Describe theories of using body language

Mimesis is a Greek word meaning "imitation." This theory is based on the idea that artists imitate nature and actions of life in their work. Two ancient philosophers, Plato and Aristotle, offered different views on mimesis.

Plato's View on Mimesis

Plato believed that all artistic creations are forms of imitation, but he argued that artists imitate only the imitation of reality — what he called "twice removed from the truth." Using the example of a chair: the carpenter creates a chair from the idea in his mind, and the painter then imitates the carpenter's chair in a painting. Thus, the painting is twice removed from reality. Plato was concerned that theatre encouraged imitation of morally questionable characters and behaviors.

Aristotle's View on Imitation

Aristotle saw mimesis differently. He proposed that imitation is an instinct present in humans from childhood, and that drama provides pleasure through imitating actions. Aristotle categorized imitation under three headings:

• Media of Imitation: Channels used to communicate such as dance, music, painting, and poetry
• Object of Imitation: Man in action — characters can be portrayed as they are, better than they are, or worse than they are
• Modes of Imitation: Language, rhythm, and harmony, where rhythm refers to movements of the body in an orderly way

Theatre artists applying mimesis theory should consider: expressive movements that convey emotions and narratives; carefully crafted gestures and postures that symbolize different characters and emotions; and choreography that integrates dance and stylized movements to enhance storytelling.

Developed by Albert Mehrabian in the 1970s, this model suggests that human communication is heavily influenced by non-verbal elements. The model is famous for the 7-38-55 rule:

• 7% comes from words
• 38% comes from tone of voice
• 55% comes from body language

This means that body language accounts for the majority of communication impact, making it more influential than verbal language, especially in conveying emotions.

In theatrical performances, applying Mehrabian's model means: using eye contact effectively to connect with the audience; employing gestures that clearly communicate messages; being honest and consistent in imitating assigned characters; and avoiding confusing gestures and facial expressions that might mislead the audience.

Developed by Judee Burgoon, this theory predicts how violations of expected nonverbal behavior affect communication. It suggests that human interaction is governed by expectations, and when these expectations are violated, the effects can be either negative or positive.

In theatre, EVT can be applied in several ways:

• Cultural Sensitivity: Understanding cultural variations in nonverbal communication to avoid misinterpretation or offense
• Emotional Impact: Using unexpected gestures or facial expressions to evoke stronger emotional responses
• Character Dynamics: Portraying complex relationships through violations such as unexpected personal space changes
• Suspense: Creating surprise by deviating from expected nonverbal cues
• Blocking: Using strategic placement and movement to enhance storytelling through nonverbal violations

In Tanzanian daily life, understanding body language theories helps in many situations beyond theatre. For example, when a mkulima (farmer) negotiates at the masoko (market) in Morogoro or Arusha, reading the buyer's facial expressions and postures helps determine whether the offered price for mchele or mahindi is acceptable. Similarly, wazazi (parents) use body language to understand their children's feelings without words, and small business owners at Kariakoo use gestures and facial expressions to communicate with customers who speak different languages, making transactions smoother and more successful.