Both his struggles with Chekhov's drama (out of which his notion of subtext emerged) and his experiments with Symbolism encouraged a greater attention to "inner action" and a more intensive investigation of the actor's process. He began to develop the more actor-centred techniques of "psychological realism" and his focus shifted from his productions to rehearsal process and pedagogy. He pioneered the use of theatre studios as a laboratory in which to innovate actor training and to experiment with new forms of theatre. Stanislavski organised his techniques into a coherent, systematic methodology, which built on three major strands of influence: (1) the director-centred, unified aesthetic and disciplined, ensemble approach of the Meiningen company; (2) the actor-centred realism of the Maly; and (3) the Naturalistic staging of Antoine and the independent theatre movement.