Stanislavski's activities began to move in a very different direction: his productions became opportunities for research, he was more interested in the process of rehearsal than its product, and his attention shifted away from the MAT towards its satellite projects—the theatre studios—in which he would develop his 'system'. On his return to Moscow, he explored his new psychological approach in his production of Knut Hamsun's Symbolist play "The Drama of Life". Nemirovich was particularly hostile to his new methods and their relationship continued to deteriorate in this period. In a statement made on , Stanislavski marked a significant shift in his directorial method and stressed the crucial contribution he now expected from a creative actor: