shirvind, seeing this and seeing what’s wrong with me, he finishes me off, he says: interesting versionthis can go crazy, well, because, well, well, you understand , this happened to me in the cherry orchard, in a contemporary, after all, i played for 10 years in a contemporary, in amazing performances, galina borisovna volchik, that’s what happened to me in the cherry orchard, when i understood, by my own example, so to speak, experimentally, what stanislavsky means here, today, now, and what is needed for an actor to truly feel the stage, another thing is that he feels, but the audience doesn’t know it, i’ll give you an example, i’m on my knees on the stage, here is the auditorium half a meter away, and in the second act i’m crying, i say, here’s a guy , she doesn’t love me, she doesn’t love me, here i see a woman with angular vision, so to speak, probably, how your mother treats me well, she together with me, that means, and the more my epikhodov sobs, the more she worries, that means for me, and i stand on my knees and think, oh, how good i am, that means i’m playing, what does it m