Step in the Middle of a Fight Clip Art

Technique used in theatre to create the illusion of physical combat

A swordfight from a stage production of Macbeth

Stage gainsay, fight arts and crafts ^[1] or fight choreography is a specialised technique in theatre designed to create the illusion of concrete combat without causing harm to the performers. Information technology is employed in live stage plays as well as operatic and ballet productions. With the advent of movie theater and television the term has widened to also include the choreography of filmed fighting sequences, as opposed to the before live performances on stage. Information technology is closely related to the practice of stunts and is a common discipline for actors. Actors famous for their stage fighting skills frequently have backgrounds in trip the light fantastic, gymnastics or martial arts training.

History [edit]

Ancient [edit]

The history of phase fighting and mock combat tin can be traced to antiquity, with Aristotle quoted as noting that tragedy is conflict between people^[2] or indeed information technology may be traced to the origins of the human species and primate display behaviour. Display of martial aptitude is a natural occurrence in warrior societies, and ritualized forms of mock combat frequently evolve into war dances. Whether information technology is the struggle between the men and women of Aristophanes' Lysistrata in Ancient Greece or Aboriginal Egypt where Herodotus in his Histories talks nigh a religious festival in which they shell each other with staves but no 1 dies, staged combat has e'er^{[ citation needed ]} existed.^[3] As it doesn't make sense to sacrifice citizens in rituals, many ancient civilizations turned to symbolic gestures of combat through dancing or bringing a weapon to someone's throat or neck without actually touching them to symbolize expiry or an act of violence.^{[ citation needed ]}

Post-classical [edit]

Fights staged for entertainment may as well exist in earnest for the combatants, equally was the case with the Roman gladiators, and any public duel, such as the judicial duel of the European Middle Ages. The medieval tournament and joust are a classical examples of competitive ritualised mock combat. The joust from the fourth dimension of Maximilian I developed into a sport with enormous cost involved for each knight and correspondingly high prestige fastened, comparable to contemporary Formula One races, while at the same fourth dimension minimizing the danger of injury with highly specialized equipment.

In the Late Centre Ages, staged fencing bouts, with or without choreography, became popular with fencing schools. Some German fechtbuch ("gainsay manuals", literally 'fight' or 'fence book') have sections dedicated to flamboyant techniques to exist employed in such Klopffechten ("knockabout fighting"), which would be impractical in serious gainsay, and the Belatedly Medieval German masters distinguish mock fights (fechten zu schimpf, 'rant fighting') and real combat (fechten zu ernst, 'earnest fighting').

The history of European theatrical combat has its roots in medieval theatre, and becomes tangible in Elizabethan drama. Richard Tarlton, who was a member of both William Shakespeare's interim company and of the London Masters of Defence weapons guild, was among the first fight directors in the mod sense.^[4] Sword duels depicted in plays showed how popular the pastime was in actual life. Before 1615 in England, many plays featured duels and the duels were regarded as highlights of the evidence. Every bit opposed to after 1615, when dueling was publicly condemned by King James and the duels were used as a last resort in regards to the plot.^[5]

Mod [edit]

During the belatedly 17th and early on 18th centuries, stylized phase combat has been a staple feature of traditional performing arts for centuries, such every bit in Japanese Kabuki theater (as tachimawari "fighting scenes"), Chinese Beijing Opera and Indian theater.

Fencing masters in Europe began to research and experiment with historical fencing techniques, with weapons such equally the two-handed sword, rapier and smallsword, and to instruct actors in their use. Notable amongst these were George Dubois, a Parisian fight managing director and martial creative person who created functioning fencing styles based on gladiatorial combat too as Renaissance rapier and dagger fencing. Egerton Castle and Captain Alfred Hutton of London were besides involved both in reviving antiquarian fencing systems and in teaching these styles to actors.^[6]

The beginning of a staged duel from Deed 4 of Gounod's Faust.

During the tardily 19th and early on 20th centuries, scenes of swordplay in touring theatrical productions throughout Europe, the British Republic and the United States were typically created past combining several widely known, generic routines known as "standard combats", identified by names such as the "Round Eights" and the "Glasgow Tens".

Cinematic fencing has its roots in the 1920s, with the movies of Douglas Fairbanks. 1 of the more celebrated fight directors who emerged in this time was Paddy Crean who revolutionized stage combat, specifically sword play, for the silver screen and theater. Paddy created the flamboyant style of sword play that tin be seen in Errol Flynn movies, among others. He promoted the use of safety in a higher place all things and so focused on story of the fight.^[7] B. H. Barry and J. Allen Suddeth, students of Paddy Crean, are two fight masters who accept connected developing Paddy'southward legacy. Barry helped institute the Society of British Fight Directors and then came to the U.s.a. to give fight direction a more specific shape.^[8] J. Allen Suddeth founded the National Fight Directors Training Programme in the United States and wrote the book "Fight Direction for the Theater" (1996).^[nine] Martial arts movies sally every bit a distinct genre from the 1940s, popularized by Bruce Lee and Sonny Chiba from the 1960s.

Starting in the mid-1960s, John Waller, a pioneer in the English historical European martial arts (HEMA) revival, was a fight managing director for phase and screen, and later a teacher of phase combat at London drama schools, with an emphasis on historical realism.^[x] Informal guilds of fight choreographers began to take shape in the 1970s with the institution of The Society of British Fight Directors, 1969 to 1996. Training was established in the United states of america with the formation of the Society of American Fight Directors in 1977.

Following this, further academies and associations worldwide have been established to uphold the arts and crafts, training and quality of work in the art-form of phase combat nationally and internationally, including: The British Academy Of Stage & Screen Combat (BASSC) and Fight Directors Canada (FDC) in 1993; the Society of Australian Fight Directors Inc. (SAFDi) in 1994; the Nordic Phase Fight Society (NSFS) and the New Zealand Stage Combat Gild in 1995; the British Academy of Dramatic Combat (BADC, formerly known as The Society of British Fight Directors) in 1996; Art of Combat in 1997; Phase Gainsay Deutschland in 2004; and the Australian Stage Combat Clan (ASCA) in 2010; The British Guild of Phase Gainsay in 2015. As of 2005, E 15 Acting School, London offered a B.A. (Hons) Caste in Acting & Stage Combat. Many of the societies offer certification programs for different weapons, which is used as an indicator about how much grooming an actor has had.

Techniques [edit]

Phase gainsay training includes unarmed gainsay skills such as illusory slaps, punches, kicks, throwing and holding techniques; theatrical adaptations of various forms of fencing such as rapier and dagger, smallsword and broadsword, every bit well as the utilise of other weapons, notably the quarterstaff and knives; and more specialized skills such equally professional person wrestling and different styles of martial arts. However, stage combat can include any course of choreographed violence and the options are limited only by rubber concerns, and the power of the participants involved. As a note, well-nigh of these techniques are fatigued from bodily fighting techniques, but modified to be safer for actors. For example, although in that location are a number of ways of creating the condom illusion of a slap to the face (which is obviously something that could really exist done in combat), none of these involve making actual contact with the victim'due south face up.

The overriding business is for the safe of the actors and audience. This requirement has led to the accommodation of many standard martial arts and fencing skills specifically for performance. For example, many bones sword attacks and parries must be modified to ensure that the actors do not bring the points of their weapons past their partner's confront or otherwise inadvertently run a risk the other actor's health and well-being. Attacking actions in stage combat are extended past the performance partner'southward body, or aimed brusque of their apparent targets. Likewise, whereas their characters may be engaged in fell unarmed gainsay, the actors must operate at a high level of complicity and communication to ensure a safe, exciting fight scene. In many forms of phase combat, distance is a cardinal factor in technique. Many attacks are performed 'out of distance' and so that there is no possible chance of one performer accidentally striking the other. Considerable professional sentence is chosen upon to determine what technical level may be appropriate for a given performer, taking into account allotted rehearsal time, and the expectations of the director.

Another important element of stage combat is audio. Sound increases the believability of an activity for the audience. There are two kinds of sounds that can be made. One is vocal reactions. Past adding a gasp, groan, or grunt when struck, the combatants make the moves come to life. The other kind of sound is a knap or a percussive sound made by hitting a resonant office of the body.^[11] This is timed to the moment an impact would happen and is staged and then it is hidden from the audition. This allows the audition to believe that an bodily accident or slap has landed because they hear a respective audio and run across a reaction.

The combat phase of a play rehearsal is referred to as a fight rehearsal. Choreography is typically learned step by stride, and practiced at first very slowly before increasing to a speed that is both dramatically convincing and safety for the performers and their audience. Even stage combat is risky, and it is preferable for actors to take as much training and experience as possible. A "fight call" or a brief rehearsal earlier the bear witness is performed each time, set aside for the actors to "mark" through the fight to increment their muscle memory. A show which involves fight choreography will typically exist trained and supervised by a professional person fight choreographer and may also include a fight captain, who runs fight calls and ensures that actors are remaining safe throughout the duration of the prove.

The fighting styles in movies ready in the Medieval or Renaissance periods may be unrealistic and historically inaccurate. About fight choreographers use a mix between Asian martial arts and sports fencing to re-enact fight scenes. This is generally due to the await of the fighting asked for by the manager. If the managing director wants the story to flow a certain way, then the fight managing director will choreograph the fights to fit that style and tell the story.

Weapons [edit]

For stage combat, all edges should exist dulled and points blunted and then that in that location is no risk of severe injury if someone is accidentally stabbed. In improver, weapons that are used, and not merely for testify, should exist certified equally combat-ready, thereby preventing whatever accidents involving blades accidentally breaking off.

Melee [edit]

Melee weapons are used in large battle scenes and can include spears, axes, maces, flails, and more. These are other weapons that are best used in large playing spaces where there is room to work at a safe distance.

Stick-fighting [edit]

Quarterstaffs are used in shows that are performed in big playing spaces due to the large size of the weapon. 1 of the almost popular quarterstaff fights is that between Robin Hood and Piddling John in the tale of Robin Hood from the 17th century ballad. Modernistic quarterstaff choreography has also integrated the techniques of the bō staff from the Japanese martial art Tenshin Shōden Katori Shintō-ryū, which originated around 1447. Examples of this style can be seen in the famous Kabuki play Yoshitsune Senbon Zakura, written in 1748.^{[ citation needed ]}

Asian [edit]

This section needs expansion. You tin can assistance by adding to information technology. (January 2020)

Other weapons like a katana, a Japanese style sword that is curved on i side, and nunchucks tin can also be used onstage. These require more detailed study of Japanese martial arts. Stage combat versions of nunchucks can exist purchased that are foam instead of wood, thereby reducing the danger to the actors.

European [edit]

A large sword commonly used in the early Eye Ages in Europe. The broadsword was notable for its large hilt which immune it to be wielded with both hands due to its size and weight. Used for slashing rather than stabbing, this weapon is used in plays set in this period like Shakespeare's Macbeth and is also seen in fantasy epics like Lord of the Rings.

First school instructing on the correct use of the rapier in England was started in 1576 by Rocco Bonetti from Italy.^[12] Bonetti took over the lease from playwright John Lyly to open his school in Blackfriars.^[13] The rapier has the advantage of the thrust over the slash which means it could be a much smaller and lighter weapon than the broadsword. It is popular in Shakespeare plays like Romeo and Juliet and Hamlet where duels are performed and can be used in combination with a dagger.

Two men dueling using the smallsword.

The smallsword came into fashion in England and France in the tardily seventeenth century.^[12] It was used equally a thrusting weapon and then sword movements were kept minimal to find the opening that a thrust could land. Virtually men of the flow carried smallswords as fashion accessories and then most were elegantly ornamented. An example of a smallsword duel can be seen in Les Liaisons Dangereuses by Christopher Hampton written in 1985, based on the 1782 novel of the same name.

Two opponents face off in a knife fighting rehearsal.

In that location are many knife fighting styles from the Bowie knife to a switchblade. Knife fights tend to take quick sharp movements. An case of this tin can be seen in West Side Story's fight between Riff and Bernardo. Oftentimes in plays however, it is one thespian with a knife confronting someone who is unarmed like in Act I of Georges Bizet's opera Carmen, written in 1875.

Approximate size and shape of shield used in stage combat.

LLyg The Sword and shields used in stage gainsay are commonly round and are stiff enough that they tin can be used as a defensive and offensive weapon. An important element in using a shield is to hold the shield arm in an upper diagonal so the fist is college than the elbow so the top of the shield does not move when struck, and the danger being hit in the face with the shield or the weapon using to strike it can be avoided. Sword and shields can exist found in battle scenes like in Shakespeare'due south Wars of the Roses history plays.

Guns [edit]

A staple of modernistic action films due to its visual spectacle, a result of often impressive choreography and stuntwork.

Bodies and bottles [edit]

This consists of mitt to hand combat without weapon. Elements of unarmed gainsay include slaps, punches, kicks, grabs, chokes, falls, rolls, grappling, among others. Many fight directors rely on combinations of messy street fighting and martial arts such every bit aikido and Brazilian jiu-jitsu to create fights of this nature. By and large more common in modern gimmicky plays, after swords have gone out of style simply also seen in older plays such as Shakespeare'southward Othello when Othello strangles Desdemona.

Institute objects are objects that are not traditionally weapons but can be used and so in the context of the scene. A classic example of this is breaking a canteen over someone's caput. Every bit with all stage combat, the objects are rigged so as not to actually pose any danger to the recipients. In the case of bottles or plates, sugar drinking glass molds are used rather than actual drinking glass bottles.

Realism [edit]

Fight choreography can vary widely from true realism to outright fantasy depending upon the requirements of a particular production. I of the biggest reasons that theatrical fight directors oftentimes do not aim for strict realism is that the live audience could not easily follow the 'story' of the activeness if bodies and blades were moving in the ways trained fighters would move them. For example, a production of Cyrano de Bergerac, past Edmond Rostand, using 17th-century rapiers, might testify Cyrano making many circular cut attacks. But a more efficient, practical attack would be taking a quicker, more direct line to the opponent'southward torso. But the fight director knows that the audience couldn't follow the action also if the attacks were faster (the audience might hardly be able to meet the sparse blades whip through the air), and then well-nigh fight choreographers would make choices to assist the audience follow the story. Of course, this is dependent on the production, the manager and other stylistic choices.

Ane schoolhouse of fight choreographer thought says that an unusual aspect of live stage gainsay, such equally in a play, is that audiences will react negatively to even imitation violence if they fear the actors are being harmed: for instance, if an histrion is actually slapped in the confront, the audience will end thinking about the character and, instead, worry about the performer. Audiences may besides fearfulness for their own safety if large gainsay scenes seem to be out of control. Therefore, stage combat is not simply a prophylactic technique merely is as well important for an audition to maintain uninterrupted suspension of disbelief.

Types [edit]

In theater [edit]

Having its roots in Medieval theatre, stage combat enters classical theatre choreography with Elizabethan drama (Shakespeare's simple and frequently seen stage direction, they fight).

Classical stageplays with sword fight scenes:

Romeo and Juliet (1597) past William Shakespeare
Henry IV (1597) by William Shakespeare
Hamlet (circa 1600) past William Shakespeare
Macbeth (circa 1605) past William Shakespeare
Male monarch Lear (1606) by William Shakespeare (Cornwall and the retainer, Act III; Edgar and Edmund, Deed V)
Troilus and Cressida (1609) by William Shakespeare
'Tis Pity She'south A Whore (circa 1630) by John Ford
The Rover (1677) by Aphra Behn
Die Räuber (1781) by Friedrich Schiller
Cyrano de Bergerac (1897) past Edmond Rostand

In film [edit]

Cinema inherited the concept of choreographed fights directly from the theatrical fight. Douglas Fairbanks in 1920 was the kickoff moving-picture show director to ask a fencing master to assist the production of a fencing scene in cinema.^[14] A 2nd wave of swashbuckling films was triggered with Errol Flynn from 1935. Renewed interest in swashbuckling films arose in the 1970s, in the wake of The Three Musketeers (1973). Directors at this phase aimed for a certain corporeality of historical accuracy, although, as the 2007 Encyclopædia Britannica puts it, "movie fencing remains a poor representation of actual fencing technique". The Star Wars films, the fights for which are choreographed by Bob Anderson & Peter Diamond (Episodes Iv, V & VI) and Nick Gillard (Episodes I, II & Iii), tend to portray its lightsaber combat using swordsmanship techniques drawn from existing martial arts, but performed with fantasy weapons such as lightsabers or the Force, whereas the action featured in The Lord of the Rings besides choreographed by Bob Anderson employed fantasy weapons and fighting styles, designed past Tony Wolf.

During the 1970s and 1980s, Bruce Lee, Sonny Chiba, Jackie Chan and Sammo Hung became famous for both choreographing and interim in martial arts action films, and were influential in the development of phase combat on moving-picture show. Hong Kong-based fight choreographer Yuen Woo-ping is known for his piece of work on Crouching Tiger, Hidden Dragon and the Matrix trilogy, in which the ofttimes unrealistic fighting techniques are complemented by directorial techniques such as bullet fourth dimension. Ching Siu-tung is particularly noted in the field of Hong Kong action cinema for his use of graceful wire fu techniques. By dissimilarity, films such as The Duellists, fight directed by William Hobbs, In one case Were Warriors, fight directed past Robert Bruce and Troy & Ironclad, fight directed past Richard Ryan are widely famed for including gritty, realistic combat scenes. Ryan is as well known for his creativity in devising styles such equally Batman's in The Dark Knight, Sherlock Holmes 'prevision' style in Guy Ritchie's two Sherlock Holmes movies.

Combat reenactment [edit]

Combat reenactment is a side of historical reenactment which aims to depict events of boxing, unremarkably a specific engagement in history, only as well unscripted battles where the 'winner' is non predetermined.

See besides [edit]

Hong Kong action cinema
Kung Fu Theater
Martial arts film
Samurai movie theatre

References [edit]

^ "Fight Craft". xix April 2013.
^ Aristotle. Poetics. pp. Chpt. 6, Sect. 2. Line sixteen–20.
^ Herodotus. Histories. Vol. Book Ii. pp. Line 63.
^ Gordon, Gilbert (1973). Stage Fights. New York: Theatre Art Books. pp. half-dozen. ISBN978-0-87830-131-7.
^ Waggoner, M. R. (1965). "Timon of Athens and the Jacobean Duel". Shakespeare Quarterly. sixteen (four): 304–306. doi:10.2307/2867659. JSTOR 2867659.
^ Wolf, Tony. (2009) "A Terrific Combat!!! Theatrical Duels, Brawls and Battles, 1800-1920"[/]
^ Archived at Ghostarchive and the Wayback Motorcar: Feryn, Elisabeth; Walker-Fitzpatrick, Lesley (2008-03-08), The Fight Principal: A Documentary virtually Paddy Crean , retrieved 2018-eleven-17
^ Childs, Casey (September 24, 2014). "B.H. Barry Interview". world wide web.primarystagesoffcenter.org. The Primary Stages Off-Broadway Oral History Project. Retrieved November 17, 2018.
^ Suddeth, J. Allen. "J. Allen Suddeth Bio". world wide web.safd.org . Retrieved 2018-11-17 .
^ Wilson, Guy (2018). "John Waller — A Life Remembered". Artillery & Armour. Royal Armouries. 15 (2): 113–121. doi:10.1080/17416124.2018.1522141.
^ The Society of American Fight Directors. Glossary of Terms. Updated three/19/16. http://www.safd.org.
^ ^a ^b Wise, Arthur (1968). Weapons in the theatre. New York: Barnes and Noble. pp. 5, 123–124.
^ Turner, Craig; Soper, Tony (1990). Methods and Practice of Elizabethan Swordplay. Carbondale, IL: Southern University Press. p. fifteen.
^ 2007 Britannica, due south.v. fencing.