At this stage in the development of his approach, Stanislavski's technique was to identify the emotional state contained in the psychological experience of the character during each bit and, through the use of the actor's emotion memory, to forge a subjective connection to it. Only after two months of rehearsals were the actors permitted to physicalise the text. Stanislavski insisted that they should play the actions that their discussions around the table had identified. Having realised a particular emotional state in a physical action, he assumed at this point in his experiments, the actor's repetition of that action would evoke the desired emotion. As with his experiments in "The Drama of Life", they also explored non-verbal communication, whereby scenes were rehearsed as "silent "études"" with actors interacting "only with their eyes". The production's success when it opened in December 1909 seemed to prove the validity of his new methodology.