This prospectus provides information about the people involved in and the acting offered at the Dramatic Workshop of the New School for Social Research – a school of acting and drama – in the years 1947/1948. On 15 January 1940 the director Erwin Piscator opened the school in New York. As had also been the case with his dramaturgical activities in Berlin, the focus of Piscator’s work in New York was to exercise a productive collaborative effort. He sought to enlist the talents of many émigrés for his educational institute, among them the Berliner Freunde group, which had also relocated to the USA. Piscator also made several appeals to Bertolt Brecht to provide support to the organization. Hanns Eisler, the composer and a long-standing friend of Piscator’s, taught both stage music and musical composition at the school. The Dramatic Workshop generally served as a valuable employment opportunity for exiles who had fled Hitler’s regime. Among the faculty staff were, for example, an opera director and a costume designer who had escaped Nazi oppression. In terms of his conceptual approach to drama, Piscator also aligned his teaching with the dramaturgical experience he assimilated in Berlin: he never missed an opportunity to convey to his students the significance of the epic approach to theatre, known in the USA as “objective acting”. As part of this concept, students were heavily involved in the directorial aspects of stage works and were expected to contribute their own constructive ideas to the given production. Such involvement was initially a foreign concept to the American students of the school. Piscator’s disciplinary approach to carrying out rehearsals was also a source of some consternation and once provoked the response: “Let him scream, he is a German”. Despite his struggles in adapting his vision to American attitudes, Piscator’s school became an important guiding influence for US theatre culture. Among the school’s most famous graduates were Harry Belafonte, Marlon Brando and Tony Curtis.