Jean Benedetti argues that the course at the Opera—Dramatic Studio is "Stanislavski's true testament." Stanislavski arranged a curriculum of four years of study that focused exclusively on technique and method—two years of the work detailed later in "An Actor's Work on Himself" and two of that in "An Actor's Work on a Role". Once the students were acquainted with the training techniques of the first two years, Stanislavski selected "Hamlet" and "Romeo and Juliet" for their work on roles. He "insisted that they work on classics, because, 'in any work of genius you find an ideal logic and progression.'" He worked with the students in March and April 1937, focusing on their sequences of physical actions, on establishing their through-lines of action, and on rehearsing scenes anew in terms of the actors' tasks. "They must avoid at all costs," Benedetti explains, "merely repeating the externals of what they had done the day before."