**3. Primary environment for the application of the technique of the speaker's walk 2.0: our body**

Traditionally, the body has been denied in the West, which has given greater prominence to the mind. The mind has been considered as the place where intellectual, creative, imaginative, and narrative life takes place. In fact, all the written records of the methodology of the orator's walk both in the anonymous Greek book Rhetorica ad Herrenium (Book III), and in the work De Oratore written by Cicero has always exclusively centralized the sphere of application in the mind and the creation of external spaces [1]. Of course, the application of memory storytelling for speakers has been thought to have its palace, or nerve center, exclusively in the mind [2]. That is why, since always, in the West, it has been thought that the body is simply a mere vehicle directed by the mind [2].

The predominance of the pragmatic oratory and the "loci" technique was exclusively hoarded in the mind. Eastern culture has always maintained a very different position, considering the body as important as the mind for the balance of the individual; and it is of much greater importance in applying the speaker's walk methodology. Current research by Javier García Campayo and Marcelo Demarzo supports the hypothesis that they defend the great importance of the body in our psyche, in our imagination, in our creativity, in our talent, in our security, in our emotions, in our way of life. Integrate and fully listen to the stories, and of course in our way of expanding our persuasive memory when speaking in public [1].

The ability to connect with our own body, in many cases forgotten, allows us a systemic fluidity of our entire being that inevitably redounds when speaking in public, and especially when remembering words, or images, of the "loci" method in which we are deepening. It is shown that Interceptive perceptions (bodily sensations, or abilities we have to listen to them) modify our thoughts and emotions in an important way. Having a direct and explicit effect on the way our memory behaves. In fact, there are studies that show that, if the usual posture is modified, simply by inserting a pencil in the mouth and introducing the smile, one finds the experiences, learning, and creativity more fun than if this modification is not made. The body, our posture, and breathing, therefore, form an essential variable when it comes to diving into the depths of our memory and emotion. Our proposal to focus on the conscious awakening of the body a sacred and experimental center for the application of the method is centered on this exact point. The use of the body as a setting, space, or creative canvas at the time of establishing the concepts, has infinite advantages to enhance our memory in the narrative discourse. It is about using our body as a great palace and anchoring the different images throughout its vast extension [4].
