This thesis investigates the evolution of the Suzuki Actor Training Method from its Tokyo origins in the late 1950s to its dynamic place within contemporary performance practice. While this distinct and highly abstract form of physical actor training was developed within a specific theatrical and cultural context and with centuries of Japanese performance tradition informing it, the so-called "Method" has been articulated as a universally applicable actor training system by Suzuki Tadashi himself and taught worldwide in such a way that has provided access for many non-Japanese theatre artists. Within Suzuki's own company this training serves a specific performance aesthetic, has its own internal training logic, and operates within a complex and nuanced cultural context. What, then, is the value of this training beyond Suzuki? This thesis argues that adaptation and change is necessary for this training to stay alive and relevant for non- uzuki Company artists. It seeks to uncover and articulate this training's immutable "core values" and identity, as well as highlight the aspects which might be reconfigured by the next generation. This thesis proposes that adaptation and cross-pollination is, in fact, necessary in order to maintain the Method's broader integrity and relevance. This ongoing adaptation reinforces the core values of the Suzuki Method rather than dilutes them. Two case studies are presented to explore this movement: The Saratoga International Theatre Institute (SITI) in New York and Zen Zen Zo Physical Theatre in Brisbane, Australia.