Various questions about tirando and apoyando, about their role in the performing practice and whether it's possible to play without apoyando at all made me recording this rather simple video.
Learning from my own experience of the concert performer I can unambiguously say that both techniques are equally important and should be used in equal measures skillfully.
Tirando and apoyando are the main techniques in playing a classical guitar. Any technique (arpeggio, tremolo, passages, playing distances or chords of any types) is practically based either on tirando, either on apoyando.
In this clip only key moments about playing tirando and apoyando are shown as well as their individual particularities. Of course, there are much more of them, but it'll become a separate theme about accents, the finger's angle of the string attack, the force of this attack etc.
You should also pay attention to TOUCH. It is a touch that influences the precision of playing both techniques, articulation, dynamic range and skill to operate the variety of the timbre abilities of the instrument.
Thanks for making this video. The finger joints (phalanges) movements in your descriptions and demonstrations match what I've observed in 100s of concert guitarists. The middle joint (2nd phalange) plays a much larger role than most pedagogy teaches -- which is that the main knuckle joint (1st phalange) is responsible for the stroke/pluck. In reality, it's the main knuckle joint that starts the stroke with momentum or pressure, but the middle joint that releases the vibrating string.
An eyewitness will often only see what he already believes to be true.