This shift in approach corresponded both with an increased attention to the structure and dynamic of the play as a whole and with a greater prominence given to the distinction between the planning of a role and its performance. In performance the actor is aware of only one step at a time, Stanislavski reasoned, but this focus risks the loss of the overall dynamic of a role in the welter of moment-to-moment detail. Consequently, the actor must also adopt a different point of view in order to plan the role in relation to its dramatic structure; this might involve adjusting the performance by holding back at certain moments and playing full out at others. A sense of the whole thereby informs the playing of each episode. Borrowing a term from Henry Irving, Stanislavski called this the "perspective of the role".