Abstract
In 1923, all of New York was bowled over by the first visit of the Moscow Art Theatre to America. No one in this country had seen such synchronized ensemble playing or a troupe of individual actors of such power and persuasiveness. When the company returned to Russia after a triumphant national tour, actors such as Maria Ouspenskaya stayed behind and, along with Richard Boleslavsky, an earlier dropout, began instructing American actors in that strange doctrine known as the Stanislavsky System. One of Boleslavsky's most attentive students was Lee Strasberg. He and his close friend Harold Clurman were early converts to Stanislavsky as handed down by Boleslavsky.
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