its depiction of a problematic relationship, and described Chekhov as writing "the way one person relates to another the most important things in his life, slowly and yet without a break, in a slightly subdued voice". For the writer William Boyd, Chekhov's historical accomplishment was to abandon what William Gerhardie called the "event plot" for something more "blurred, interrupted, mauled or otherwise tampered with by life". Virginia Woolf mused on the unique quality of a Chekhov story in The Common Reader (1925): Michael Goldman has said of the elusive quality of Chekhov's comedies: "Having learned that Chekhov is comic ... Chekhov is comic in a very special, paradoxical way. His plays depend, as comedy does, on the vitality of the actors to make pleasurable what would otherwise be painfully awkward—inappropriate speeches, missed connections, faux pas, stumbles, childishness—but as part of a deeper pathos; the stumbles are not pratfalls but an energized, graceful dissolution of purpose." Influence on dramatic arts In the United States, Chekhov's reputation began its rise slightly later, partly through the influence of Stanislavski's system of acting, with its notion of subtext: "Chekhov often expressed his thought not in speeches", wrote Stanislavski, "but in pauses or between the lines or in replies consisting of a single word ... the characters often feel and think things not expressed in the lines they speak." The Group Theatre, in particular, developed the subtextual approach to drama, influencing generations of American playwrights, screenwriters, and actors, including Clifford Odets, Elia Kazan and, in particular, Lee Strasberg. In turn, Strasberg's Actors Studio and the "Method" acting approach influenced many actors, including Marlon Brando and Robert De Niro, though by then the Chekhov tradition may have been distorted by a preoccupation with realism. In 1981, the playwright Tennessee Williams adapted The Seagull as The Notebook of Trigorin. One of Anton's nephews, Michael Chekhov, would also contribute heavily to modern theatre, particularly through his unique acting methods which developed Stanislavski's ideas further. Alan Twigg, the chief editor and publisher of the Canadian book review magazine B.C. BookWorld wrote: Chekhov has also influenced the work of Japanese playwrights including Shimizu Kunio, Yōji Sakate, and Ai Nagai. Critics have noted similarities in how Chekhov and Shimizu use a mixture of light humour as well as an intense depictions of longing. Sakate adapted several of Chekhov's plays and transformed them in the general style of nō. Nagai also adapted