Much of Fomenko’s pedagogical experience remains a secret to me. I don’t know a single example where from one course of actors, participating on equal terms in “play" (that is, in shows), not just one talented director appeared, who bore no resemblance to his teacher – but several, all at once. All of them were different and each came to the other’s aid – and what’s more, each had his own role. It’s a very rare occurrence that such variety isn’t damaging or conflicting. But if we don’t know why, say, “greenhorns” are attracted to Evgeniy Kamenkovich and why that lively teacher, full as he is of happy energy, is so necessary for the young, then we won't understand actors' creative attachment to a completely different director, Sergey Zhenovach. And it’d be a complete puzzle to look at the appearance in our theatre of such directors as the 24-year-old Macedonian, Ivan Popovski.