The words and wisdom of Constantin Stanislavski:

[With] Turgenev’s A Month in the Country . . . built on the most delicate curves of love experience. . . . it was necessary to do away with all that might interfere with the spectator’s process of entering into the souls of the actors through the eyes or from receiving, through the voice and its intonations, the inner essence of the feelings and thoughts of the characters of the play. . . . [The solution] was to let the actors sit without moving, let them feel, speak, and infect the spectator with the manner in which they live their roles . . . as to display the inner essence and the word picture of the spiritual lacework. . . . (MLIA)

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