Operational warfare

In the field of military theory, the operational level of war (also called the operational art, as derived from Russian: оперативное искусство, or the operational warfare) represents the level of command that connects the details of tactics with the goals of strategy.

In Joint U.S. military doctrine, operational art is "the cognitive approach by commanders and staffs—supported by their skill, knowledge, experience, creativity, and judgment—to develop strategies, campaigns, and operations to organize and employ military forces by integrating ends, ways, and means." It correlates political needs and military power. Operational art is defined by its military-political scope, not by force size, scale of operations or degree of effort. Likewise, operational art provides theory and skills, and the operational level permits doctrinal structure and process.

During the 18th and early 19th centuries, the synonymous term grand tactics was often used to describe the manoeuvres of troops not tactically engaged, while in the late 19th century to the First World War and through the Second World War, the term minor strategy was used by some military commentators. Confusion over terminology was brought up in professional military publications, that sought to identify "...slightly different shades of meaning, such as tactics, major tactics, minor tactics, grand strategy, major strategy, and minor strategy". The term was not widely used in the United States or Britain before 1980–1981, when it became much discussed and started to enter military doctrines and officer combat training courses.

Operational art comprises four essential elements: time, space, means and purpose. Each element is found in greater complexity at the operational level than at the tactical or strategic level. This is true, in part, because operational art must consider and incorporate more of the strategic and tactical levels than those levels must absorb from the operational level. Although much can be gained by examining the four elements independently, it is only when they are viewed together that operational art reveals its intricate fabric.

The challenge of operational art is to establish a four-element equilibrium that permits the optimal generation and application of military power in achieving the political goal. Viewing time, space, means and purpose as a whole requires great skill in organizing, weighing and envisioning masses of complex, often contradictory factors. These factors often exist for extended periods, over great distances and with shifting mixes of players, systems and beliefs, pursuing political goals which may or may not be clear, cogent or settled. Compounding factors, such as the opponent's actions, create further ambiguity.

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