Method to the Madness: Inside the Lee Strasberg Theatre and Film Institute

There are eight primary studios at NYU. Within the studio system, there are two “unique” studios that focus on a specific craft: The New Studio, which focuses on Broadway and musical theatre, and the Production and Design Studio, which focuses on backstage work. The difference between the other studios is based on the acting technique they teach. For example, the Strasberg Studio (my studio) is The Method, Stella Adler is the Adler technique, and the Experimental Theatre Wing is primarily the Grotowski method.

Despite these technique and acting differences, each studio generally has similar classes: a movement based class, a voice and dialects class, script analysis, and more.

Since its establishment in 1969, the Lee Strasberg Theatre and Film Institute has been teaching the Lee Strasberg–devised acting technique, The Method. Despite being its own established studio in New York City, the Institute has partnered with NYU since the start of the Tisch studio system. The structure of the NYU Strasberg program is unique from the institute and allows students to receive a more personalized training. You can learn more about the Strasberg Institute here.

Personally, I was drawn to the Drama program at Tisch because of the unique studio system. Although Strasberg is not in the actual Tisch building, the studio is located on Lee Strasberg Way across from two residence halls, University Hall and Palladium Hall. They are literally a two-minute walk away from the studio (I stand by this as I lived in both of these buildings my first and second year).

Getting my studio placement was very exciting, and every time I was asked which studio I was in, I would happily tell people it was the Strasberg Studio. I was then met with so many questions about method acting, how the program worked, and if I would be in character the whole time.

These questions stumped me. What was I getting myself into? Would I become the “crazy actor” archetype? I was nervous to start but wanted to dive deeper to find out what The Method meant.

I quickly learned that all the media and “method acting” insights I had been reading about were false. The Method wasn’t about embodying the ins and outs of a character or pulling the deepest trauma out of me, but rather using the technique as a tool to uplift my performance. The method technique is rooted in sense memory—not personal trauma—to create believable performances.

One of my classmates Nadia says it perfectly: “Method acting to me isn’t the dangerous embodiment people think it is. We don’t let the character consume us but use personal experience from our own lives to execute natural behaviors you would also do in a given circumstance.” Additionally, a huge facet of the Strasberg technique is relaxation, where actors work through their bodies in active relaxation. Not “taking a nap,” they fully relax and engage their bodies to prepare physically for their performance and The Method.

From my first day, a main takeaway was misconceptions about The Method. Part of that misconception comes from actors being known for the Strasberg technique. Or, they are famous and use the Strasberg method, like Heath Ledger, Daniel Day-Lewis, Joaquin Phoenix, and Scarlett Johansson (who is a Strasberg alum). If you learn anything from me, please let it be that The Method is meant to prevent danger and harmful acting techniques. However, this is the exact misconception put onto Strasberg.

Jordan, another classmate, says, “Method acting allows you to let go of your insecurities and physical tension because its technique is rooted in relaxation. It also forces you to get out of your head when acting by tapping into your physical and emotional senses.” What’s more, we have incredible faculty trained to guide us along the way.

Despite the chance to do additional training at other studios, I am still drawn every day to be a Strasberg student. The Strasberg community and education I have received allowed me to flourish as both an actor and a human.