FIRST SEMESTER – THE ART OF LIVING ON STAGE 

AND BEFORE THE CAMERA

The Demidov Technique is unique as it practically approaches an actor’s freedom and spontaneity, and it puts emphasis on perception (over action) as a primary element in an actor’s process. Moreover, Demidov discovered practical means to foster within the actor some crucial qualities (or cultures), such as those of freedom and intuition. Moreover, Demidov’s school trains a specific type of actor’s imagination– an actor’s ability to spontaneously create and, therefore, believe in the imaginary circumstances. Actors in the course will be practicing these skills and led directly to their creative inspiration and subconscious – from the first day of training. The entire course is based in Demidov's signature etudes (improvisational exercises), at the heart of the Demidov School of Acting.

Acting etudes with spontaneously emerging circumstances, characters and relationships, will stimulate unpredictability and emotional richness, instigating the free flow of subconscious creativity. The basic aspects of film acting will be addressed and trained already during the first semester, such as framing conditions (frame size, depth, lighting and proximity of the microphone).

SECOND SEMESTER – CHARACTER FACILITATION

AND APPROACH TO HEIGHTENED TECHNIQUE

Exercises (or etudes), introduced by Demidov, are practiced as one of the basic actor's “scales” throughout the entire course. The complexity of the texts will increase during the second semester, as actors practice the Demidov technique of inexact (creative) repetition. During the second semester, participants in the course will also begin to practice the intimate process of a character's inception, organic accumulation and facilitation.

In addition to the organic acting technique of “living onstage”, Demidov also developed the "psychotechnique of the affective actor" (tragedian). It enables the actor to navigate heightened emotional altitudes. The second semester will feature some of the prerequisites, essential to entering the highest spheres of creativity. Among them are Cultures of Calm and Passivity as well as techniques of “subconscious perception” and “psychological breath.”

COURSE METHOD. YEAR TWO

THIRD SEMESTER – CHARACTER ACCUMULATION AND EMBODIMENT

 (SCENE STUDY AND SCREEN STUDY)

The third semester is essentially dedicated to Demidov’s methods of Character Development. The semester’s opening section will feature the refreshing of fundamentals and Demidov's basic character facilitation techniques. Upon its conclusion, sophisticated character development methods will be introduced, such as character accumulation; character’s “center' and eye”; embodiment and “emotional imitation” of character.

During the third section, actors will use these techniques to approach characters, through work on texts from Contemporary Realism (Lynn Nottage, Sarah Ruhl, Eric Bogosian, Joshua Harmon, etc.)

Demidov-based Scene Study will further develop the technique of “inexact” or “creative repetition,” enriching characters, deepening relationships and working with heightened circumstances by utilizing the organic approach. Actors will also learn how to be free in front of the camera, while attending to the numerous concerns and restrictions connected with film. They will practically approach issues such as Freedom and Framing, Technique of “Assigning” and Continuity, Reaction Footage, Culture of Truth and “Cheating” for the Camera.

FOURTH SEMESTER – APPROACHING A PLAY ORGANICALLY (CREATING A ROLE) AND FILM SENSE

During the fourth, final semester, actors will work on an Anton Chekhov play. The first part of the semester will feature Demidov’s organic approach to Creating a Role, as well as his groundbreaking methods of approaching a play as a whole. Ensemble Work will also be practiced during the final semester of training. Actors will work to achieve a true merger between their creative individuality and their character’s persona, given circumstances and relationships.

In the second part of the semester, actors will also train in Demidov’s unique approach to learning the role, known as the Emotionally Tactile Method. Based in the Demidov  technique of submerging material directly into the subconscious realm, this new method will further develop actor’s basic skill of “assigning” the role’s text and stage directions, or blockings. 

The final semester project will allow actors to deepen their ensemble work by rehearsing an entire act of a Chekhov play, to be shared during an open class. Practical study of film acting will continue during the final semester. Actors will learn how to marry Demidov’s Cultures of Surrender and Green-lighting with filmic requirements to “do less” or “make it smaller.” Actors will also train in channeling energy in accordance with frame size. Acting against readers, imaginary partners and environment (green screen) will be considered, as well as auditioning for film.

COURSE AT A GLANCE