SAR_epilogue

Details: Parent Category: Engels; Category: Training; Created: Wednesday, July 09 2014 10:51; Published: Wednesday, July 09 2014 10:51; Written by Bart

Above: PGIA SAR BL 30K. Sar [ epilogue ] : toolbox.

As shown in the previous contributions, individual SAR-trainings are united into a patchwork, or paradigm, that very much resembles the way dramatic screenplays and movies are constructed. Many of the films that I have seen (and liked), seem to be built from 14 equal parts, which are structred and united into four main portions (acts); preceded and topped off by (respectively) an introduction (prologue) and the conclusion (epilogue).

P - act 1- act 2.1 - act 2.2 - act 3 - E

____________ x _____________

1) In the prologue (1/14) the main problem is introduced: there is conflict on every level.

In his recent blog 'The secret to optimal performance', Coach Mark Divine delivers a great insight in the moment where the protagonist is propelled into action: "While flying into Baghdad International on a C-130 I was about as nervous as I have ever been. It’s not every day that you fly into a hot combat zone with a weapon you haven’t had time to prepare with. That really got my sweat pumps flowing. My stress levels were rising fast, and I wasn’t sure what to do. So I got out of my seat and began to do whatever pose came to my mind, focusing deeply on my breathing to calm myself down. [ … ] That moment was the first official Warrior Yoga training session."

2) Act 1 (2/14 - 4/14) focuses on the emotion, establishing the main context, time and lighting.

3) Act 2.1 (5 - 7) is about darkness, comfort-zone, obstacle, imprisonment, being locked up, visually it is about lenses.

4) Act 2.2 (8 - 10) is about character, the will, his feelings, also about key-light and camera-angle.

5) Act 3 (11 -13) is about fill lighting, about being part of the environment, about chemistry, about the look and feel, the unity of the elements (light and shadow).

6) The epilogue (14/14) shows the resolved situation, the conclusion, the return to restored equilibrium.

X resembles the midpoint of the story. Which is a major turning point. Look at the great films: it usually resembles both a sacrifice and a birth that will lead up to a sound battle plan, needed to resolve the problems at hand. Take note of the midpoint of 'Seven Samurai' by director Akira Kurosawa for example. In that scene the village-elder is consulted at his home in the watermill. The Samurai squad leader reveals the strategy, while he carries a baby-child (new-life) on his lap, advising the villagers to abandon -- sacrifice -- the houses outside the village ring and focus all strength on protecting the area within the compound.

In SAR training the use of the storytelling-paradigm can not be separated from the application of PGIA [ Photo Generated Injury Analysis ]. The images shot right-after-finishing-training, visualise what can only be fully seen and understood trough the use of PGIA. Looking with an extra set of eyes; seeing what is visible from an external-perspective only. The stuff we are unable to see, experience, digest and strengthen our immune system with, ourselves -- however obvious to others! The proverbial log: "Why do you see the speck in your neighbor’s eye, but do not notice the log in your own eye?" What Mark Divine refers to as BOO, Background of Obviousness: belief systems and undercurrents in our subconscious that are so obvious that we don't notice them.

As is with motion-picture storytelling, images are used to tell the story and to make the audience aware ("The silent pictures were the purest form of cinema" - Alfred Hitchcock). The audience might see the monster approaching behind the protagonist, the main character himself may not be aware of its approach then and there and be conscious of its danger. He will though, some time later, when he finds himself in the middle of the problem, face to face with accute-danger, he is forced to get into action! As the Reverend Joshua Duncan Sloane-character says in the Sam Peckinpah movie 'The Ballad of Cable Hogue' (1970): "I see tragedy has already struck this cactus Eden".

In real life the monsters approaching us can be as small as an insect (see 'prologue', upper-left-side-frame), or a vainly, too tightly knit trousers-band around the left-leg, pinching the bloodstream, some time later leading to Shin Splints: http://bartvanbroekhoven.com/en-US/running/61-midsumer-saturday-morning-run-wind-sun-water-32kms (and using SAR to heal that).

Previous 13 trainings on row:

Prologue: http://bartvanbroekhoven.com/en-US/running/109-sar-1-storytelling-1-14-prologue

Act 1.1: http://bartvanbroekhoven.com/en-US/running/110-sar-2-storytelling-2-14-part1-3

Act 1.2: http://bartvanbroekhoven.com/en-US/running/111-sar-3-storytelling-act-1-2

Act 1.3: http://bartvanbroekhoven.com/en-US/running/112-sar-storytelling-4-act-1-3

Act 2.1.1: http://bartvanbroekhoven.com/en-US/running/113-sar-storytelling-5-act-2-1-1

Act 2.1.2: http://bartvanbroekhoven.com/en-US/running/114-sar-act-2-1-2

Act 2.1.3: http://bartvanbroekhoven.com/en-US/running/115-sar-act-2-1-3

Act 2.2.1: http://bartvanbroekhoven.com/en-US/running/116-sar-act-2-2-1

Act 2.2.2: http://bartvanbroekhoven.com/en-US/running/117-sar-act-2-2-2

Act 2.2.3: http://bartvanbroekhoven.com/en-US/running/118-sar-act-2-2-3

Act 3.1: http://bartvanbroekhoven.com/en-US/running/119-sar-act-3-1