“Grand little lady of the stage and screen” 1 : The role of Maria Ouspenskaya in the dissemination of the Stanislavsky system in the US

Abstract

ABSTRACTMaria Ouspenskaya’s (1876-1949) classwork on acting development and Richard Boleslavsky’s lectures and class demonstrations formed the pedagogical core of the American Laboratory Theatre. The training they provided paralleled very closely to their experience at the Moscow Art Theatre and laid the foundations for the systematic study of Stanislavsky’s approach in the United States. Although Boleslavsky was the main inspirational force for the young students, Ouspenskaya provided with her pedagogical work stable regularity necessary at the Lab and guided her students through rigorous training techniques and exercises. After the Lab closed, she opened her own acting studios (initially in New York, later in Los Angeles). All this time, she accepted acting engagements and soon became a Hollywood celebrity, recognized as “the living theatrical legend” and one of the finest and most respected American acting teachers that played a vital role in disseminating Stanislavsky’s ideas. The study analyzes Ouspenskaya’s teaching techniques, using the descriptions of her work abstracted from her students’ interviews or the notes they took during her class. It also investigates her on-screen appearances, providing lasting visual evidence of her performing skills and giving us a direct sense of the potential quality of early System inspired acting.KEYWORDS: Maria OuspenskayaRichard Boleslavskythe Stanislavsky Systemthe American Laboratory Theatreactor training Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. Flanders, “Maria Ouspenskaya,” 44.2. Clurman, Fervent Years, 11.3. Willis, “The American Lab Theatre,” 113.4. Willis, The American Laboratory Theatre, 1923–1930, 22.5. According to Ronald A. Willis, Stanislavski valued Ouspenskaya’s “talents as a teacher and reportedly called her one of the very best teachers of his system.” Ibid.6. Ibid., 319.7. See: Heilman, The American Career of Maria Ouspenskaya. This is the only research paper, a doctoral dissertation, on Ouspenskaya that I found – nevertheless, it has not been published nor exists in an academic discussion.8. See Carnicke, Dynamic Acting Through Active Analysis and “Belief through Knowledge.”9. Whyman, “Serafima Birman.”10. Ignatieva, “Stanislavsky and Female Actors.”11. Dickens, “Maria Ouspenskaya.”12. Hanifin, “Love Affair is Film of Captivating Charm.”13. Franchey, “Meet the Madame,” 6.14. Schmidt, “Maria Ouspenskaya: Pin-Up Grandmother.”15. Franchey, “Meet the Madame,” 6.16. Ouspenskaya, Letter to George Pierce Baker.17. Pratt, “Notes on Acting with Maria Ouspenskaya.”18. As Jean Benedetti wrote, Stanislavsky recognized cinema’s limited potential since it lacked a live actor’s presence. Therefore, the transfer of spiritual energy between the audience and the actor within the theatre remains unattainable in the realm of cinema. See Benedetti, Stanislavski: His Life and Art, 203.19. Roberts, Richard Boleslavsky, 52.20. Wilson, “Noted Actress Reveals Poverty During Early Days in Theatre,” 46.21. “Maria Ouspenskaya,” unidentified clipping, box 1. Maria Ouspenskaya papers.22. “Marie Ouspensky.” Box 5. Maria Ouspenskaya papers. It appears to be an autobiographical sketch by M.O.23. See for example Ouspenskaya’s membership card for the Hollywood Canteen (26 September 1942). Box 5. Maria Ouspenskaya papers.24. Schmidt, “Maria Ouspenskaya: Pin-Up Grandmother.”25. Edwards, The Stanislavsky Heritage, 229 (emphasis in original).26. Carnicke, Stanislavsky in Focus, 23.27. Unidentified clipping, 21 Nov. 1943, 3. Maria Ouspenskaya papers. It appears to be an autobiographical sketch by M.O.28. Ibid.29. Ibid.30. Asher, “How Ugly Ducklings Can Find Happiness,” 81.31. Strasberg, Interview by Ronald A. Willis, 24.32. Early, “Hollywood by the Way,” unidentified clipping.33. Willis, The American Laboratory Theatre, 1923–1930, 324.34. Strasberg, Interview by Jerry W. Roberts, 2.35. Adler, Interview by Jerry W. Roberts, 3.36. Hirsch, A Method to their Madness, 62.37. Stanislavski, An Actor’s Work, 330.38. Strasberg, A Dream of Passion, 68.39. Ibid., 71.40. Ibid., 74.41. Ibid., 73.42. Frings, “Madame Ouspenskaya,” 6.43. Roberts, Richard Boleslavsky, 148.44. Fergusson, “The Notion of Action,” 85.45. Ibid., 85–86.46. Ouspenskaya, “Notes on Acting with Maria Ouspenskaya,” 189–94.47. Ibid., 189.48. Franchot Tone quoted in Brochure for 1938–1939 season.49. Unidentified clipping, c. 1935. Maria Ouspenskaya papers.50. “Maria Ouspenskaya Private Studios of Dramatic Arts.”51. Flanders, “Maria Ouspenskaya,” 44.52. Ouspenskaya, “Guest column for Hedda Hopper.”53. Blair, “Editor’s introduction,” 190 (emphasis in original).54. Ibid., 196.55. Ouspenskaya, “Notes on Acting with Maria Ouspenskaya,” 189–94.56. Lewis, “Marie Ouspenskaya.”57. Hudson, “Story on Madame Ouspenskaya,” 2.58. MacIsaac.59. Unidentified clipping. Maria Ouspenskaya papers.60. Pollock.61. “Russian Actress Lightens Dullness of The Saint.”62. Unidentified clipping. Maria Ouspenskaya papers.63. Gabriel, “A Lone Star Saint.”64. Brown, “Two on The Aisle,” n.p.65. Ibid.66. Young, n.p.67. “Gets Freedom in Dodsworth.”68. The Hollywood Reporter, 1936.69. Unsourced, ca. 1936. Maria Ouspenskaya papers.70. “Two on The Aisle,” n.p.71. Ibid.72. Stage Magazine.73. Ibid.74. Zeta Phi Eta, 46.75. “Two on The Aisle,” n.p.76. Franchey, “Meet The Madame,” 6.77. Schmidt, “Maria Ouspenskaya: Pin-Up Grandmother.”78. Wallace, “It’s Never Too Late to Act.”79. The Hollywood Reporter, 1937.80. Wallace, “It’s Never Too Late to Act.”81. Martin, “Ouspenskaya’s Fame Built upon Rejected Roles.”82. Hanifin, “Love Affair Film is Proof Screen Needs More Romances.”83. Carmody, “Keith’s Comedy-Romance is Top-Flight Affair.”84. Carroll, “Love Affair is Personal Triumph for McCarey.”85. New York Post.86. Lewis, “Maria Ouspenskaya.”87. Frings, “Madame Ouspenskaya,” 6.88. Hudson, “Story on Madame Ouspenskaya,” 6.89. Dana, “From forty words in English to an authority on its diction.”90. Flanders, “Maria Ouspenskaya,” 44.Additional informationFundingThe work was supported by the Narodowe Centrum Nauki [2018/31/N/HS2/03187].Notes on contributorsEwa Danuta GodziszewskaEwa Danuta Godziszewska is a member of the SWPS University of Social Sciences and Humanities in Warsaw, Poland. Her dissertation is titled Transmission of the Russian acting system to the American theatre and movie industry. Godziszewska graduated from the Theatre Studies Department of the A. Zelwerowicz National Academy of Dramatic Art in Warsaw. She was a Visiting Research Scholar at the University of Southern California, School of Dramatic Arts in Los Angeles (2019) and at Barnard College, Columbia University in New York (2016), and a Laureate of the Kosciuszko Foundation Grant (2018) and receiver of scholarship programme Młoda Polska 2015 (Young Poland 2015). Godziszewska is also the translator and editor of a volume of Richard Boleslavsky’s texts, Lekcje aktorstwa. Teksty z lat 1923-1933 (Lessons of Acting. Texts from 1923-1933) and the author of articles, reviews, and interviews.