This thesis examines the benefits and limitations of Russian theatre director Vsevolod Meyerhold’s actor training system biomechanics in contemporary Britain. Through a series of Practice Research Workshops and Case Studies I present a new model of biomechanical training which centralises the principles of the system. It has been specifically designed to be implemented into a contemporary actor training context in Britain, and can be used in workshops or integrated into a production’s rehearsal schedule.The model encourages participants to redesign the étude Throwing the Stone, embedding the principles of biomechanics through the process. The research highlights the importance of three embodied insights that enable biomechanics to be accessible to contemporary actors. The first embodied insight maintains focus on the principles of biomechanics within the training, offering a dual understanding of purpose; Narrative Purpose and Mechanical Purpose. The two uses of Purpose within the model allow a consistent consideration of the principles. The second is to utilise the actor’s imagination to give abstract objects and ideas qualities they can use to benefit their engagement with the Purposes. Thirdly, this research suggests that the collaboration engendered from the conversations between the participants working in a group enabled them to work as an ensemble which proved to be an essential part of the process. Through the application of each of these ideas, actors can use the model to engage with biomechanics
