ABSTRACT
Stanislavski was exhilarated by Repin’s ability to express the most complex psychological motive through the use of colour, composition and a variety of other artistic means related to painting. In life, adaptations emerge on the spur of the moment. A natural living communication is bound to stir a person to make a series of psychological manoeuvres, allowing them to carry out their actions. On stage, spontaneous adaptations occur only when the actor strives for a genuine organic communication. Stanislavski tirelessly reiterated that the biggest danger for an actor was to get carried away by a description or a story of spectacular adaptations discovered by other actors, and then to try to borrow them.
