In this teaching he specified that this requires the actor to recreate a distant past to recreate the same 'feelings' felt at that moment. He also underlined that the actor on stage lives a "repeated" and not a "primary" experience. What he means by this is that to evoke a passionate emotion, the actor must have experienced it. The only way an actor can make it feel real is if they can actually take themselves back to the moment they initially felt that way. However, there were some limitations that occurred with emotional memory. The actors felt exhausted after reenacting these strong emotions, producing negative results such as tension and hysteria. Furthermore, he came to the conclusion that unconscious feelings had to be coaxed rather than forced out of the actor. To implement this method, Stanislavski would find an “instrument” that responded to the actor's desires without the “volatility of emotions” or the “actor's inhibitions”.