The Russian School of Acting was a term encountered amongst theatre-practitioners in 1990s' Moscow. Its roots lay in Stanislavsky's system with influences from Michael Chekhov and Jerzy Grotowski. In defining the phrase, this investigation follows Stanislavsky's psycho-physical technique through three practices: (1) pre-determining a production through a detailed mise-en-scene; (2) analysing the play through round the table discussions and (3) exploring the Method of Physical Actions. Chekhov's `creative individuality' and Grotowski's via negativa are also considered. The contemporary Russian School of Acting is examined through experience of actor-training at the State Institute of Cinematography in Moscow, 1993 - 1994, in terms of: (a) work on oneself, as explored through Vladimir Ananyev's Scenic Movement; (b) work in the ensemble, as explored through Katya Kamotskaya's Actor Training programme and (c) work on the role, as explored by Albert Filozov's rehearsal of playtexts. An attempt is made to apply the elements of this psycho-physical actor-training to two British repertory productions at the Swan Theatre, Worcester - The Seagull (February 1995) and Steaming (March 1996). In conclusion, an assessment is made of the relevance of the process-orientated Russian technique to the essentially result-orientated British repertory environment