In an attempt to render a classic play relevant to a contemporary Soviet audience, Stanislavski re-located the action in his fast and free-flowing production of Pierre Beaumarchais' 18th-century comedy "The Marriage of Figaro" to pre-Revolutionary France and emphasised the democratic point of view of Figaro and Susanna, in preference to that of the aristocratic Count Almaviva. His working methods contributed innovations to the 'system': the analysis of scenes in terms of concrete physical tasks and the use of the "line of the day" for each character.