Every afternoon for five weeks during the summer of 1934 in Paris, Stanislavski worked with the American actress Stella Adler, who had sought his assistance with the blocks she had confronted in her performances. Given the emphasis that emotion memory had received in New York City, Adler was surprised to find that Stanislavski rejected the technique except as a last resort. The news that this was Stanislavski's approach would have significant repercussions in the US; Lee Strasberg angrily rejected it and refused to modify his version of the 'system'.