As part of the Think 2012 series of lectures there was one presented jointly by Dava Newman & Guillermo Trotti entitled Modern Druids – Seed Ideas for a New World. That title was enigmatic enough to provoke me to look further.
They were introduced by Shoma Chaudhury who went a long way to explaining what we were to expect from this talk – namely, that when Newman was faced with the challenge of producing a spacesuit in which astronauts could be more manoeuvrable and agile she turned to Trotti, an architect who specialises in building the impossible. He wasn’t far away at the time.
At 2:11 Newman is the first to speak, though for only half a minute. She is fighting a hump, and would make life easier for herself with an opening that was a little longer and less consequential. We are shown the whole stage in long shot for her first few seconds, and see Trotti standing stage right and waiting to speak. His body language tells me he has problems with his hands.
When he takes centre stage and begins to speak, I am confronted with a spectacle that I see so often in my work. Here we have a man who is brilliant, and bursting with presence and charisma, but who is light-years out of his comfort zone. His hump is ferocious. As expected, his hands meander around, looking for a hiding place. I groan with frustration, because in one single minute with him I could solve that problem for life. At the very beginning he does one thing right: he speaks through the short journey to where he will stand, rather than walking there in silence before speaking. But his gait during that walk screams discomfort. To my relief he warms to his theme quickly, his hump receding in the process, and even his hands begin to look relaxed. Just as he gets comfortable, he relinquishes the stage back to Newman.
A speech is like an aeroplane flight: the most difficult and dangerous bits are the take-off and landing. Whoever arranged and choreographed the opening of this double-hander (and they may have done it themselves) took care to get both back-stories covered early – which is fine – but had no proper understanding of the dynamics and manifestation of nerves, and what to do about them. Nor did they understand the rudiments of staging. This is a pity, because first impressions are so important.
What is eventually narrated from both sides of the collaboration turns out to be fascinating. They have lots to say, and they say it well – and without paper!