Abstract
My trip to Moscow in 1934 was a present from Sidney Kingsley, whose play, Men in White, I directed. He wanted to give me something because the play was such a success, and he asked my wife of that time, Paula Miller, what would be the best thing to give me. She said a trip to Russia.For me, it was an unusual opportunity. I had seen the Moscow Art Theatre in New York in 1923 and 1924. This was the beginning of my engagement with the practical problem of creative acting. I'd read a great deal, but until I met the people from the Moscow Art Theatre, some of whom remained in New York to open a laboratory theatre, I had little actual awareness of the training methods used at the Moscow Art Theatre.
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