Even Michael Chekhov, who encourages actors to imagine their characters in precise detail from the start, insists this be done under the gaze of an imaginary audience, because the imagination is never the same once it is being seen.
Actors don’t lack
communication,
Behavior,
Truth,
observation,
hearing,
seeing,
feeling,
concentration,
impulse.
They don’t need training to acquire these as external attributes. They need training to stop interfering with what already exists as their natural state.
Actors are born equipped.
Training is the art of not damaging the equipment
Βιογραφικά για το σεμινάριο Μαΐου
Phiplayhouse@gmail.com
For one month, we worked together inside a hybrid field of actor psychotechnique — not as a collection of exercises, but as a living process. What slowly emerged was not “better acting,” but clearer presence: less effort, more availability; less control, more truth. A shared rhythm formed, a common ground where technique and actor opened a dialogue.
❤️
We closed the book on Shakespeare not with a period, but with a long exhale.
And now, almost painfully quietly,
we enter Beckett.
Different weather.
Different gravity.
Different ethics of being on stage.
With Beckett, the play is already the score.
Not a canvas for our ideas.
Not a field for psychology.
Not a playground for cleverness.
Here, only Demidov will help
No pushing for meaning.
No hunting for intention we obey Beckett’s wishes
No decorating the void with opinions.
The situation breathes.
The words fall.
The actor listens.
In Beckett, the danger is always the same:
to add.
To explain.
To comment.
To interpret.
And every time we do,
the play closes a little.
Lines arrive as events, not as choices.
Shakespeare asked for radiance.
Beckett asks for exposure.
And this shift is not stylistic.
It is ethical.
From expansion
to exposure.
From imagination
to bare presence.
From poetry that flies
to poetry that barely survives.
Shakespeare lifted us into form.
Beckett strips us down to function.
We did not finish Shakespeare.
We were prepared by him.
Now the danger is quieter.
And much more precise. 🎭
Second week hybrid — inner gesture — repetition — activities.
Let’s clarify something because I can already hear the arguments. The word drama (δρᾶμα) in Greek comes from the verb δρᾶν (to act, to perform), which is connected to πράττω (to accomplish, to carry out an act). So yes, linguistically, drama is associated with “doing.”
But doing in the theatrical sense does not mean pushing action or forcing behavior.
It simply means that a life is unfolding. Something is happening.
And here’s the crucial distinction: responding to what happens does not automatically mean you are “doing” anything in the active sense. You don’t need to generate the event. You don’t need to manufacture experience. Life can move through you, not because of you.
This is where Demidov turns the traditional idea on its head. His work moves toward passivity—not in the sense of inertia, or apathy, but as a state of complete permeability. Passivity means I am open enough for life to act on me. I don’t interfere. I don’t control. I don’t impose my will on what wants to emerge.
To illustrate this, Demidov offers a striking image: a veil caught in a hurricane. From the outside, the veil appears wildly dynamic—twisting, folding, snapping, rising, spiraling. It looks like pure action.
Yet the veil itself does nothing.
It is acted upon.
Everything that happens to it is caused by the wind.
The veil is the most vivid, expressive presence in the landscape precisely because it does not interfere with the force that moves it.
That’s the paradox: the deepest dramatic life onstage doesn’t come from action you manufacture, but from allowing circumstances to move you.
The circumstances are the hurricane.
Your task is not to “do.”
Your task is to be the veil.
Adler came back declaring “we’re doing everything wrong.”
The problem wasn’t the outburst — it was the conclusion.
Her bias became a myth, her myth became history, and Stanislavski’s own account tells a very different story.
That’s how theatre lore gets built: repetition, not truth.
There are no “choices.”
What you call a choice is just you, the actor, trying to feel powerful in a place where the character has none.
For the character, everything that happens is an inevitability — the only possible way life could unfold under those exact conditions, pressures, needs, histories, and blind spots.
Actors invent “choices” when they don’t trust the given circumstances.
Characters don’t.
Characters simply collide with necessity.
And the moment you stop decorating the role with options and start surrendering to inevitability, you finally step out of the way and let the life of the play take over.
@melpomenilouisa @demidov_association @dimitriskouroubalis
When Professor Andrei Malaev Babel composes an etude it’s magic on its own.
I
@demidov_association
Today, Professor Andrei Malaev-Babel, in collaboration with @phiplayhouse, gave a wonderful lecture on the history of Demidov and the Demidovian revolution to the students of @sxoli_theatrou.
A heartfelt thank you to @dimitriskouroubalis and Froso Korou for your hospitality and generosity — we are truly indebted.
Today, Professor Andrei Malaev-Babel delivered an inspiring talk exclusively for the S.A.M. Ensemble.
We are deeply honored to host one of the most important figures in contemporary acting pedagogy — the leading carrier of Nikolai Demidov’s legacy — here at Phi Playhouse Studio.
For professional Actors, Directors and Drama school students or graduates.
Training for the 21st century actors
The seminar is conducted in 4 weeks :
-10am to 3pm
-Monday to Friday
I’ve been circling Spoon River Anthology for years, first through the lens of craft and then, gradually, through something closer to revelation.
At the beginning I treated it as an acting study: paraphrasing, exploring behavior, shaping it into a single, truthful current. It worked. It always did.
But over time the work began to deepen. Through Michael Chekhov, through gesture, qualities, and atmosphere, we started to let go and allow things to happen rather than insist they must. And it was then that these monologues, which I had used a hundred times, began to astonish me again.
A hidden architecture revealed itself, a spine running through every character and every poem, binding the living and the dead in one shared breath. The pieces stopped being texts and became small, self-contained works of art, alive, delicate, unassuming, and complete.
It is remarkable how often we rediscover what was there all along once we stop trying so hard to manufacture life and simply allow it to return on its own terms.
#phiplayhouse #actortraining #demidov #michaelchekhov #demidovtechnique #voidtechnique #actor
