t least since the beginning of the nineteenth century, the title director of a drama referred to the person (usually not a performer) who was ultimately in charge of coordinating the acting, decor, sound effects, and lighting. Russian directors during first years of the twentieth century expanded upon the traditional duties and interests of the director. Meyerhold and Stanislavsky acted in their own productions. To add depth and impact to his actors' performances, Stanislavsky became something of a psychologist who helped his actors to understand better the motivations and states of the characters whom they represented. In addition to his traditional responsibilities, Meyerhold paid particular attention to the physical movements and rhythms of his actors, performing duties more typically associated with movement coaches in ballet or even physical trainers in sports.