<P> Stanislavski engaged two important new collaborators in 1905: Liubov Gurevich became his literary advisor and Leopold Sulerzhitsky became his personal assistant . Stanislavski revised his interpretation of the role of Trigorin (and Meyerhold reprised his role as Konstantin) when the MAT revived its production of Chekhov's The Seagull on 13 October (O.S. 30 September) 1905 . </P> <P> This was the year of the abortive revolution in Russia . Stanislavski signed a protest against the violence of the secret police, Cossack troops, and the right - wing extremist paramilitary "Black Hundreds", which was submitted to the Duma on the 3 November (O.S. 21 October). Rehearsals for the MAT's production of Aleksandr Griboyedov's classic verse comedy Woe from Wit were interrupted by gun - battles on the streets outside . Stanislavski and Nemirovich closed the theatre and embarked on the company's first tour outside of Russia . </P> <P> The MAT's first European tour began on 23 February (O.S. 10 February) 1906 in Berlin, where they played to an audience that included Max Reinhardt, Gerhart Hauptmann, Arthur Schnitzler, and Eleanora Duse . "It's as though we were the revelation", Stanislavski wrote of the rapturous acclaim they received . The success of the tour provided financial security for the company, garnered an international reputation for their work, and made a significant impact on European theatre . The tour also provoked a major artistic crisis for Stanislavski that had a significant impact on his future direction . From his attempts to resolve this crisis, his' system' would eventually emerge . </P> <P> Sometime in March 1906--Jean Benedetti suggests that it was during An Enemy of the People--Stanislavski became aware that he was acting without a flow of inner impulses and feelings and that as a consequence his performance had become mechanical . He spent June and July in Finland on holiday, where he studied, wrote, and reflected . With his notebooks on his own experience from 1889 onwards, he attempted to analyse "the foundation stones of our art" and the actor's creative process in particular . He began to formulate a psychological approach to controlling the actor's process in a Manual on Dramatic Art . </P>

Which of the following is true about the work of konstantin stanislavsky