[...] of the vaulter to the way he holds the pole; then how he
manipulates the pole. First the start, then the run - then he has
to transfer the pole from a free movement in his arms to a hole
in the ground on a dead run. So there must be, then, a change in
the direction of the pole. Then there has to be a transition from
his run into his jump.
Again, there are two factors in the actual vault; the movement
forward, which he has generated in his run, and the actual spring
itself which involves the leverage of his arms. At the moment of
contact he is at a considerable distance from the hole in the ground,
so that due to his momentum and the angle of the pole to the ground,
there is a terrific strain which results in a throw forward and
up at his end of the pole. In other words, in running forward, there
is a tendency, because of the angle of the pole in the ground, for
him to be lifted.
There is a point in this action where the momentum caused by
the run tends to slow down as the pole raises towards a vertical
position. The resulting power from the run is being dissipated.
There is a transition point in the action where power from the run
is transferred into a whip in the body. There is a point in the
vault where the run is no longer important and all movement is resulting
from muscular effort on the part of the vaulter. That point is where
he goes over the pole.
Then there is the problem of what to do with the pole. He has
to dispose of the pole so that it won't hit the bar. He has to throw
the pole away from him as he drops over the bar as he prepares for
his fall. In the actual fall he has to manage in some way to land
so that he won't break his neck. this part of the action shows the
most variety of all. None of the vaulters come down the same way
except that they all come down feet first.
The action is made up of many different phases, and each phase
is overlapped with the preceding action and the following action.
No one part of the action is more important that another. All are
vitally important and all of them have to be correct.
Then there is the plan of the whole action. This action is laid
out on an axis. In other words it is a straight line action. The
vaulter starts at one point and follows a straight course to the
hole, he goes over the bar and continues in the same direction in
which he started. It would be necessary to know how to lay out this
scene, whether the vaulter were to come towards the camera, go away
from it, or be handled in profile as in this case. And further,
the whole plan of action is not only forward, but vertical.
J. Roberts: Isn't the staging controlled somewhat by the preceding
and subsequent scenes in a picture?