Like Stanislavski, Adler understood the "gold hidden" inside the circumstances of the text. Actors should stimulate emotional experience by imagining the scene's "given circumstances," rather than recalling experiences from their own lives. She also understood that 50% of the actors job is internal (imagination, emotion, action, will) and 50% is externals (characterization, way of walking, voice, fencing, sports). To find what works for the character, the actors must study the circumstances of the text and make their choices based on what one gets from the material.