The approach to acting adopted by other theatre practitioners involve varying degrees of concern with the semiotics of acting. Konstantin Stanislavski, for example, addresses the ways in which an actor, building on what he calls the "experiencing" of a role, should also shape and adjust a performance in order to support the overall significance of the drama—a process that he calls establishing the "perspective of the role". The semiotics of acting plays a far more central role in Bertolt Brecht's epic theatre, in which an actor is concerned to bring out clearly the sociohistorical significance of behaviour and action by means of specific performance choices—a process that he describes as establishing the "not/but" element in a performed physical ""gestus"" within context of the play's overal ""Fabel"". Eugenio Barba argues that actors ought not to concern themselves with the significance of their performance behaviour; this aspect is the responsibility, he claims, of the director, who weaves the signifying elements of an actor's performance into the director's dramaturgical "montage".