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  1. The Lee Strasberg Theatre and Film Institute® in Los Angeles has a few amazing rental spaces available to you and your production! Our beautiful Marilyn Monroe Theatre is a red brick New York style 99 Seat Theatre. This equity stage is equipped with modern lighting and sound equipment, 5 dressing rooms, and a newly remodeled Theatre Lounge.

  2. Learn about the 2-year conservatory program at our NY campus which focuses on The Method, voice, movement, history, productions, and performance. Find out more here.

  3. FOR NEW APPLICANTS Los Angeles campus. Celebrating the 50 th Anniversary of The Lee Strasberg Theatre & Film Institute and embarking on our next 50 years, The Lee Strasberg Creative Center® has established The Lee & Anna Strasberg Scholarship.

  4. The Lee Strasberg Theatre & Film Institute in Los Angeles is constantly evolving just like the city. As we seek to meet the actors’ needs, new acting classes are designed and added to our curriculum. Each class is carefully selected or created in order to expand the training of the Method actor.

  5. The Lee Strasberg Theatre & Film Institute celebrates over 50 years of actor training and is the only school that teaches Lee Strasberg’s work in its complete and authentic form. Staff and teachers conducting classes have been selected for their comprehensive knowledge of Lee Strasberg’s work and their ability to apply it to the problems of the actor.

  6. Patrick Bonavitacola received his training as an actor at The Lee Strasberg Theatre & Film Institute from Lee Strasberg. Lee invited him to become part of The Actors Studio community in 1979, and he has been associated with The Studio for more than 35 years now—first as an actor, and for the last 15 years as a member of the Playwright/Directors Unit.

  7. By 1970, Strasberg had become less involved with the Actors Studio and, with his third wife, Anna Strasberg, opened the Lee Strasberg Theatre & Film Institute with branches in New York City and in Hollywood, to continue teaching the 'system' of Konstantin Stanislavski, which he had interpreted and developed, particularly in light of the ideas of Yevgeny Vakhtangov, for contemporary actors.