The "system" cultivates what Stanislavski calls the "art of experiencing" (to which he contrasts the "art of representation"). It mobilizes the actor's conscious thought and will in order to activate other, less-controllable psychological processes like emotional experience and subconscious behavior, sympathetically and indirectly. In rehearsal, the actor searches for inner motives to justify action and the definition of what the character seeks to achieve at any given moment (a "task"). Later, Stanislavski further elaborated the "system" with a more physically grounded rehearsal process known as the "Method of Physical Action". Minimizing at-the-table discussions, he now encouraged an "active analysis", in which the sequence of dramatic situations are improvised. "The best analysis of a play", Stanislavski argued, "is to take action in the given circumstances."