I remember once having a conversation with my father. He was
trying to understand my craft and what it is that I do. In that conversation I recall
saying something like: “I feel like a fighter pilot when I’m on stage
dad. Constantly measuring and assessing all the information around me and
making decisions about what is going on and what could go on”. Little
did I know. Sadly, my dad passed away years ago now, but that conversation has
always lived with me.
Left of Bruise Part 2: Robocop & OODA Loop
The very nature of slapstick and physical comedy is that it
is chaotic. The performing of it and the environment itself lends itself to the
potential for MIA&I. This can be the same for a staged fight but it is especially
ubiquitous in slapstick. To remain ‘left of bruise’; the moment I make an
entrance into a scene on stage or set I need to do what I have always referred to
as: a ‘Robocop’. Yes, another film analogy. A clinical and scientific analysis and
observation of the space before me. I literally do a diagnostic of the environment
around me both geometrical and atmospherically. I need to take stock of all the
elements. I do a 360 of the space. This entails things like:
- Location of objects – check measurements are consistent with what was rehearsed etc
- Proximity to audience & crew is consistent to rehearsals and previous performances
- Operational tempo of the scene before
- Geometrical observations of the objects
- Observe any anomalies in the space (ie has a chair been left in the wrong place?)
- Is a prop missing that I need?
- If other actors are involved – how are they placed? are they present?
This list can be extensive but hopefully you get the idea.
Only other variation to consider would be if the scene is improvised.
This ‘Robocop’ process usually occurs in split seconds. It
needs to happen faster than the actual operational tempo of the scene being
acted out so I stay ahead of the game while remaining present for the performers
and the performance itself. It is fluid. The ‘robocopping’ continues as I move
through the scene or scenario. A constant feedback loop between me and the
elements to ensure all is going to plan and that nothing is out of place that
could cause any MIA&I’s. The ‘Robocop’ is ultimately an observational and decision-making
process. This is about what to do when things are not as they should be to
remain ‘left of bruise’.
At this point I would like to make a personal shout out to
Brian Marren & Greg Williams from Arcadia Cognerati. These guys have a
great podcast and YouTube channel you should check it out! I have been dishing
out the same old approach to my style of stuff over the years but recently with
my journey to becoming an Officer in the Army Reserves I have started to look
at my work with fresh eyes. These guys have really helped me adjust the way I
see my own work and give it a re-boot! Thanks guys. While listening to one of
the podcasts they mentioned the OODA loop. I became fascinated by it so looked
a little deeper.
OODA Loop — Observe, Orient, Decide, Act. This break down is
care of Wikipedia – but you can use professor Google to dive deeper. But for
the purpose of this blog entry this might help us.
The OODA Loop
is a concept by John Richard Boyd (January 23, 1927 – March 9, 1997). He was a United
States Air Force fighter pilot. According to Boyd, decision-making occurs in a
recurring cycle of observe–orient–decide–act. An entity (whether an individual
or an organization) that can process this cycle quickly, observing and reacting
to unfolding events more rapidly than an opponent, can thereby "get inside"
the opponent's decision cycle and gain the advantage.
Boyd developed the concept to explain how to direct
one's energies to defeat an adversary and survive. Boyd emphasized that
"the loop" is actually a set of interacting loops that are to be kept
in continuous operation during combat. He also indicated that the phase of the
battle has an important bearing on the ideal allocation of one's energies.
I know Boyd is making references to ‘combat’ and ‘winning’
but it is not a big leap to make the link to the dilemmas we face when dealing
with props and scenarios that are going sideways on stage. On one level the
OODA Loop can appear simple, it does however get deeper the more you
investigate it.
What the OODA loop brings to my ‘Robocop’ process for slapstick
is a reminder that the playground and tempo of the area of operation can and
will no doubt shift all the time. When things are not as they should be there is
no time to get caught up in what they should be – as the circumstances have
changed so I need to move to the new circumstances. An example may be that a
chair is not where it ‘should be’ on stage or has not actually even been put
there. There is no time to waste on the motives around why it isn’t there. I
must now move on and deal with the new. Time is of the essence.
Observe – Isolate specifically what has changed or occurred.
What is different? Identify clearly the
parameters of the problem. File it away for future reference as well.
Orient – Mentally check if I have experienced something like
this before if so draw on that. Adjust emotionally, mentally and physically to
what has occurred. Orient myself fully to the problem. Slow my breathing down
so I remain open to change and be calm. Bring the tempo of the operation under
my control.
Decide – Based on all the available options and story needs you
will make a hypothesis about what is the best course of action to take.
Act – Another word Boyd used was ‘test’. Because ultimately this
whole process is a learning cycle and decisions you enact will feedback into
the whole process. Thus, the cycle begins again.
No doubt there will be several observations and decisions you
will be making in other areas of the performance. They will all impact on the
whole feedback process. Remember it is fluid. Be comfortable with ambiguity and
uncertainty and you will be fine. One sure way to be ok with that is to train
for it. By train I mean training at
operational tempo in a performative context. Train to be ready, to be ‘left of
bruise’.
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