Frances Farmer wrote (or didn't) in her autobiography:
To many of my generation, as in succeeding ones, the theories of Konstantin Stanislavski, known as the Method, stood for total, meaningful theatre. The real core of the Method was reality and absolute involvement. It ripped aside the frills and brought to the footlights the torn sweat shirt and the worn strumpet. It had to be real, and according to the standards, you had to feel and experience it before you could act it.
We were young, and we took the Method to heart, and if our characters were sleeping together, we slept together. If homosexuality was involved in a characterization, we were likewise involved, for how could you act what you had not experienced?
The Method became a moving force in the theater, but we were the first in its throes on a university level. [University of Washington in Seattle in the early 1930's under the tutelage of Sophie Rosenstein] We were the newborn. We were not afraid. We acted and reacted. We had nothing to live up to , for we were the embryos. Within a walled city, we were alive, bringing everything else to life. But we went too far. We were too enraptured. Too concerned. And we lost control. It was a raw and dangerously uninhibited world, and to some it became a deadly game of self-destruction.