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Simultaneity describes the world as the nucleus of the Now (Vrobel, 2008, p.vii).

as y. Yet if we take into account Einstein’s concept of “observer frames”1 _{any sense of} “absolute simultaneity” based on a Newtonian concept of “absolute time”, is thrown into serious question (Vrobel, 2011, p.48). Time as such, is a highly subjective experience that we cannot simply observe from some remote location, but rather must experience from within as “observer-participants” (Vrobel et al., 2008). Simultaneity is a process in which we participate by bringing together the perception of multiple stimuli and events to form our experience of the “Now”.

The expression of temporal simultaneity can be traced back to the hieroglyphics of ancient Egypt, where was used to denote “the simultaneity of events” (Otto 1954 cited in Jammer, 2006, pp.8–9); expressing the way one event took place within the same timeframe as another (i.e. statue x was built during the reign of y). Yet the use of the term simultaneity itself, derives from the Latin simul or simultas (the same roots as in-simul/ensemble) which in turn comes from the Sanskrit sem or sema, meaning “together”. Originally, not exclusive to temporal togetherness, this term has also been used to mean “together in space” as well as “together in nature” (Fox, 2006, p.51; Jammer, 2006, p.11). Since being introduced into the English language in the fifteenth century, this term has come to focus predominantly on temporal togetherness (Fox, 2006, p.51). In this sense for the purposes of this study, I will limit myself to a definition of simultaneity as the experienced relationship of events that can be described as happening together in time, or during the same timeframe. However, as we will see, even within this limited framework simultaneity still covers a wide potential of temporal relationships.

In actor training simultaneity can take a number of forms. It can occur within an individual (i.e. simultaneously I speak, move my arms, shape my attention, and breathe) as well as within a group of performers (I walk, as she speaks, while he dances). At

1 Einstein defined simultaneity through the following description: “If there is a clock at point A of space, then an observer located at A can evaluate the time of the events in the immediate vicinity of A by finding the clockhand positions that are simultaneous with these events. If there is also a clock at point B—we should add, “a clock of exactly the same constitution as that at A”—then the time of the events in the immediate vicinity of B can likewise be evaluated by an observer located at B. But it is not possible to compare the time of an event at A with one at B without a further stipulation; thus far we have only defined an “A-time” and a “B-time” but not a “time” common to A and B. The latter can now be determined by establishing by definition that the “time” needed for the light to travel from A to B is equal to the “time” it needs to travel from B to A. For, suppose a ray of light leaves from A toward B at “A-time” t_A’, is reflected from B toward A at “B-time” t_B’, and arrives back at A at “A-time” t’_A . The two clocks are synchronous by definition if t B - t A= t’_A - t_B ”(Einstein, 1989, p.142).

times the rhythms of these events may be synchronised into a unified rhythm (a chorus speaking in one voice, a dancer moving to the rhythm of a drum). Such relationships can be described as “locking in”, being “coupled”, “entraining”, or existing in “unison” with one another. While these are more obvious forms of simultaneity (i.e. events are experienced together in the same instance), in training and performance we encounter a large number of other examples of events synchronising in ways that are more complex.

To broaden this definition we can also consider simultaneity as encompassing events spanning varying intervals of time, overlapping and “nesting” within each other. In the context of theatre these forms of “temporal nesting” can be seen clearly in structural devices such as jo-ha-kyu (Quinn, 1993) and otkaz, posil, tochka (2.3.2), operating simultaneously across multiple levels of organisation, from the structure of a play through to the development of a single gesture.

Figure 17:

Structure of a Japanese Noh Play

1st _{Dan / 2}nd _{Dan / 3}rd _{Dan / 4}th _{Dan / 5}th _Dan

introduction

Jo

ha

kyu

jo ha kyu jo ha kyu jo ha kyu

jo ha kyu jo ha kyu jo ha kyu jo ha kyu jo ha Kyu jo ha kyu jo ha kyu jo ha kyu jo ha kyu

‘Jo-ha-kyu’ as a form of temporal nesting: based on guidelines set-out by Zeami (Quinn 1993)

Similarly, temporal nesting can be observed in the conventional structure of a play such as Shakespeare’s Hamlet: at one level we have a single play, at another, a succession of five acts, at further levels: scenes, dialogues, sentences, lines, words, syllables and phonemes. While each of these descriptions can be considered as a “horizontal” succession of events, together they form a complex nested temporal structure involving the simultaneous realisation of multiple “levels of description”.2

2 The term “levels of description” is used by Vrobel to describe the way a fractal can be experienced at various scales. For example, a coast line can be described at a scale of one metre or one hundred metres. In the case of temporal form, Vrobel offers a two hour train journey as an example, suggesting that one level of description could be 120 one-minute intervals and another would be two intervals of one-hour (Vrobel, 2011, p.13). Both these description occupy the same period of time while operating at different levels.

Figure 18:

Act One

Scene 1, S.2, S.3, S.4, S.5 S.1, S.2 S.1, S.2

Act Two Act Three Act Four Act Five

S.1, S.2, S.3, S.4

The Tragedy of Hamlet, Prince of Denmark

S.1, S.2, S.3, S.4, S.5, S.6 ‘Hamlet’ as an example of temporal nesting

Barbara Schmiedtová’s definition of simultaneity based in the study of linguistics offers a further way of considering simultaneity in the work of the actor. Her definition of simultaneity is as follows:

If two situations are simultaneous they must have a common subinterval on the time axis. Temporal boundaries need not coincide.

This definition includes all types of temporal overlap or inclusion and every possible relatum (Schmiedtová, 2004, p.9).

In this way Schmiedtová proposes five “constellations” that can be categorised as being simultaneous, and illustrates these through the following diagrams (for the purposes of this study I have replaced Schmiedtová’s written examples here with examples from the context of performance practices).

Figure 19: Total simultaneity Simultaneity- overlap Simultaneity- inclusion Simultaneity-final boundary Simultaneity-initial boundary

She clapped her hands. At the same moment he took a step As she was reaching the end of her movement score he started his

While she was singing, he took a step forward

She waited until he finished his phrase

Just as she began her

choreography he started to sing

The author’s interpretation of Schmiedtová’s linguistic categories of simultaneity within the context of actor training (see Schmiedtová, 2004, p.10)

These categories describe the temporal relationship between the actions of two individuals, but they could just as easily be applied to the simultaneous actions of a single individual or to an entire ensemble. What is common to all the phenomena described in this section

is the fact that they can be experienced as sharing a moment of time. Whether this is two actions undertaken in perfect synchronicity, (total simultaneity) or actions which overlap or contain one another (simultaneity-overlap and simultaneity-inclusion), all of these can be said to occur during the same timeframe, and can be described as forms of simultaneity. While this is a far more inclusive definition of simultaneity than the one commonly used within the fields of physics and musicology (i.e. total simultaneity), the broader concept of simultaneity presented here will allow us greater access to some of the rhythmic mechanisms involved in our perception of time within training and performance.

Building on these principles, in the context of this thesis simultaneity will be used to describe an aspect of rhythm based primarily on how an individual experiences the “Now”. This is a highly subjective, and as will be demonstrated, a highly malleable temporal framework. While limited by certain perceptual constraints, simultaneity offers the actor a large field of creative potential, in the way they construct their own performance scores, and in how they shape their attention within each moment.