Abstract
Drawing on interviews, discussions, observations of classes and rehearsals and my own participation in expeditions and workshops, this article begins by identifying the central principles and philosophy of training work created by the Polish theatre company Teatr Piesn Kozla. It considers the role of this type of training within a predominantly Stanislavsky-based UK actor training and asks whether it is possible to satisfactorily apply the principles of this work within the time and curriculum constraints of UK actor training. The article looks specifically at the way in which the MA Acting programme, run by Teatr Piesn Kozla with Manchester Metropolitan University School of Theatre, UK, is structured on the stages of Teatr Piesn Kozla's work pattern: expedition, training/rehearsal and performance.
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