ABSTRACT
At Nozdriov's Stanislavski ohen held private meetings with the other directors in which he discussed their work with them and showed them the way they should go. Aher one of these meetings, we asked Sakhnovski what they had discussed the day before. At first he hesitated a little, but then gave us the substance of Stanislavski's thoughts. Basically, the discussion came down to his making a series of critical remarks about the actors and the direction the play was taking, and then his indicating a number of weak spots, with suggestions as to how to improve them. And all his comments were concerned with the acting. For him, the only way to make Gogol's novel flesh and blood was through the subtlety and richness of the acting.
