“Rhythm is a force analogous to electricity and the great chemical and physical elements – an energy, an agent – radio-active, radio-creative – conducing to self-knowledge and to a consciousness not only of our powers but of those of others, of humanity itself.” – Emile Jaques-Dalcroze. This paper provides my reflections on rhythm in the fields of Actor Training and Dalcroze Eurhythmics as a teacher at a university conservatoire. I outline the philosophy and principles of Dalcroze Eurhythmics, an embodied approach to the acquisition of professional musicianship skills, knowledge, and experience. I propose that two prominent approaches to Actor Training that form part of my own teaching practice contain pedagogical influences from Dalcroze Eurhythmics. Viewpoints Training, with its exploration of time and space through rhythmic movement, has distinct parallels with the faculties, abilities, and qualities developed in a Rhythmics class. Meisner Technique, with its concern for listening, responding, and repetition, complements the methods of learning and teaching undertaken in a Solfège class. Both these approaches to Actor Training make considerable use of Improvisation, the fundamental mode of communication in Dalcroze Eurhythmics. This paper provides insight into my own perceptions and understandings of what and why specific approaches to Actor Training appear to be “Dalcrozian”. The themes presented are transferable to artists and educators engaged in continuing professional development.