Question: Art of representation was a term used by which Russian character actor?

<P0-S0> The "art of representation" (Russian: "predstavlenie" ) is a critical term used by the seminal Russian theatre practitioner Konstantin Stanislavski to describe a method of acting. <P0-S1>  It comes from his acting manual "An Actor Prepares" (1936). <P0-S2>  Stanislavski defines his own approach to acting as "experiencing the role" and contrasts it with the "art of representation". <P0-S3>  It is on the basis of this formulation that the American Method acting teacher Uta Hagen defines her recommended Stanislavskian approach as 'presentational' acting, as opposed to 'representational' acting. <P0-S4>  This use, however, directly contradicts mainstream critical use of these terms. <P0-S5>  Despite the distinction, Stanislavskian theatre, in which actors 'experience' their roles, remains 'representational' in the broader critical sense. <SEP> <P1-S0>  He was widely recognised as an outstanding character actor and the many productions that he directed garnered a reputation as one of the leading theatre directors of his generation. <P1-S1> Konstantin Sergeievich Stanislavski ("né" Alexeiev; Russian: Константи́н Серге́евич Станисла́вский ; 17 January [O.S. 5 January] 1863 7 August 1938) was a seminal Russian theatre practitioner. <P1-S2>  His principal fame and influence, however, rests on his 'system' of actor training, preparation, and rehearsal technique. <P1-S3>  Calling him "the first great creator of a method of acting in the theatre," Jerzy Grotowski praised Stanislavski for "asking all the relevant questions that could be asked about theatrical technique." <P1-S4>  Stanislavski began developing a 'grammar' of acting in 1906; his initial choice to call it his System struck him as too dogmatic, so he wrote it as his 'system' (without the capital letter and in inverted commas) to indicate the provisional nature of the results of his investigations—modern scholarship and the standard edition of Stanislavski's works follow that practice; see Benedetti (1999a, 169), Gauss (1999, 3—4), Milling and Ley (2001, 1), and Stanislavski (1938) and (1957). <P1-S5> </ref> <SEP> <P2-S0> A black cube (or black box) art museum is a term used by some scholars referring to the type of art museum that is architecturally designed or renovated with special consideration for the particular needs of modern digital art, installation art, and video art. <P2-S1>  The development of the black box art museums originated from a need to accommodate these works in a better way than was previously possible in earlier art museums in the classic style (e.g., the Louvre in Paris) or "white cube" style (e.g., the Museum of Modern Art in New York). <P2-S2>  Although earlier examples exist, black cube museums have been most prevalent from the 1990s onwards. <SEP> <P3-S0> The Washington Obkom (Russian: "вашингтонский обком" ), literally the "Washington Province Party Committee", is a pejorative term used in Russian media and speech to imply that many crucial decisions by political elites of Russia and some other post-Soviet states have been and are agreed with and/or taken in the United States. <P3-S1>  The term incorporates two incompatible symbols of power: "Washington D.C." as the symbol of the US administration, and "obkom" symbolizing the power of the Communist Party. <P3-S2>  According to Russian political analyst Oleg Maslov "Washington Obkom" is one of the key hybrid political symbols in the 21st century Russia. <P3-S3>  The term is mostly used by various types of Russian nationalists but occasionally is used by the figures of democratic opposition, e.g. by Garry Kasparov. <P3-S4>  The political term became popular after the 1998 Russian financial crisis that triggered a wave of Anti-Americanism in the post-Soviet Russia and had its peak of Internet usage in January 2006 after the Russia–Ukraine gas dispute of 2005–2006