Konstantin Stanislavski's justly praised method for training actors arose from Stanislavski's own awkwardness and susceptibility to theatrical cliches as a young actor. The "method" must be understood in terms of Stanislavski's personal search for release from the temptations of stock gestures, well-tried vocal intonations, and standard emotional formulas. Despite the pretensions of certain of his disciples in the United States, the Russian director never intended to formulate a textbook of rigid solutions to acting problems.

It can be inferred that the author of the preceding statements about Stanislavski's method holds which of the following opinions about acting?

(A) Acting is essentially spontaneous emotional expression, with which systematic training usually interferes.
(B) The Stanislavski method has lost some of its flexibility and exploratory qualities as it has been used by some followers' of Stanislavski in the United States.
(C) The Stanislavski method has misled those actors in the United States who have adopted it.
(D) Virtually the only advice young actors need be given is that they must systematically suppress theatrical cliches in their performances.
(E) The Stanislavski method is useful primarily for young actors who must overcome artificiality and immaturity in their performances.