The title of the study "Embodied education through art and theatre" indicates the perspective that this study therefore assumes. In particular, Embodied Education includes the contributions of Embodied Cognition, that is, that area of psychological research that represents a "new paradigm" for psychology, shifting from the abstractness of classic cognitive psychology to physicality. "Art" and "Theatre", visual and kinesic channels, are the aspects of physicality that Embodied Cognition (Rizzolati 1988, 1996; Fadiga, Craighero 2003) addresses, based on the discovery of the so-called MNS, Mirror Neuron System (Gallese, Rizzolatti 1996).
The subtitle of the thesis, "Experimentation of a multimodal interface" indicates a construct, or "didactic mediator" (Damiano 1989), created in order to integrate the three levels identified by Bruner, focusing in particular on the iconic-representative and enactive stages rather than symbolic. The intent is to highlight how and if Embodiment functions in this set.
The hypothesis - or "question" of the research expressed in the title aims to identify "Embodied Education" (a rare term and one that is often confused with Embodied Cognition) through the didactic experience, in a pedagogical direction that corresponds in particular to the research on Montessori and Embodied Education (Rathunde 2009) or even more pertinently on Embodied Education as a convergence between phenomenological pedagogy and Embodiment (Francesconi, Tarozzi 2012).
This objective - a foundational contribution between Embodied Cognition in psychology and Embodiment in phenomenology (and phenomenological pedagogy) - is pursued also on a philosophical, epistemological, visual and physical level, in the conviction that "Embodiment" and "Embodied Education" imply a mode of thinking as much as a mode of being physical, bodily. With this aim, I introduce the philosophy of "als ob" (Wahinger, 1910), in which the approach to the world as a "fiction" creates a "fictional" theoretical backdrop to the experimentation.
The conclusions arrive at a point but are to be continued:
- in the tests with the EMI interface, as an experiential didactic mediator, it displayed an embodied set (visual and physical contact, mapping of thoughts and environment),
- in experimental aesthetics in which in the artistic and bodily dimensions integrate a discursive phenomenological approach in visual, incorporated thinking,
- in the connection of Embodied Education as a pedagogy of embodiment (Verkörperung) between empirical and theoretical dimensions, cognitive and phenomenological neuroscience in dialogue (Brinkmann 2015),
- in post-humanism in relation to a critical pedagogy (Schütz 2016) oriented to the meaning that comes from learning,
in a logic of paradox that resolves the contradictions (within-without, subject-object, before-after), on a logical or conscious level, vital structure of meaning, planes of reality, framing, from Bateson to Deleuze.
In collaboration with the Humboldt University Berlin (Institute of Education Sciences, Department of General Education), Akt-Zent Intenational Theater Center Berlin, Municipal and Regional Theater of Patras, University of Patras (Department of Educational Science and Early Childhood Education).

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