ABSTRACT
The truth of passions, the verisimilitude of feelings in the assumed circumstances - that's what our minds demand from the dramatic writer. That's Pushkin's definition - the key not only to dramaturgy, but to all art forms. Stanislavsky applied it to the art of the actor, and thanks to him, it is now very popular in the world of theatre. And first and foremost, we need to clear the path to sensation, the sensation that lies at the fore of any concept, to the so-called primitive sensation. Seeing as any creativity is a state of doubling, rather than the action of a sole individual, then we must first and foremost think of biological freedom. We can best observe a person's absolute freedom in infancy and childhood. Over the years, this spontaneity, this physiological freedom disappears, a person learns to hold himself back, and, adapting to different circumstances, to do only what is appropriate.
