Over the last century or so, body-mind assumptions in acting have been heavily discussed within various discourses of actor training systems. These body- mind assumptions have been embodied and understood as a split mainly within Euro-American pedagogies. This work explores the metaphisics of body-mind in Stanislavski system and Meyerhold's biomechanics. In contrast to this, author tries to bring forward the discussion of body-mind as "cultivation" through pragmatic approaches of Phillip Zarrilli and Tadashi Suzuki. These actor training systems stem from Asian corporeal arts and philosophies....