Haptic pronunciation teaching as theatre, Part Two: EXPRESSIVE

This is Part Two of two that explores how to understand EHIEP and AH-EPS training, based on the Association of Theatre Movement Educators (ATME) characterization of both the physical and expressive dimensions of movement training.

I have excerpted out the basic focus of the four features of theatre movement related to "expressiveness" that follow and have inserted in italics after each one the relevance to haptic pronunciation teaching (HPT): 

• . . . use of the body as an instrument of perception and expression . . . (In addition to enhancing general expressiveness, HPT creates in the learner the ability to "record" and recall words, phrases and sentences based on what it feels like to articulate them and what body movement accompanies each, what is often termed, kinaesthetic memory) 
• . . . externalize and communicate . . . inner state through movement . . . (Any sound or group of sounds can be represented using speech-synchronized gesture systematically in the visual field, terminating in hands touching on the focal or stressed syllable)
• . . . concentration, observation, and sensitivity to others . . . (Perhaps the most striking effect of haptic pronunciation training is the management of attention, if only for brief periods of time, to concentrate on the target sound or word.)



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• . . . skill, confidence and freedom of expression . . . (Public speaking instructors are generally good at using movement and body-based techniques to promote a feeling of confidence and greater expressiveness. Learners doing EHIEP consistently report increased confidence in speaking and ability to express their feelings more effectively.)