One of the events of The S Word: Merging Methodologies International Symposium held in Prague, 2017 was the presentation of Sergei Tcherkasski’s expansive book, Acting: Stanislavsky – Boleslavsky – Strasberg: History, Theory and Practice (St. Petersburg: RGISI, 2016). With its 816 pages, clear logic, accessible language and 403 rare archival photos from Russian, Polish, American and French archives, this book has become a milestone in today’s discussion of the contemporary state of the Stanislavsky System. It creates a map of the current development of Stanislavsky-based actor training and explains connections and divergences among many contemporary pedagogical approaches to acting both in Russia and internationally.The book received many enthusiastic reviews in Russian theatre publications and was awarded the National Prize for the Best Theatre Book’2016 «Театральный роман» (this title means both Theatrical Novel and Romance with Theatre, and is also the title of Mikhail Bulgakov’s famous novel about the Moscow Art Theatre), and the International Stanislavsky Prize’2017 (awarded alongside with Tcherkasski to Valery Gergiev of Mariinsky Theatre, Kirill Krock of Vakhtangov Theatre, English actors Jude Law and Anthony Cher, and Dutch director Ivo van Hove).Among the book’s many merits, reviewers emphasized that Tcherkasski reintroduced the figure of Richard Boleslavsky, an important if not fundamental link between Russian and American theatre, and a key figure in the international dissemination of the Stanislavsky System. A large section of Tcherkasski’s book presentation at The S Word Symposium was devoted to Boleslavsky. This article provides a brief analysis of the development of Boleslavsky’s acting pedagogy.