On an ironic note, Stanislavsky's presumption, that conflict defines drama, also stands in stark contrast to one of the most absurd political lines of thought that developed in the USSR. By the 1940s Soviet critics would advance "conflictlessness" (bezkonfliktnost') as a necessary formula for drama. Against the most deeply ingrained dramatic traditions, writers were told that conflict was not good for drama. After all, if one lives in the best of all possible worlds, the only conflicts that exist are those between "better" and "best." Such ideas deadened Soviet drama.
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