The influence of eurhythmics on Actor Training can be viewed as an elaborate and variegated family tree. In this article, I focus on a single branch of that tree. I identify and describe the artistic and pedagogical DNA of eurhythmics within Viewpoints: an approach to Actor Training developed by Anne Bogart in the USA over the past four decades. I begin with a brief outline of the historical and philosophical contexts for eurhythmics and Viewpoints. I illustrate the parallels and intersections between eurhythmics and Viewpoints as I have experienced them as an acting teacher at university and conservatory drama schools. I describe the Viewpoints of Time and Space in practice, and provide examples of complements to be found in eurhythmics. The article offers insight into my perception of a Dalcroze identity within Viewpoints Training that is transferable to eurhythmics teachers engaged in continuing professional development.