ABSTRACT
Demidov's incredibly forward-thinking processes not only continued his teacher's pioneering work, but also solved the problems of an actor's creativity that Stanislavsky never conquered. When falling into a "motor storm", an ignorant actor with an unstable nervous system believes that he is "experiencing". A more cultured actor in the hands of more or less knowledgeable pedagogues doesn't make this mistake. But few are capable of making the last step and jumping over from verisimilitude to truth. And when this kind of actor is dunked into truth and he breathes in the new, unfamiliar air, the result is always the same: bewilderment, surprise, joy, and fear. A lot of actors perceive the atmosphere of the stage to be so hostile and alien. Actors who are practitioners of this "exaggerated, theatrical behavior" must value it and find it so interesting, significant, and beautiful, that they utilize it in life as well; especially when they're surrounded by strangers.
