The Etudes

Central to the Demidov Organic Acting Technique are Demidov’s etudes – brief improvisational scenes based on a given text. These differ significantly from typical Stanislavsky etudes, where actors are provided with detailed context, including circumstances, relationships, location, and objectives, before improvising the text.

In a Demidov etude, you and a partner receive one or two lines of simple text, without any context. These lines hint at certain circumstances but are open to creative interpretation. Actors repeat the lines to memorise them, without any preconceived notions on delivery. Once memorised, they discard the text from their minds, taking a few seconds to clear their thoughts, free of premeditated ideas.

Actors then surrender to their first impulse, sensation, feeling, or mood, without questioning its appropriateness. They act, think, and speak freely, allowing spontaneity to guide them. After the etude, actors reflect on their perceptions, memories of their partner's actions and words, and the dynamics of their interaction. Usually, if the process is correctly followed, actors find themselves aligned in understanding the circumstances and relationship.

These etudes train actors to imaginatively perceive and emotionally respond to circumstances, relationships, and events. They emphasise visceral and spontaneous reactions over analytical thought, enabling actors to respond organically to their partner's impulses.

The final work in the second year of the Demidov Intensive was studying The Cherry Orchard. Shortly after our final session I prepared myself through the meditative process of Demidov’s methodology and recorded a short scene playing Madame Lyubov Andreievna Ranevskaya. Details of the recording are below.

Work on the Cherry Orchard second year of Training with Demidov

In preparing to portray Ranevskaya in "The Cherry Orchard," I drew upon two years of immersive training in Demidov's methodology. This approach profoundly influenced my process, allowing me to approach the character with a sense of freedom and spontaneity.

Accumulation Phase:

Initially, I immersed myself in Ranevskaya's emotional landscape, absorbing her history, motivations, and relationships. I spent time living with the text, letting it resonate within me and layering it with personal connections and emotional truths. This period of accumulation was crucial for internalising her experiences and feelings without forcing any preconceived interpretations.

Assigning the Text:

Once I had accumulated enough understanding and emotional context, I assigned the text to specific moments and feelings within Ranevskaya’s journey. This involved letting the lines take root naturally in my subconscious, connecting deeply with her sense of flight and longing for an idealised past. During this stage, I focused on the underlying emotions and impulses that drove her actions and words, allowing these to inform my performance organically.

Letting Go and Forgetting:

Following the assignment, I entered a phase of letting go and forgetting. I released the specifics of the text and the conscious effort of memorisation. By doing so, I allowed the character's essence to emerge spontaneously during rehearsals and performances. This stage was about trusting the work done during accumulation and letting Ranevskaya’s emotions and reactions come to life naturally, without intellectual interference.

Emptying:

In the final phase of emptying, I focused on being fully present and open, ready to react authentically to the unfolding scenes. This emptiness was not a void but a state of readiness, where Ranevskaya's emotions and impulses could surface freely. It was about being in the moment and letting the character's truth flow through me, capturing her struggles and vulnerabilities as they manifested.

Through integrating Demidov’s methodology in my preparation, I achieved a performance that was both deeply connected and dynamically spontaneous. This process allowed me to embody Ranevskaya’s complexities, her constant state of emotional flux, and her poignant journey towards potential growth. The impact of this practice infused my process, enabling me to bring Ranevskaya to life with authenticity and depth.

I have made this recording as a reference point in my own developing and evolving creative practice to acknowledge my own response and approach to this character through the experiential learning from the Demidov program. It must be viewed as a sharing of a point of discovery and how the methodology of Demidov has infused into my own practice.