Contemporary theatre has been on one hand acting as a witness for the transformation of dramatic text and on the other hand has been making progress in terms of a physical aesthetic intellection. For an actor, it is vital to improve physical training to make possible a self participation to the executions of the contemporary theatre based on physical performance. Shortly, the actor should keep improving and adjusting. However, at this point the acting trainer and method appear as a problem. Eurhythmics, method can be a solution or yet a part of a solution. Since the aims, gains and the final destinations of the called method and the actor training are rather coherent, it is being forwarded that an approach for musical training could also been used for actor training. Eurhytmics method created by Emilé Jacques Dalcroze in the first quarter of nineteenth century is based on the education of musical concepts through movement. Dalcroze, throughout his career, had influenced not only Stanislavski and Mayerhold but also Appia, Copeau and Laban besides of many other dance and theatre practitioners. This method consists of three phases. Eurhythmics as the expression of physical and musical rhythms, solfege as training the ear, eye and voice in pitch, melody and harmony; improvisation as the uses of musical, physical and verbal rhythms for spontaneous personel expression. Eurhythmics method improves concentration, coordination and the memory. Furthermore it improves kinaesthetic sense for a space awareness and an advanced time consciousness and it is a tool rather than a purpose which helping improve talents.

Dalcroze, eurhythmics, actor training, movement, rhythm