For many years, Adler led the undergraduate drama department at New York University,<ref>Stella Adler (1901–1992) – Biographical Sketch Harry Ransom Humanities Research Center, University of Texas at Austin.</ref> and became one of America's leading acting teachers. Stella Adler was much more than a teacher of acting. Through her work she imparts the most valuable kind of information—how to discover the nature of our own emotional mechanics and therefore those of others. She never lent herself to vulgar exploitations, as some other well-known so-called "methods" of acting have done. As a result, her contributions to the theatrical culture have remained largely unknown, unrecognized, and unappreciated. —Marlon Brando In 1988, she published The Technique of Acting with a foreword by Marlon Brando. From 1926 until 1952, she appeared regularly on Broadway. Her later stage roles include the 1946 revival of He Who Gets Slapped and an eccentric mother in the 1961 black comedy Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' So Sad. Among the plays she directed was a 1956 revival of the Paul Green/Kurt Weill antiwar musical Johnny Johnson. She appeared in only three films: Love on Toast (1937), Shadow of the Thin Man (1941), and My Girl Tisa (1948). She concluded her acting career in 1961, after 55 years. During that time, and for years after, she became a renowned acting teacher. Stanislavski and the method Adler was the only member of the Group Theatre to study with Konstantin Stanislavski. She was a prominent member of the Group Theatre, but differences with Lee Strasberg over Stanislavski's system (later developed by Strasberg into method acting) made her leave the group. She once said: "Drawing on the emotions I experienced — for example, when my mother died — to create a role is sick and schizophrenic. If that is acting, I don't want to do it." Adler met with Stanislavski again later in his career and questioned him on Strasberg's interpretation. He told her that he had abandoned emotional memory, which had been Strasberg's dominant paradigm, but that they both believed that actors did not have what is required to play a variety of roles already instilled inside them, and that extensive research was needed to understand the experiences of characters who have different values originating from different cultures. Like Stanislavski, Adler understood the "gold hidden" inside the circumstances of the text. Actors should stimulate emotional