This study is aimed at promoting a right understanding of theoretical principles for Michael Chekhov’s acting technique and finding a possibility for applying them to an actual field of acting education in order to enhance diversity and objectivity of teaching methods for an acting education in Korea. Especially, this study explores a principle of ‘atmosphere’, which is one of essential elements of Michael Chekhov’s acting technique, and draws theoretical features from a cognitive scientific point of view for developing a new model of teaching methods of acting. According to a verification of cognitive neuroscience, an ‘atmosphere’ is an interactive product which is not only surrounded around human beings but also radiated from human beings themselves at the same time. The ‘atmosphere’ exists anywhere and at anytime regardless of human will. It is invisible and abstract but surely be experienced and recognized by human. Therefore, the ‘atmosphere’ cannot be limited by human linguistic expression as it is not a kind of simple effect of human’s brain to a certain phenomenon. It is closely connected with individual characteristics and resultant reaction of all parts of human body. In this sense, cognitive neuroscientists have added a word, ‘embodied’ in order to explain and prove a process of human cognition. This word, ‘embodied’ means a concept of expansion that spontaneously generates when the interaction between human cognition and body meets a concept of space or environment. A sense of ‘embodied atmosphere’ is led to share it with other human beings on stage by the system of mirror neurons. Futhermore, beyond the stage, it becomes an intermediation with another human beings who co-present on the auditorium at the same time. The system of mirror neurons has played a determinant role in proving the principle of Chekhov’s ‘atmosphere’ from a cognitive neuroscientific angle. Firstly, it is related to an intersubjective characteristic in terms of the principle of ‘atmosphere’. It means a neurophysiological interaction between individuals and others. Secondly, it is closely connected with an interdependent characteristic which is strongly formed between the spaces of stage and auditorium. By focusing above theoretical perspective, this study has offered three models of teaching methods of acting applied the principle of ‘atmosphere’. The < model A > is a method for experiencing the concept of ‘embodied cognition’ that exists in the space around individual actors. The < model B > is a method applied the intersubjective characteristic of the principle, ‘atmosphere’. The < model C > is a comprehensive step included the interdependent characteristic of ‘atmosphere’. Treating a study for an art of acting is always difficult and mistakable due to it’s intangible characteristics. Especially, educating acting as a teacher needs totally different perspective from doing acting as an actor. It needs not only a conceptual approach with accurate understanding about fundamental theory but also it needs an ability to offer actual ways to apply it with various methods. In this sense, this study is intended to be a new attempt for developing and enlarging of discussing the art of acting as a technique beyond an academic approach.