Records discussion of panel of senior movement educators from a 1998 Association for Theatre in Higher Education conference. Explains the differing backgrounds of the panelists in mind/body techniques; historical styles of movement; stage combat training; and mime. Includes discussions of the meaning of movement for actors; techniques of teaching…

Discusses physical, sensuous, and psychological mime in relation to the art of acting. The physical dimension of mime is concerned with the discrete movement; sensuous mime helps to create the given circumstances governing a scene; and psychological mime creates the attitudes and intentions of characters. (JMF)

This document is directed to physical education teachers who teach movement education in elementary and secondary schools. Its purpose is to define movement, discuss its place in the education program and the educational life of the school, and provide guidance in the presentation, subsequent development, and progression of movement education for…

Suggestions for incorporating mime into physical education programs are discussed. Approached from a nonperforming viewpoint, the relationships among mime, movement education, dance, rhythms, body mechanics, art, music, theater, creative dramatics, and language can be blended with perceptual motor development, static and dynamic balance, and…

Creative movement is an ideal vehicle for integrating curriculum, because the potential for human inspiration is limitless. When working in a creative-movement setting, students communicate thoughts, ideas, or feelings without fear of being judged incorrect or losing a competition. Yet, pantomime is just the beginning. The next step would be to…

The dramatic art of mime can be viewed through a theory of multiple intelligences. Mime is a mode of the bodily-kinesthetic intelligence which is characterized as the ability to integrate body movement and to use the body in highly differentiated and skilled ways, for expression as well as directed goals. Mime is the language of the body, the…

Improvisation and imagery should be used to strengthen the thin bond between creativity and motor development in children. The approach to dance as an improvisational tool should be made more concrete when working with special populations such as mentally handicapped students. (JN)

Intended for all performing artists and students in the performing arts, this book begins with a history of mime through the ages (Chapter 1). Chapter 2 (Warming Up) discusses technique and artistry and offers an illustrated class exercise. Chapter 3 (Premise Work) continues with class exercises and considers how a teacher designs exercises and…

Having defined pantomime as the art of communicating ideas and emotions without dialogue, this report stresses the role of the body in suggesting an idea, impression, sensation, or character and offers a series of exercises to help develop the muscular coordination and graceful movement characteristic of good pantomime technique. The first series…

This document is designed to help the elementary school teacher instruct children in how to use their bodies in functional and expressive movement. Part 1 provides an orientation for teachers who wish to learn more about dance in the education of children, and includes suggestions on approaching the teaching of dance. Part 2 presents a variety of…

The 23 papers were written by staff and consultants of the Arts in Special Education Project of Pennsylvania, a program to provide assistance to educators in the development of appropriate quality arts programing for handicapped students. After two overview papers, the papers are grouped by category--art, dance, drama, and music. Papers have the…

This handbook targets teachers as "growers of brain cells," encouraging them to make practical applications of findings from learning style theorists and neuroscientists. It suggests that tactile learners, spatial thinkers, and logical minds alike will become eager students as the strategies are implemented. The handbook offers 20…