although the studio she founded continues, her version of actor training has been less impactful, probably because the two men had a stronger institutional base and because the force of her singular personality was an immensely important component of her teaching.	The prior text does discuss Adler’s greatness as a coach, but it does not set up the idea that her school didn’t have as much impact.
End	D	Correct. The previous sentence indicates that Adler’s training system has been less impactful. The sentence presents the big idea that Stanislavski gave rise to two schools but three great coaches. This idea appropriately concludes the passage.

	Thus, a history of the Stanislavski technique in the United States in the twentieth century would arguably state that there were two lasting versions of his technique but three great acting coaches. Where would the sentence best fit?	Insert Text. The sentence begins with “Thus,” indicating that the sentence is the logical result of or conclusion from the previous sentence or sentences. The subject of the sentence is “a history of the Stanislavski technique in the United States in the twentieth century.” This subject is very broad, so the sentence is likely to come at or very near the end. The rest of the sentence discusses “two lasting versions of his technique but three great acting coaches.” The “two lasting versions” are Strasberg’s and Meisner’s; the “three great acting coaches” are Strasberg, Meisner, and Adler. The previous sentence describes why Adler did not create a lasting version of Stanislavski’s technique but was still considered one of the three great coaches. There isn’t much that can follow the inserted sentence. It works very well as a summation of the entire passage.
✗	A Choice A
✗	B Choice B
✗	C Choice C
✓	D Choice D	Correct.

	Whole Passage	Comments
P1	The eminent Russian theatre director Konstantin Stanislavski brought his Moscow Art Theatre to New York in 1922…	A Russian director introduced a new acting approach to New York City. The approach was embraced by theatre professionals and the public. But three different interpretations emerged.
P2	Undoubtedly, Lee Strasberg (1901–82) garnered the greatest share of fame and fortune. His school…	Strasberg is most famous. Actors’ Studio = center of theatrical craft. “The Method” training system. Personal experiences go into acting.
P3	Public recognition of Strasberg as the guru of the art form…	Other achievements of Strasberg contributed to his fame.
P4	Sanford Meisner (1905–97) was Strasberg’s junior by four years…	Meisner had artistic success. But he disagreed with Strasberg.
P5	Meisner then headed the acting program at The Neighborhood Playhouse School…	Meisner’s school. Meisner’s technique of emotional imagination. Less famous. But dominant technique today. Artistic “divorce” between Meisner and Strasberg.
P6	Stella Adler (1901–92), another original member of The Group Theatre, also broke with Strasberg…	Adler also broke with Strasberg. Part of an acting family. Most admired as a coach. Less impactful version of training. Less institutional, more her personality.

	In 1922, the Stanislavski technique came to New York and irrevocably changed how actors trained and performed.	Summary. Correct answers must be clearly expressed in the passage. They must also be among the major points of the passage. They should tie as directly as possible to the summary given.
✓	a Today Stanislavski’s approach remains the basis of several variations of actor training, but the dominant one was developed by a less known personage.	Correct. Corresponds to P5 S3–4 (Meisner is less known, but his version of Stanislavski is dominant).
✗	b One of the leading practitioners of Stanislavski’s method acting infused it with the culture of the Yiddish theatre.4 (Meisner is less known, but his version of Stanislavski is dominant).
✗	c One of the leading practitioners of Stanislavski’s method acting infused it with the culture of the Yiddish theatre.	The passage mentions the Yiddish theatre as part of Stella Adler’s background but never implies that that culture was part of Stanislavski’s method.
✓	d The three major disciples of Stanislavski in the United States created prominent schools of acting with long lists of alumni.	Correct. The three disciples are Strasberg, Meisner, and Adler. P2–6 describe their schools and their influence on the acting profession.
✗	e Acting according to Stanislavski’s approach proved to be more influential in film acting than in theatre acting.	P1 barely mentions the use of Stanislavski in film. Later references to film actors only indicate the quality of the coaching, not the form that the training was most suited to.
✓	f The dispute that led to major variations of Stanislavski’s techniques involved how to infuse realistic emotions into acting portrayals.	CORRECT. P1: Stanislavski brought realism to United States theatre. His disciples argued over exactly how to train actors to tap into realistic emotions (e.g., the “affective memory” of Strasberg versus the emotional imagination of Meisner). These arguments are discussed in P2 S6, P4 S4–5, P5 S2, and P6 S2.
✗	g The innovation of modern acting training destroyed a friendship.	While the end of P5 mentions the demise of the friendship between Strasberg and Meisner, this fact is only a minor biographical detail, unconnected to the passage’s purpose.