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It also requires the use of the body and the mind. Acting training itself, though, is often compartmentalized and courses across disciplines and techniques are taught separately from one another. I have never had a full-length production opportunity to discover my process as an actor and the importance of collaboration between the techniques I'm interested in, with the goal of being able to reach the emotions safely and consistently. This thesis serves as an in-depth research and exploration into how the teachings of Constantin Stanislavski, the psychological, can combine with Kristin Linklater's teachings on breath, body, and the voice; the physical, to connect and portray a character in a practical setting. This paper begins by discussing the method created by Stanislavski, diving into a few specific values that I'm personally drawn to. The next is looking at the teachings by Kristin Linklater, as well as other breath work foundations. The third part of this thesis is an analysis of the creative component to this project, specifically, the intimacy requirement and how both teachers aided in this area. 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