One of the best ways to express yourself is through mime.
Have you ever introduced yourself to an audience, or even to just one person, through non-verbal, non-tactile means?
It is usually impossible to introduce yourself to a blind person without using the voice or other parts of the body, though you may introduce yourself to a blind person, even unwittingly, through the way you smell.
You may introduce yourself to a deaf person, reasonably accurately, if you know how to use the sign language preferred by that person. But if the deaf person is also blind, and you cannot communicate through touch, smell is the only way to introduce yourself.
People impose themselves on other people through the use of excessive scents. The use of scent is often like loud voices, aggressive actions and unusual clothing. Anything attracting attention indicates either loneliness or predatory behaviour.
Even the rich can be lonely. Even the poor can be predatory.
As most people have the good fortune to see and hear relatively well when compared with blind people and deaf people, the environmental and cultural aspects of sound and smell often intrude upon first impressions.
How and when do you usually communicate truthfully?
If you are rarely interested in communicating truthfully, why is that?
What do you believe truthful communication involves?
Who has discovered the truth about you through your non-verbal communication?
How do you usually attempt to overcome language barriers?
How do you usually attempt to negotiate personal boundaries?
Sounds, especially unpleasantly noisy ones, and even pleasantly musical ones, can intrude upon truthful communication. Interpreting the mood of a person can be confused with the surrounding mood of the environment.
The tactile can be dangerous, or perceived as threatening, even when well-meaning. Incompatible cultural expectations regarding communication through touch can lead to misunderstandings and even hostility.
One person's idea of affection, through the use of touch, may be another person's idea of a threat. The abuse of touch must always be prevented, in a similar way to abusive language.
To study mime successfully is to observe accurately and to learn both kinesthetically and emotionally. A good mime artist has high emotional intelligence.
What is your understanding of embodied cognition?
How conscious are you of your sensory abilities and challenges?
How conscious are you of your cognitive abilities and challenges?
How conscious are you of the variability of sensory and cognitive abilities and challenges in humans?
How conscious are you, at present, of your own consciousness?
Are you feeling tired, thirsty, hungry, cold, hot, itchy, in pain, or in need of a toilet break?
Are you experiencing cognitive overload, emotional overload and/or sensory overload?
Are you experiencing boredom or frustration or worry or confusion?
Are you able to answer these questions through mime?
What have been your experiences of physical theatre?
Have you ever told an autobiographical story through mime?
A true mime artist is a performance artist but not necessarily confrontational.
Some gestures of mime artists have become memes.
Mime is meaningful.
Can you convey a meaningful narrative about yourself in silence, without the use of lip sync?
Are you aware of the original meaning of pantomime?
Have you ever played charades?
Have you ever performed in a dumbshow or Harlequinade or tableau vivant or masque?
Have you ever participated silently in a pageant or another form of procession?
Are you an exponent of mimoplastic art?
What is your experience of corporeal mime?
Have you ever performed in a mummers' play?
Have you ever acted as a living statue or mannequin while a camera operator has performed around you?
Have you ever confused one sign language with another?
Have your gestures ever been misinterpreted?
Do you know much about the psychology of posture?
Do you have a neutral spine?
When is your knowledge of poor posture?
What is your awareness of medical signs relating to posture?
How well do you understand your own body language?
How have you bodily expressed optical illusions?
Have you ever been an illusionist or contortionist?
What is your acquaintance with physical comedy?
Have you ever endured an injury as a consequence of mistimed slapstick?
How many different gestures can you perform in less than ten seconds?
How many different human positions can you physically demonstrate within thirty seconds?
How many styles of gait can you perform?
How do you prepare to perform different emotions silently?
How would you convey a narrative of your significant childhood experiences through mime?
What is your acquaintance with visual learning?
What is your acquaintance with mimicry?
What is your understanding of the term mimicry in relation to evolutionary biology?
How can you silently prove you are a trustworthy and respectable person?
How do you use silence in order to listen and learn better?
Do you consider mime to be a form of experiential learning?
How can silence, and even stillness, focus the attention of an audience, and a performer?
How do you transcend cultural differences and convey universal meanings through mime?
Have you ever worked as a jester, or employed one?
Have you ever worked as a clown?
When are clowns caring and when are they menacing?
Are you a silent or secret member of a clown society?
Have you ever performed silently in a mask?
Where and when have you received acting instruction?
Do you currently describe yourself as a theatre practitioner?
Have you ever performed as a bouffon in political theatre?
Have you ever watched silent films carefully?
Have you ever studied kinesiology?
What is your knowledge of Laban movement analysis?
Have you ever choreographed a mime sequence?
What is your understanding of the anatomy of facial expressions?
What is your knowledge of chronemics?
What is your knowledge of kinesics?
What is your knowledge of proxemics?
What is your knowledge of meta-communication and intercultural competence?
Have you ever been a movement director?
What do you most appreciate about silence?