The two editors—Hapgood with the American edition and Gurevich with the Russian—made conflicting demands on Stanislavski. Gurevich became increasingly concerned that splitting "An Actor's Work" into two books would not only encourage misunderstandings of the unity and mutual implication of the psychological and physical aspects of the 'system', but would also give its Soviet critics grounds on which to attack it: "to accuse you of dualism, spiritualism, idealism, etc." Frustrated with Stanislavski's tendency to tinker with details in preference to addressing more important missing sections, in May 1932 she terminated her involvement. Hapgood echoed Gurevich's frustration.