In particular, the experience of having trips within a foreign land (Mexico) where she became more exposed to the Mexicans way of life during an indefinite period to pursue her art studies brought in a perspective of non-rigid understanding followed by a spontaneous articulation of every knowledge piece imbibed (Axtmann). The interest towards being dynamic to interact and learn under a transcultural setting is sparked hence with becoming accustomed to the traditional practices, manners or conduct to enhance the overall effect of formal education and break further barriers in language and learning capacity.
To Kim Flintoff (2005), on the other hand, drama in education must attain to the goal that makes use of or is optimized by technological intervention. If the possible benefits of such approach in this aspect is reluctantly perceived, then a sound educational practice might be confined in a limited progress (Flintoff). Despite this risk, it is still worthwhile to examine Axtmanns consideration of the body as a primary site where differences and universality can be sorted out. Technology to facilitate learning may suggest appropriate tools for academic instructions in drama to be potentially conveyed yet a focus on experience places more priority on self-awareness and how ones unique characteristics may find relevance to give value to others within the same sphere of training. This way, pertinent skills to the field of drama are developed at depth prior to application of external device which may follow anytime after the core to teaching drama has been settled on achieving an output with the right elements that primarily communicate thought and logic of a character performance. Manfred L. Schewe (2002) likewise came up with an equivalent view that signifies tapping on the students bodily-kinesthetic intelligence in which his focus