Sunday, December 15, 2013

Haptic pronunciation teaching as theatre, Part One: PHYSICAL

Probably the best source on the web for connecting up to the wide range of disciplines that work systematically with body movement is the Association of Theatre Movement Educators (ATME). This is Part One of two that explores how to understand EHIEP and AH-EPS training, based on the ATME characterization of both the physical and expressive dimensions of movement training. 

The description of a movement specialist could, with a little (haptic) lexical substitution describe an
Clip art: Ckler
EHIEP "haptician" as well:

" . . . the movement specialist/teacher works with the development of the intuitive and kinaesthetic understanding of the performer. . . . devise(s) a process for creating an articulate body that demonstrates technical proficiency, full physical commitment and ease, along with the integration of physical skills." 

Among the (9) specifics are: (Italics are mine!)
  • Teaching of movement skills . . . to increase strength, flexibility, control . . . and as elements of improvisation (Haptic work is especially valuable in integrating new pronunciation and vocabulary into spontaneous speech.) 
  • . . . training the body to be emotionally and physically connected to the specifics of the text (This is done in EHIEP with movement, vocal resonance and touch of hands in the visual field, as the text, word or phrase is articulated.) 
  • . . . (developing) the ability to inhabit a physical and experiential reality other than one’s own . . . (Although the 3rd parameter, becoming an "actor" in the L2 physical culture, is not an explicit goal of EHIEP work, it is reported consistently by those who work through the complete system. The connection of body representation to identity is foundational in many fields.)
Does that sound like fun? Keep in touch. (AH-EPS v2.0 will be "center stage" shortly!)

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