Argentine acting pedagogy and dramatic action. Raúl Serrano was an Argentine acting teacher whose pedagogy has influenced training beyond Argentina. He founded the Escuela de Teatro de Buenos Aires, and his approach continues to provide a framework for other schools, including Estudio de Actores in Ecuador.

Brazilian actor training and theatre research. Antunes Filho developed a substantial body of actor training through the Centro de Pesquisa Teatral, or CPT, at Sesc São Paulo. His work joined theatre research, the formation of performers, and the creation of productions.

Ensemble creation and actor training. Ariane Mnouchkine's work at the Théâtre du Soleil joins theatre creation with the transmission of acting knowledge. The company describes its preparation for new productions as beginning with large workshops that welcome actors and aspiring actors from around the world.

Acting, imagination, and dream work. Sandra Seacat worked as an actor, acting teacher, and coach. After graduating from Northwestern University, she studied with Michael Howard in New York and became a lifetime member of the Actors Studio. Lee Strasberg encouraged her to teach and invited her into his Institute when it opened.

The organic creative process. John Strasberg developed an approach to acting that he calls the organic creative process. His studio's teaching centres on the individual actor's capacity for inspiration and spontaneous life within the circumstances of a character and play.

Contemporary acting and scene study. Howard Fine's actor teaching is represented by studios in Los Angeles and Melbourne. His work combines acting technique with continuing scene study and the development of the performer’s instrument.

Indian actor training and theatre education. Ebrahim Alkazi shaped Indian theatre education through his leadership of the National School of Drama and Asian Theatre Institute from 1962 to 1977. Earlier, his work with Theatre Unit in Mumbai developed his practice as a director.

Dramatic corporeal mime. Étienne Decroux developed dramatic corporeal mime, a substantial tradition of physical performance and training. Its continuing teaching is represented by the International School of Dramatic Corporeal Mime in Paris.

Movement, voice, and performance. Yoshi Oida's work connects acting, movement, and voice with research drawing on Japanese culture. Japan Society documented a four-day acting intensive in which he investigated naturalism and performance through paired scene work.

Psychophysical actor training. Phillip Zarrilli developed a psychophysical approach to actor training through practices drawn from Asian martial arts and yoga. Psychophysical describes the relationship between the actor's mental and bodily activity in performance.

Acting pedagogy in the British conservatoire. Doreen Cannon was an American acting teacher whose work became an important part of British conservatoire training. RADA's account of Jennie Buckman identifies Cannon's leadership among the academy's acting teachers and the continuation of her teaching through colleagues and students.

Character analysis and movement psychology. Yat Malmgren developed a distinctive approach to character analysis from his background in dance and the work of Rudolf Laban. He co-founded Drama Centre London with Christopher Fettes and John Blatchley in 1963.

Ensemble training and Viewpoints. Anne Bogart's contribution to actor training includes the ensemble practice developed through SITI Company. The company's teaching record describes training offered to actors and theatre artists in the United States and internationally.

Play, mask, clown, and theatrical performance. Philippe Gaulier's teaching is represented by the international theatre school bearing his name in France. Its curriculum places play, theatrical pleasure, and contact with an audience within professional actor training.

Theatre anthropology and performer training. Eugenio Barba developed his actor-training research through Odin Teatret and the International School of Theatre Anthropology, known as ISTA. The school brings performers and scholars from different theatrical traditions into a travelling field of study. Its subject is the human being in an organized performance situation.

Active analysis and rehearsal. Maria Knebel was an actor, director, teacher, and author whose work carried important strands of Stanislavski and Michael Chekhov into later Russian theatre training. She studied with Chekhov, Vladimir Nemirovich-Danchenko, and Stanislavski, collaborating with Stanislavski during his final years at the Opera-Dramatic Studio.

Acting pedagogy and ensemble rehearsal. Vladimir Nemirovich-Danchenko brought acting teaching, dramatic literature, and ensemble rehearsal into the founding of the Moscow Art Theatre with Konstantin Stanislavski in 1898. His students at the Musical-Drama School of the Moscow Philharmonic Society formed an important part of the new company. They included Olga Knipper, Ivan Moskvin, and Vsevolod Meyerhold.

Allen Barton: inheriting a teacher’s room, and what a school has to prove after its founder dies.

Milton Katselas: the Beverly Hills Playhouse, and the claim that your career is part of your craft.

Bobby Lewis: the Group Theatre, the Actors Studio he helped found, and the argument that half a craft is not a craft.