The sheer work of mounting a new play each week did not allow much time for actor training. Copeau attempted to use eurhythmics in his actor training when he returned to Paris in the 1920s with limited success. In America, eurhythmics was present in domestic theatrical production as early as 1916. The Little Theatre movement in the United States proved was fertile ground for experimentation with new playwrights, new production methods, and new training techniques. The Washington Square Players used eurhythmics in its production of the play Bushido , directed by M. Ito.
Rhythmic training helps the actor control the body and move in concert with other actors.
Rhythm in space is the movement that bridges the distance between the starting point and the arrival point wherever that may be, and the arrival is the climax of that particular movement. By learning always to move toward an accent, the student gradually learns to build toward the greater climaxes which are the culminating point of a whole composition. In practical terms, though, eurhythmics had its greatest influence on actor training by the way of two particular visitors to Hellerau. These two visitors were Prince Sergei Wolkonsky of Russia and Susan Canfield from Pittsburgh. Prince Sergei Wolkonsky was a member of the Russian aristocracy who had a passion for theatre and dance in particular.