Naturalism on the stage is only naturalism when it is justified by the inner experience of the actor. Once naturalism is justified, it either becomes necessary (especially in Tolstoy’s plays, for Tolstoy loves things and the details of human life more than all other authors) or it is simply unnoticed, thanks to the inner display of the emotions of the actor and the complete mixing of inner and outer life. I would advise all theoreticians who do not know this from their own experience to see their words justified on the stage itself, as I did. (MLIA)

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