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Fight Master Magazine The Society of American Fight Directors
10-1982
The Fight Master, October 1982, Vol. 5 Issue 4
The Society of American Fight Directors
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Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons (J -thetbe socie-f RECOMMENDED BY THE SOCIETY OF AMERICAN FIGHT DIRECTORS Write for our illustrated catalog ($3.00) ($3.001 and price list TheiJ\RMOURYThe RRMOURY AMERICAN FENCERS SUPPLY CO., 1180 FOLSOM STREET, SAN FRANCISCO, CA. 94103 - 415/863·7911 THE FIGHT MASTER Tne Magazine of the Society of American Fight Directors. NO. 19 OCI'OBER 1982 Editor - Ann C. Long Lay-out - David L. Boushey Typed and Duplicated by Ann C. Long ************************************************** SOCIETY OF AMERICAN FIGHT DIREX::'IDRS The Society of American Fight Directors was fourrled by David L. Boushey and incorporated in Seattle, Washington, in May, 1977. OFFICERS: President Erik Fredricksen University ofof MichiganMichigan c/o Theatre ArtsArts Dept.Dept. Ann Arbor MIMI 4810948109 Vice-President Rod Colbin 6106 TempleTemple HillHill DriveDrive LosLos AngelesAngeles CACA 9002890028 SecretarySecretary- DavidDavid L.L. BousheyBoushey Treasurer 47204720 38th38th N.E.N.E. SeattleSeattle WAWA 9810598105 -1- INDEX ARI'ICLE PAGE 1.I. The Fight Master .... . · · · · · · · 3 2. Letter to the President 5 3. TV'IV Guide - Stunt CasualtiesCasualties . · · · · 7 4. The Action Men . ··· · . . 10 5. Hamlet ... ..•Going Going LongI.Dng ... ..•The The Pass ... ..•He He Scores! SCores! 13 6. Weaponless Stage Combat · . . . . · · · · 16 7. The Fight Doctor • · · · ···· · 19 8. The Body Language of Aggression 21 9. The Fabulous Samurai Sarmrrai S\\DrdfightS\-.ordfight 24 10. More Duels in France 29 11.II. English Battle AnTIsAnns · · · · 31 12. "Points" of Interest 33 13. Society News · · · · 35 - -2- THE FIGHT .MASTER As previously mentioned in the JulyJuly issueissue ofof "TheFight"The Fight Master",Master", the Society's magazinewillmagazine will be transferredtransferred toto thethe statestate ofof IllinoisIllinois under the jurisdiction of Full MemberJosephMartinez.Member Joseph Martinez. TheThe officialofficial address for membersofmembers of the Society toto sendsend theirtheir articlesarticles oror requestrequest in-in formation regarding the magazinewillmagazine will be:be: University of IllinoisIllinois Krannert Center forfor thethe PerformingPerforming Arts, Division ofof TheatreTheatre c/o Mr. Joseph Jl.1artinezJl.'lartinez UrbanaILUrbana IL 61801 ALLALLARTICLESFORTHEMAGAZINESHOULDNOWBESENTTOJOE. ARTICLES FOR THE .MAGAZINE SHOUID NOW BE SENT TO JOE. THEJANUARYTHE JANUARY ISSUEISSUEWILLBEPRODUCEDINILLINOIS. WILL BE PRODUCED IN ILLINOIS. HavingHavingproduced produced "The "TheFight Fight Master" for the past five years,years, II havehave gonegone throughthrough some somedifficult difficult times. At times I wasn't sure whetherwhether thethe magazinemagazine wouldwouldhave have substantial substantial material to makeitmake it worth while. TheseThese timestimes werewere primarilyprimarily in in the beginning. I found myself writing half thethe magazinemagazine inin orderorder to to make makea a newsworthy newsworthyissue. issue. In recent rronths, there hashas beenbeen anan upswingupswingin in the the number nurriberof of articles forwarded to the Society. TheThe numbernumber ofof articles articles has has grown grownas as the membership membershiphas has grown. It is absolutely vitalvital that that the the membership membershipcontinue continue to provide information for thethe Society'sSociety's magazine. magazine. There There are still many manymemberswhoto members who to this day havehave notnot contributedcontributed a a single single article article to the magazine, and unfortunately, someofsome of thesethese members membershave have full full status. ItIt cannot cannot be be expected expected that that the same sameindividuals individuals continue to provide the bulkbulk of of the the articles articles for for the magazine. It cannot be expected that the samesamemembersdo members do 95% 95%of of the the work of the Society. The membershipmusttakemembership must take somesomeof of the the responsibility responsibility off off of of the shoulders of those whoguidewho guide the Society.Society. Joe Joe Martinez Martinez is is going going to need your help to makethemake the magazine anan ever ever rrore rrore important important source source of of informationinformation for the membership. He cannotcannot do do it it all all just just as as I I couldn't couldnf t do it all. This is becomingabecoming a large organization.organization. We Wehave have to to spread spread the work around. II will will continue continue to to collect collect annual annual dues, dues, seek seek advertising revenue, keep thethe Society's Society I s roster roster (including (including all all changes changes of address), and provide the SocietySociety T-shirts. T-shirts. Membership Membershipinquiries, inquiries, membership membershipstatus, status, certifications andand business business letters letters should should go go to to the the president, president, Erik Fredricksen. AnythingAnything regarding regarding the the magazine, magazine, of of course, course, goes goes to Joe. Sometimes,Sometimes,being being an an officer officer in in an an organization organization of of this type can be a thanklessthankless job. job. Many Manyof of the the members membersdo do not not realize realize how hawmanyhours many hours are donateddonated by by the the officers officers and and many manyfull full members membersto to this this Society. What Whatwill will -3- help immensely immenselywill will be those members membersto to the Society offering norerrore infor-infor mation to the Society through its magazine magazineas as well as pronotingproIIDting the Society in their own ownregions regions through various A.T.A. conferences and other such organizations. This article is not meant to impugn impugnanyone. anyone. The Society is growing. More people have to take an active part. You Youcannot cannot sit by and expect the benefits from the Society while a select few continue to do the bulk of the work in the organization. If you are wondering wonderingwhat what you can do, contact the president. He Hewill will give you suggestions regarding what you can do to further this Society as a viable part of the theatre/cinema comnunicomnunity. ty. In closing, I wish to thank AnnArm I.DnglDng for her fine workinwork in editing and typing "The "TheFight Fight Master" over the past three years. She has set a strong precedent for those who whoare are to follow her in making makingthe the magazineanmagazine an attractive, coherent, infonnative source of information. David Boushey -4- LETI'ER TO THE PRESIDENT From Anthony Soper Dear Erik: I have to agree strongly with A. Jaspe that we should seek to unionize ourselves. Our credibility, prestige, and bargaining powercannotpower cannot be but increased treble-fold. WewouldbeWe would be doing ourselves and that rare breed, the stage actor, the same samefavor favor that was done to the early film actor whenthewhen the rrovie stuntmen stuntmenunionized. unionized. Aside fromprotectingfrom protecting our own job security and assuring quality fight direction, we could prevent a vicVic MorrowstyleMorrow style tragedy from afflicting somehaplesssome hapless stage actor because of shady or irresponsible decision makingbymaking by a theatre's director, Artistic director, producer, or what-have-you. Let's face it, an incompetentorincompetent or irresponsible memberofmember of our association wouldbewould be a danger to the life and limb of all whoworkedwithwho worked with him. At the least, I think we've all got to start thinking like a union. For example, I'm not aware of any of mycolleaguesmy colleagues whounfailinglywho unfailingly use a well-drawn, iron-clad contract! If any do, I think we'd be well advised to get together and turn out at least a basic proto-type for use by all of us. I think it's professional suicide to conduct business as a "professional" choreographer and not have a legal contract. I think that the strongest waytoway to achieve all three of our Society's stated purposes (especially "To "Toprorrote prorrote the art of fight clureog:raphy clnreog:raphyin in such a mannerthatmanner that the 'fight director' will be an integral part of the theatre and cinara") cinata") is to bring the legal system (such as its masquerades) into play, on our side. WhatwouldweWhat would we stand to lose? The contract I first used I've sent along for you to look at. It ..., The contract I first used I've sent has~as Im.1chwrongwithmuch wrong with it, but it was born of necessity. I used it for a l\igh-schoolfiigh-school production of the Three MusketeersIMusketeers I did. LuckyforLucky for me, I though ahead. The production was in such a shambles, the people respon-respon sible so ireesponsible, that I was hard pressed to allow any weapons play on the stage at all! I kept all the swordplay swordplayto to an alrrost non-non existent minimumandtriedminimum and tried to makeusemake use of the kid's natural rambunc-rambunc tiousness and awkwardness awkwardnessbydistracting by distracting the audience with lots of "sound"soUndand and fury", but alrrost no fighting. At any rate, at one point one of the boys quit the show. This was a rather COITllIDnoccurrance(7cornrron occurrance (7 times during myinvolvementalone!)my involvement alone!) whichmadereschedulingwhich made rescheduling and reteaching the choreographyrrorechoreography rrore time consuming than profitable rehearsal. Unfortunately, his fight-scene partner took it in his head that he wouldteachwould teach "the newguy"new guy" his fight, whichwaswhich was -5- admittedly simple. I had repeatedly stressed to all involved that there wouldwouldbe be no rehearsing of violence allowed W1less rmless W1der rmder my personal supervision (for I could not trust them themout out of my sight). But apparently our hero was rrotivated out of sorne sone misguided misguidedsense sense that "the show showmust must go on". Upshot--a broken nose for the new newguy's guy's pains. Thank ThankGod God,I they brought him in to rne, neI I applied first aid, called his parents, parents I the hospital, and the principal. The good goodthat that came cane of all this was that because I had exercised my professional rights and protected my responsibilities with the law, that the principal put his foot down downwith with these kids. NorroreNo rrore rronkeying aroW1d,arormdI or no rrore show. But if I hand' hand't t had the contract to back me up, I'd have been powerless. Tartar Archers. Leslie's -6- As TV presses tor more spectacular stunts, stunts. the casualties are mounting and performers are rebelling ·. By Ellen Torgerson Shaw JessicaJessica Walter-Trapper John's ex-wife for ways to make a television or movie inin TrapperTrapPe' John, M.D.-last M.D.-1ast year co co-set a less hazardous place to be, and a starred in the flick "Going Ape!" The mov mov-special actors' committee has been formed ieIe was mostly about orangutan antics, but to study new safety guidelines. itit also included included an obligatory car chase chase-"There's often Often no one to tell you if it's with Walter at the wheel of a Mercedes safe or not; no real last stop for the actor sports car. Driving like crazy. Driving the to say yes or no. There have to be stricter way viewers love to see it. Dangerous standards," says Walter. high speeds. Dangerous swerves. Miss Miss-Suddenly, Hollywood actors-and inging other cars by inches. inches. Except, of course, stuntpeople-are able to talk about some-some thatthat a stuntwoman was going to double thing that has long been as much a dirty forfor Walter while the actress sat comfort comfort-little trade secret as how Hollywood stu-stu ably in her chair and drank coffee. Safely. dio d;o accountants juggle their books. In the But the stuntwoman didn't show up. So past few years more than 20 crew mem-mem thethe director, ever conscious that every berS bers have been injured or killed on the hour spent waiting costs as much as a set and on location, actors have been day in the hospital, ordered Walter into hurt and stuntpeople have lost their fives.rives. thethe car. Many people in Hollywood say produc-produc "Get in the car and drive like hell," he tion companies often do not take meas-meas• said. ures necessary to protect the lives and Walter climbed into the car and drove iimbs limbs of the people they employ to act a timid and decorous 50 miles an hour. out ever-more spectacular scenes. "I could hear the director shouting "It costs about $10 to have a tank of through the bullhorn, 'Faster, faster'," she oxygen on a a set,"set." Walter says, "yet most .· recalls. "Actors don't like to say no to , companies won't spring for it. The values dangerous stunts because it makes them I are misplaced." looklook like bad sports ... as though they're i Robert Marta, cochairman of the ad scared. Most actors are afraid to say no." 1 roocr.oc safetysaiety ccmmitteecommittee of Camera Union But Jessica Walter said no. lLocal 659, has said in a New York Times Walter, a vice president of the Screen I interview,imerview, "Nobody paid any attention un-un Actors Guild, like other actors Isls doing i tilti I !ia well-knownwe1 I-known actor and a couple of more than saying no these days. The II' kids were killed. The helicopter accident deaths of Vic Morrow and two small chichil I- would have been hushed up ifii itii hadn't dren, killed by a helicopter's tail-rotor I been for the kids. There might not even blade while on location for the filmfiim "Twi-"Twi I have been an investigation. What does light Zone" in late July, have galvaniZedgalvanized I that make u9-dog meat?" the Hollywood community into searching Sometimes, yes. Often it is a me- -+ TV GUIDE NOVEMBER 6. 1982 7 -7- continuedcontonued chanical failure. The stunt coordinator may with burlap bags. According to Kahana, not always check the terrain thoroughly. who was there with two other stuntpeople Explosives are never totally- safe. Thus (and fire extinguishers), "The fire got out death, disaster and near-catastrophe are of control." Both Mclerie McLerie and Simmons endemic to the television and moviemak moviemak- were terribly frightened, Kahana says. ing world. Actor Peter Barton was se se- Kahana left the show after completing verely burned bUrned last November when he fell the fire scene. "I can't work under those on a magnesium flare while shooting a conditions. But 10 other guys will take scene for the new series The Powers of the job and keep their mouths shut." And Matthew Star. Louis Gossett Jr. suffered because he has been outspoken, outspoken. "I prob-prob bums on the back of his head and both ably won't ever work again at Warner hands in the same accident. Last August, Brothers." (Warner is coproducer of The a stuntman on The Dukes of Hazzard, Thom Birds.) sailing through the air in a car, hurt his Warner is also the studio under whose back on impact and was hospitalized. In auspices "Twilight Zone" was being shot 1980, cameraman Rodney Mitchell was and which produces The Dukes of Haz-Haz crushed to death under a camera car in zard as well. Dukes. A dozen other people were injured in the same accident; one of them emerged Stan Margulies. Margulies, producer of The Thorn brain damaged, his face paralyzed. Dav Dav- Birds, angrily denies Kahana's allega-allega id Cadiente, a stuntman who was working tions-andtions--and says Kahana never com-com as fire-safety coordinatof for Fantasy Is Is- plained to him about the safety of the fire land, burned his arm putting out flames scene. on a supposedly fire-retardant suit worn "We did everything that we could think by a stuntwornan, stuntwoman, in July. In 1980, Robert of to run a safe operation," Margulies MargUlies Van der Kar. Kar, a Magnum, P.I. cameraman, says, "and that's what we did. No one on location for the series in Hawaii, was was injured." catapulted through a helicopter wind wind- Margulies says the fire that Kahana ul-ul shield into the -vehicle's vehicle's main blades tNadeswhile while timately complained about "never got out it was hovering over the ocean; his body of control." Indeed, Margulies insists, he was never recovered. - personally eliminated "one part of the fire sequence which to me had the possibility Although there were no major accidents of the flames getting out of hand." Mar Mar- on The Thom Thorn Birds, stunt COOfdinator coordinator Kim gulies says he even insisted on a "walk-"walk Kahana, a veteran Hollywood stuntman, through" the Saturday before the fire se-se left the show because, he says, he thought quence was to be shot, shot. to assure "a safe-safe the actors and actresses were being ex ex- and-sane sequence." A local fire- 8 TV GUIDE NOVEMBER 6,19826, 1982 -8- continued Kahana says the actresses' willingness "So many people are not qualified:qualified; that'sthat's to allow themselves to be encircled by a the scary part," Jessica Walter says.says. "For"For fire they were afraid of is not atypical. expediency's sake, they're upped from Performers haven't been able to say no stand-in to stuntman." easily to a director's or a producer's com-com And now, more than ever, actors say, mands, no matter how great their dan-dan some directors are asking their stars, rath-rath ger-or their fear. Vic Morrow's death may er than doubles, to dare the devil. Not all have changed that attitude. stars arA reluctant to do so, of course. Kim Fellner, information director for the Some-young and brave, macho and ar-ar Screen Actors Guild, says, "The real issue rogant in their assumption of theirtheir invin-invin isis not to assess blame but to give the cibility-think they can be stuntmen as performer the fortitude to say no. A per-per well as actors. former will now be able to discuss if he Larry Manetti, Rick in Magnum, Pl.,P. I.. or she will perform a stunt that has in it is a brash, courageous man fromfrom Chi-Chi inherentinherent safety problems. Performers Performershave have cago's mean streets. "I was shooting an felt vulnerable in saying no. We are re-re episode in which I was supposed to jump educating our membership to say no and in front of the girl and take thethe bullet to have the right to ask questions. There meant for her," he says. "I landed on a has been a lot of pressure to perform." sewer pipe, hurt my back and cracked several ribs." Another time, Manetti, Fellner is confident that the matter of hoolc.edhooIc.edto to a cable, stood with one foot safety on the set or on location will not on the skid of a helicopter high in the sky be gradually forgotten, ignored or dis dis- and fired a machine gun. All went well. missed as it has been in past years (stu (stu- "I'" was cocky city," he says. dios hate negative publicity and worry No more. Helicopter deaths on his set about insurance claims and extravagantly and others have given him new resolve: high premiums). SAG is pursuing protec protec- "Ainl no way they'll get me off the ground," tiontion for its members by insisting on safety he says. measures in upcoming contract negotia negotia- tions.tions. "After all, the cost is is in our lives; Even on the safest-seeming set,set. unpre-unpre it'sit's our members that suffer. They're the dictable menace abounds and the un-un dead people." expected sometimes happens. In 1981, Why are accidents proliferating in Hol Hol- James Gamer, shooting the first segment lywood?lywood? of BretBrat Maverick, was bucked from a me-me "An"An increasing push to do exotic kinds chanical bull. He broke nine ribs and of stunts," Fellner says. Stunts, like spe spe- spent eight weeks recuperating. Yet Gar-Gar cial effects, excite viewers and reviewers ner is an old stunt hand who used to drive alike. They get big box office and big racing cars to relax. Nielsen ratings; Emmys and Oscars, too. Of course, making TV series and mov-mov So directors try to top each other-and iesies has never been without risk. It's not themselves.themselves. likelike 'NOrking 'NOrkingin in a bank, a doctor's office, Years ago, actors and stuntpeople fell a florist shop or a minimarket. In 1919, off horses and broke their legs or arms, during the filming of "Haunted Spooks," on occasion their necks. A cracked tibia Harold Lloyd, the legendary film star, lost or fibula is not-despite the pain and two fingers on one hand when a trick annoyance-exactlyannoyance-exactly the same thing as prop bomb exploded. He wore a flesh-flesh losinglosing one's life. life. And today's today's stunts- stunts- colored glove over a prosthesis the rest moremore breathtaking, more dangerous-can of his days. Now the actors' and stunt-stunt bebe life-threatening. Especially since some people's air of cheerful compliance has directorsdirectors don't seem to care that some disappeared. "No one should have to lose peoplepeople who do do stunts are not professional his life," Jessica Walter says. Or fingers, stuntpeople.stuntpeople. either.@geither. @g lV GUIDE NOVEMBER 6. 1982 11 THE ACTION .MEN From: The TheFight Fight Director society of British Fight Directors E.M.I. Studios, Eltree, London, IDndon,England, England, was the site where the current firm of the "Star Wars" Wars"series series "Revenge "Revengeof of the Jodi" was being filmed.filmed.rhe rhe producers had pulled together the combined combinedexpertise expertise of Peter Diarrond, Diarrond,actor actor and action co-ordinator with 30 years experience in films of all types. Bob BobAnderson,ex-British Anderson, ex-British Olyrrpic OlyrrpicFencing Fencing Coach, also with 30 years experience in the film industry, and Colin Skeaping, a stuntman stuntmanwith with 15 years experience. BetweenBetweenthe the three of these action men, the experiences of acting, coaching and performing are canbined to produce the action sequences for the film phenorrenon phenorrenoncalled called "Star Wars". The Thewhole whole is controlled by the imagination and creative genius of the Executive Producer, George GeorgeLucas. Lucas. Peter Diarrond Diarrondbelieves believes he must make makethe the star performers ( the actors) l(X)k look expert when.quite often they are not. BobBobAndersonsays Anderson says "quite often an excellent actor, although just righ-= righ~ for a particular part, does not have the ability to participate in an action sequence sequenceat at the level demmded derrBIldedbythe by the script. The action co co- ordinator has therefore b.D priorities to ensure that the action achieves the high standard required by the Director. The first is to coach the actor so that he/she is cxxnpetent cxxnpetentfor for the scenes when whenhe/she he/she cannot be 'doubled'. The second is to ensure that a suitable 'double' is available to do the 'long shots' and particularly difficult or dangerous stunts". Colin Skeaping, training in his dressing room roomduring during a lull in filming says, "every stuntman stuntmanONesit 0tves it to himself and those with whom whomhe he v-Drks,v-urks, especially if they are actors, to be as fit and corrpetent as I:X)Ssible.I,X)ssible. You Younever never krr:M knc:Mwhenone when one is going to be called u!X)n UI,X)ntoperform to perform an act of suprerre suprerrehumanendeavour. human endeavour. My personal safety depends largely UI:X)nuI,X)nmyfitness my fitness and ability to perform performwell" well". . DiarrondDiarrondtakes takes a less physical stand!X)int standI,X)intwhendiscussing when discussing arranging action sequences-"This type of v.0rk v.Drkinvolving involving coaching of actors for action sequences is varied and interesting. Because Becauseall all sequences are rrostly pre-determined and well rehearsed, the tedious, drawn-out learning of basic techniques which SI:X)rts sp::>rtsperformers performers must go through in their early, cognitivecogniti ve stage, can be cut short, allowing rrore time for practicing and perfecting the final act. It is like the Olyrrpic Olyrrpicskater skater starting on his final routine on the first day of practice--he v.Duld v-uuldhave have an expert expert. choreo choreo- grapher to v.0rk v.Drkout out the routine, an expert musician to write and conduct the music and an expert skater to do the rrore difficult and dangerous -10- jumps. HewouldalsoHe would also knowthatknow that at thethe endend ofof itit all,all, whenitwhen it waswas 'in'in thethe can',can' , he wouldwinwould win the gold medal."medal. " "This leavesleaves thethe co-ordinator",co-ordinator" , PeterPeter concluded, "with an imaginative and artistic performancewhichwillperformance which will bebe pure magiconmagic on the screen." HeusesHe uses the tenntenn advisedlyadvisedly asas muchofmuch of thethe action in Star WarsinvolvesWars involves the use of magical quantities.quantities. BobBobAnderson: Anderson: "In the world of film makebelievemake believe thethe finalfinal outcomeoutcome of any action sequence-sequence - like the laser swordfightsword fight betweenLuJj:eSkywalkerbetween LuJj:e Skywalker and Darth Vader in the Star WarsfilmsWars films - is knownfromtheknown from the veryvery beginning.beginning. TheThewinner, winner, therefore, if there is to be one, is usually thethe herohero andand thethe action is a 'fait accompli'.accornpli'. TheactionThe action co-ordinator quitequite oftenoften startsstarts at this point and workshisworks his waybackward,changingtheway backward, changing the 'rrood''rrood' ofof thethe actionaction to suit the script or the Director's interpretation. All three stunt performers believe that there are certaincertain quali-quali- ties action co-ordinators must have before they can succeed inin thisthis industry.industry. KnowledgeKnowledgeofthe of the skills of acting, use of sets and props, safety factorsfactors especially when whenworkingwith working with artists, practical ability in thethe basicbasic skills of falling, landing, fighting (martial arts), riding, driving, aquatics, all are essential backgroundabilitiesbackground abilities to do the jobjob competently. BobBobAndersonsumsit Anderson sums it up; "This knowledgeandabilityknowledge and ability is as essential toto the action co-ordinator as a physical education degree is toto thethe sports coach". The action co-ordinator will enquire into the artistic world of cameracameraangles, angles, use of different lenses, special SPecial effects and the psychology ofof actors' actors' perfonnances perfonnancesto to enhance enhancehis his abilities". "All of this is to no avail",avail", warns Colin Skeaping, "if the action co-ordinator is unable to corrmunicate".corrmunicate". "This {s what we all should have in corrm:::m",Skeapingcontin-cormon", Skeaping contin ues,ues, "the "the coach to his or her perfonrer, the co-ordinator to the stuntrnan,stuntman, thethe director director to to the actor, the actor to the audience. Corrmunication mustmust be be at at the top of any list where whereknowledgeandability, knowledge and ability, perfonning andand achieving achieving are the objectives". objecti ves". Mark !-mk Hamill, star of the Star Wars films,films, has has had had ample ampleopportunity opportunity to be coached coachedby by directors and stunt co-ordinatorsco-ordinators during his acting career. It is only fitting therefore, thatthat the the last last word wordon on coaching should be made madeby by the·recipient the· recipient of coachingcoaching philosophy. philosophy. "'Empire"'Empire Strikes Strikes Back' and 'Revenge 'Revengeof of the Jedi' were unique ex-ex periencesPeriences in in that that the physical requirements for me mewere were extensive enoughtoenough to warrantwarrant a a training training prograrrme prograrrmethat that began four rronths rronthsprior prior to filming. II took took daily daily classes classes in in the martial arts and weight training to prePareprepare myselfmyself for for what what proved proved to be the rrost physically demanding demandingrole role of my career.career. When Whenit it comes comestime time to choreograph choreographthe the fight sequence, I started fromfrom scratch scratch with with Peter Peter Diarrond, Diarrond,incorporating incorporating what I had learned pre-pre viouslyviously but, but, of of course, course, remembering rememberingthat that this time it was for the camera. InIn a a film film of of this this kind", kind", Mark MarkHamill Hamill continues, "your stunt co-ordinator -11- secondsecondonly only in imp:)rtance i.r'np)rtanceto to the director. He is aware of one's capabi-capabi lities and limitations and should have the actor's safety as his main priority. Jl.bre M:)reiJnr:ortant, imp:)rtant, he knows knowswhat what looks "good "goodin in camera". I formd myself putting my mycorrplete corrplete trust in the strmt co-ordinator, a relationship I had only previously had with my mydirectors." directors." "I've enjoyed a rrost dynamic dynamicand and exhilarating professional relation-relation ship with the Star Wars Warsstrmt stunt department dePartmentof of Diarrond, Diarrond,Andersonand Anderson and Skeaping. I have enjoyed meeting the challenge and am amrrost rrost grateful for the all-aroundall-arounc. coaching received from fromthemas them as an action actor. I must have been a good and attentive pupil", Mark Markconcluded,"as concluded,"as I have been ma.de madean an honorary membermemberof of the British Stunt Strmt Register rmder rmderEquity. Equity. For this honour I ma rrost grateful." ,,'\ "Okay,"Oltay, now shift your weight onto the left leg during the follow-through." -12- HAMLETHAMLET...GOINGLONG...THEPASS..• ••• GOING IDNG ••• THE PASS ••• HEHESCORES! SCORES! By Ron RonPowers Powers Early 1984. After fierce bidding by all three networks, NBC NBCS];X)rtsproudly Sports proudly announcesannouncesthe the rrost significant break break- through in sports s];X)rtspackaging packaging concepts since Celebrity celebrity Challenge of the Sexes. sexes. Exclusive rights~-to rights--to the Shakespeare Tragedies! Bryant Gumbel Gumbelhimself himself is on hand to anchor the historic first telecast. Bryant? Bryant Gumbel Gurnbel(shouting): (shouting}: from Elsinore in historic Denmark! WelcareWelcometo to Week WeekOneof One of NBC NBCS];X)rtsTragedy! Sports Tragedy! (softer} (softer) WehaveWe have full slate of top dramaturgy in store for you today. We' WeIII 11 be switching you to Scotland for Macbeth. We' WeIII 11 be shuttling between Venice and Cyprus for Othello. And, if tine ti.Ire pennits, wewe'llIII go to pre-d1ristianpre-christian England for highlights from King Lear. But the big one, the classic, right here. A grudge match between the untested teen idol, HamletandHamlet and the veteran, the manmaneverybodyhere' everybcx:iy here· simply calls "the King." Claudius. A crafty rronarch. SomeSomesay say a dirty rronarch. Does all that bother the kid? He talked to AlAi .Mc::Quire McQuirejust just a few :rroments rrornentsago. ago. (Hamlet(Hamletappears appears in Chrorra ChrorraKeyinset. Key inset. His rrodish, long hair is secured by a Nike headband.} headband.) HAMLET:HAMLET:Giveme Give me the cup. Let go. ByHeaven,By Heaven, I'1111 11 have it. GUMBEL:GUMBEL:Youheard You heard him! HewantsHe wants the cup! A lot of people say this kidkid'sIS another Bjorn Borg. IDok for plenty of swordfighting in this one. Now, before we get underway, letlet'sI s quickly run downthedown the main rules of tragedy--tragedy- the story line. For that, a guy whoknowsallwho knows all about tragedy, ha! ha! ha! Pete Axthelm! AXTHEIM:AXTHEI11: It'sIt I S not Hialeah, but it I1 s still great to be here in Derunark.Denmark. People whosaywho say therethere'sI s sanething something rotten here, they just dondon'tI t knowthisknow this country. As for our matchupstoday,matchups today, look for three main elementselarents in all of them. One, man manof of noble nature! 'ThD,'Im, fatal flaw! Three, big conse-conse quences for the whole society! vVhenyougotWhen you got all these, Bryant, you got tragedy! AndIAnd I knowwe'reknow we're going to see a lot of it out here thisthis after-after noon. But the key to victory as you said, Bryant, is the swordfighting. GUMBEL:ThanksforGUMBEL: Thanks for that re];X)rt,report, Pete. Right nowatnow at Elsinore, the dramatisdrama.tis personae are comingoutcoming out on the field. While they do that, letlet'sI s switch -13- you to Scotland and Dick Enberg, who's calling Macbeth--without Macbeth--withouta a color man! ENBERG:ENBERG:Bryant,this Bryant, this is very difficult without the_analyst. the _analyst. But let's let I s recap the action thus far. As you can see by the graphic, .wehadwe had a score score- less act one. A few fewwitches, witches, a prophecy, but no real catharsis.. catharsis. 'Then,'Then, early in the second act this play: Macbeth Macbethwent went backdooronbackdoor on Duncan, Duncan,king king of Scotland. A big assist fran his wife. So the home hometeam team drew first blood. Nowwe'reNow we're midway midwaythrough through act three. The bat hath flown his clois clois- tered flight, and the shardborn beetle hath rung night's yawning yawningpeal. peal. It looks bad for Banquo. But the big star so far--Iady far--Lady Macbeth. Hacbeth. She has really taken charge of this tragedy. Back Backto to you Bryant Bryant. ... GUMBEL:GUMBEL:Superjob, Super job, Dick Enberg. Here at Elsinore, we're underway. So far it's gone pretty much muchthe the way wayPete Pete Axthelm Axthelrnsaid said it would. Hamlet Hamletholding holding .. •. back, feeling out Claudius, soliloquizing perhaps nore than he had intended in his garneplan. gameplan. But in Cyprus Cyprusthey've, they've, just had a major turnaround. Let's.goLet's. go there, to Bob BobTrumpyandBobCostas. Trumpy and Bob Costas. COSTAS:COSTAS:Thankyou, Thank you, ·Bryant, .Bryant, and for those of you who whohave have just joined us from Hamlet, welcome welcometo to Othello. An Anunbelieveable unbelieveable turn of events here herein in the closing rroments. Othello has just taken.out taken·out Desderrona. And Andwe're we're going to show showyou you that replay right now. TRIJMPY:TRIJMPY:Bob,it Bob, it happened happenedright right here--fifth act, second scene. Watch ~vatchthe the left-hand portion of your screen. We've We'veisolated isolated on Desdenona' Desdenona's s chamber- chamber-- and here comes comesOthello. Othello. Just bulls his way in. Just srrothers her. No flags--just like that, we've got a brand new newtragedy. tragedy. COSTAS:COSTAS:Bob,it Bob, it looked to me mefor for a rroment nomentlike like Desdenona Desdenonasimply simply thought he was coming comingto to bed. She just didn't didn I t react in time. TRUMPY:TRill1PY:Bob,you Bob, you mentioned mentionedflags. flags. But I've got to think Othello was drawndrawninto into this rrove nove by Iago. Iago gave him some somekind kind of fake with that handkerchief, and Othello was just over-eager. Othello's othello's goi.'1g goi.,'1gtowish to wish he had that scene before this tragedy's over. Bryant? GUMBEL:GUMBEL:Thisis This is just a sample sampleof of the nonstop action you're going to see here on NBCSportsNBC Sports Tragedy! Hext week, we' we'll 11 be in historic Rome Romefor for Julius caesar. But, meanwhile, meanwhile,live live action. You're looking at Elsinore from the blimp. And Andthings things have really opened openedup up while you were away. First Hamlet Hamletopenedup opened up Polonius from behind the arras. It was a busted play. Let's look at it. There's the sword. ouch! OUch! later Later on, WE3 W(3g6tan got an injury report on Rosencrants and Guildenstern. Neither one is expected back on stage today. Right now nowas as we wewatch, watch, Hamlet Hamletis is going orte-on-one Orie-on-one with Iaertes. Laertes. A terrific Sv.Drdfight. sv.Drdfight. But we have a stunning development in Scotland. Let's go to Dick Enberg. -14- ENBERG:ENBERG:Bryant,this Bryant, this is so difficult without the analyst. But what you're seeing right nowonnow on your screen tells the whole story of this tragedy today. BirnhamwoodisBirnham Wood is corning--there, you can see it--Birnham WoodisWood is corningcorningto to Dunsinane. It's been that kind of an afternoon for I1acbeth.Macbeth. WhateverWhatevercould could go wronghaswrong has gone wrong. Not a happytragedyhappy tragedy for the Scotsman. Youcan'tYou can't blametheblame the guy for thinking that life's but a walking shadow. He just has to remember,likeremember, like mysidekickmy sidekick Merlin Olsen is fond of saying, that there's always torrorrow. Andtomrrow.And torrorrow. Andtomroow.And torroroow. As for Macduff, Macduff,what what a superb tragedy he's had. He's had somekindsome kind of epi-epi phanies, and he maybemay be on his waytoway to denouement. In fact, it looks like MacbethMacbethand and MacduffareMacduff are squaring off for what could be the decisive swordfightswordfight...... Q.JMBEL:QJMBEL:Dick,I'm Dick, I'm afraid we have to leave you for just a mment.rroment. Back here at Elsinore, panderroniurn panderroniumhasbroken has broken loose. We'll try to re-cap it for you. Ophelia was eliminated fran this tragedy. Then, in rapid succes"-succes' sion,sian, Queen QueenGertrude, Gertrude, King Claudius, Laertes and, finally, Hamlethimself.Hamlet himself. OutOUtof of it. So all of the top-seeded characters in this tragedy have been eliminated. This is unbelieveable--it looks as though we're not going to have a winner here. Let's go to Cyprus Cyprusand and BobCostas!Bob Costas! COSTAS:COSTAS:Bryant, Bryant, the upsets continue. Desderrona'soutDesderrona' s out of this one, as we reported earlier. Iago has knockedoffknocked off his wife, Emilia. ThenOthelloThen Othello put away awayhimself. himself. So it looks as though Iago will win this.this one by default--which would wouldbe be an unpopular decision with the crowd, and probably the tragedywriters as well. TRUMPY:TRUMPY:Bob,I Bob, I just want to say sorrething about about·the the waytheway the tragedy-tragedy writers have been getting on Iago's case all week. Youknow,IYou know, I was a spear carrier for several years in this league, and I can really sympa sympa- thise with a guy like Iago. He Hecan't can't pick up a newspaperwithoutnewspaper without reading what a villain he is. I wouldn't blarne blarre him if he punchedoutpunched out a couple of these so called ... Q.JMBEL:QJMBEL:I'm I'm sorry, Trump. We've We'vegot got to break away. We' We're re out of time. Late word from Scotland--Macduff Scotland--Macduffoutduels outduels Macbeth Macbethin in a thriller, paving the way wayfor for Malcolm Malcolmto to be crowned crownedat at Scone. We' We'll 11 have highlights of thatthat on the news newstonight. tonight. Just one closing thought. There's getting to be too much muchviolence violence in tragedy.tragedy. You Youhave have to blame blarre the directors for letting it get out of hand. If it it keeps on like this, it'll ruin the game. garre. Stay tuned for the bloody highlights. So long everybody. (from Inside Sports) -15- SOME METHODS OF WEAPONLESS STAGE CCMBAT Part VI By John Callahan Karate ('which (whichtranslates translates as "emptyhands•..•)is"empty hands...,) is a method methodof of weaponlessweap:mless attack by use of the open hands, and is Sino-Japanese in origin. In the Asian countries, karate has a semi-religious connotation, and requires manyhoursmany hours of introspective contemplation. conternplation. Hcwever, HcMever,in in the United States, karab':!karate is known knownITOstlyas rrostly as a deva2tating devastating means meansof of attack by use of the hands and fEet as weapons.wea]X)ns. Judo is composed COlTg?OsedprinBrilyof prinB.rily of throws and pressure holds, but karate consists mainly of slashes, jabs, and punches with the extended rigid fingers, the slightly curled fist, or the straight edge of the hand. And Andthough though geographically and historically quite dif+ diff ferent in origin, karate and savate share a great numberofnumber of foot kicks in corrm::m.cOrrmJn. Karate has gained increasing popularity]X)pularity in this country in the last decade (perhaps helped helPed by the AmericanoccupationAmerican occupation of Japan following World War~\TarII), II), and elements of it can be seen in manycurrentmany current ITOviesandtele-rrovies and tele vision shows. However, However,because because of its comparative comparativenewness, ne¼uess, karate should be utilized only in plays laid in nodernrrodem settings. For example, some someele- ele ments of karate might be effective and believable in Kenneth KennethH. H. Brown's The Brig, but ludicrous and anachronistic in Christopher Marlowe's Tamburlaine. If you are interested in viewing an extended staged karate fight, one of the best to be foW1d found is in the 1962 1962John John FrankenheimerdirectedFrankenheimer directed rrovie,ITOvie,TheManchurianCandidate. The Manchurian Candidate. The climactic fight sequence in the JamesJamesBondGoldfinger Bond Goldfinger rrovie ITOviealso also contains a gcx:xlly goodly numberofnumber of karate techniques. AnaudienceAn audience will accept and beJeiveinbeleivein a non-karate trained character in a play using somebasicsome basic karate techniques, for the same samereason reason they will accept judo tosses--because they are accustorredtoaccustorred to seeing such tech tech- niques in many manyof of the current films and television shows. And Andif if the karate techniques employed employedare are kept simple enough, the audience's "suspension of disbelief" will not be endangered. AccompanyingAccompanyingeverykarate every karate ITOvementisarrovernent is a loud, sudden, violent shout (made(madeby by the attacker) which'which serves three purposes:pllrJX)ses: (1) this shout is sup]X)Sedsupposedto to startle and confuse the personJ?erson being attacked; (2) it clears the attacher's lungs of any excessive air so that if he should beb::- struck down,down,his his wind is not knockedoutkncx::ked out of him; and ( (3) 3) the shout increases the seemingseemingstrength strength of the blo,.;r. blew. This karate shout is called a Kiai. This authentic shout is very adaptable for Stage Violence purposes,pllrJX)ses, as it covers the lack of any flesh-striking-flesh sounds. The struck actor can, of course, grunt and groan after being hit. TheTheITOSteffective rrost effective karate chops, theatrically speaking, are the -16- Adam'sAdam'sapple apple chop chop and and the the neck neck chop. chop. The The latter latter is colloquially known knownas as aa "rabbit "rabbit punch." punch." TheTheAdam'sapple Adam's apple is is a a projection projection of of the thyroid cartilage at the front ofof the the male male throat, throat, and and since since women womenhaveno have no such projection, the "Adam's appleapple chop" chop" is is an an ideal ideal rrovement rrovementfor for a woman womanto to perfonn on a man. The opponent'sopponent's head head and and chin chin must must be raised so that the Adam's AdamI s apple is visi-visi bleble (a (a favorite favorite method methodof of mine to accomplish accomplishthis this tilting upwards upwardsis is to useuse one one hand hand to to pull pull back the hair of the opponent), and then with the straight,straight, flat flat edge edge opposite opposite the thumb thumbof of either hand, palms facing up or downdown(whicheveris (whichever is easier), easier), strike the Adam's Adam'sapple apple hard. With enoughforce,enough force. suchsuch a a blow blowwill will smash smashcartilage cartilage and push tissue into the throat, causing somesomechoking choking and and loss loss of breath. If administered lightly, the opponentisopponent is rrornentarilrromentarilyy stunned, stunned, and an easy target for any other blows. For Stage Violence,Violence, the the attacker attacker will touch his hand to his opponent's neck, placing hishis blow blow slightly slightly below belowor or above abovethe the Adam's Adam'sapple, apple, but definitely not on it,it, arresting arresting or pulling his punch punchat at the instant his hand touches the otherother actor's actor's throat. The Thenotion notion is accompanied by the Kiai or karate shout.shout. -- TheTheneck neck chop is perfo:rnm perfoITIEdwiththe with the flat edge of either hand on the backback of of the opponent's neck just above abovethe the shoulders. This blowcanblow can also bebe administered administered with a closed fist. With great enoughpower,enough power, such a chopchop can can dislocate spinal vertebrae, or at the least, can stun. This chop isis favored favored by the author to follow a fist to the solar plexus--whentheplexus--when the opponentopponentbends bends over, overI the chop is delivered to the neck. For Stage Violence purposes, the attacker must touch his hand to the opponent's neck, pulling thethe punch. With the karate shout of the attacker, the visible touchingtouching of the hand to the back of the neck, and the reactions of the actor struck, the audience will witness a seeminglyviciousneckseemingly v.:icious neck chop. Inci-Inci dentally, as I stated previously in Chapter I, it takes muchrroremuch rrore strength to successfully pull a punchthanpunch than it takes to follow one through. These two karate blows, the AdamAdam'sI s apple chop and thethe neckneck chopchop,I are adaptable to all types of theatres, but nostrrost particularlyparticularly proscenium-proscenium openingopeningones, ones, as the chops are rrost visible whenseenwhen seen inin profileprofile byby thethe audience. A karate kick whichmayorwhich may or maynotmay not be of useuse toto aa director,director, duedue toto its look of karate professionalism, is the flying dropdrop kick.kick. ItIt w:>rksw:>rks like this: YouYouare are standing a little awayfromyouraway from your opponent--opponent- he steps towards you, his anusarms outstretched (perhaps(perhaps carrying a knife). YoutakeYou take a running leap ofof aa few'fe.v steps, hurling yourself bodily feet first atat your adversary. OnelegOne leg isis extendedextended straight, thethe -17- other leg is tucked W1der. llilder. When Whenthe the extended extendedleg leg hits your opponent, opp:ment, the bent leg will kick out with as much muchforce force and power poweras as possible--it is the kick of this second secondleg leg which whichdoes does any real darrage. If your reflexes are fast enough, enough,you you can land safely on your feet by pushing pushingyourself yourself off of your opponent, otherwise you youwill will fall on your side executing either a break-fall, roll, or simple stage violence-type fall. Your Yourkick kick should be placed in your opp:,nent's opPonent's face or chest areas for the nost darrage. 'AsAswith with the karate chops, the entire secret of simulating this kick lies in pulling the blow. Since the attacker cannot stop his body's forwardforwardnotion notion in mid-air, the pulling of the pW1ch pllilchis is performed performed.bythe by the combinedcorobinedefforts efforts of ooth roth rren.ITeI1. TheTheattacking attacking actor will aim for the shoulder so that if the blow blowshould should accidentally be delivered with force, the chest or face will not be injured. The Theobject object of the attacker is merely to touch the shoulder, not to hit or kick it. For his part, the attacked actor will offer no resistance to the kick, and upon uponthe the first touch of his attacker's attacker I s foot, will drop to the floor opposite the direction of the kick. With Withpractice, practice, the attacking actor will be able to gaugegaugehis his kicks so well that his body bodywill will begin its downward downwardascentat ascent at the rrornent momentofthe of the kick; i.e., if the distance of a flying drop kick is four feet from fromthe the spot where wherethe the attacker nakes his leap to the point wherewherehis his feet touch his adversary, his body bodyY.Duldfall 'v.Duld fall to the ground at four feet, even evenwithout without the opponent's body bodyto to assist his halting. TheThekarate karate flying drop kick looks professional, but it is a truly spectacular Stage Violence stunt and and\>"Drksinany ¼Drks in any blocking situation. It is nost effective when whenstaged staged profile to the audience, but looks realistic from fromany any angle. The Thekarate karate shout, of course, accorrq:ianies acconpaniesthe the kick. -18- THE FIGHl' IXX_,""TQ.R By Tony Soper TAPING FromFromthe the top, let me mesay say that the guidelines offered in this arti-arti cle should be taken for nothing norerrore than just guidelines. All taping techniques must be adjusted to the individual. A very clear distinction should be madebetweentapingmade between taping procedures used for first-aid purp:Jses, purPOses,and and taping done to prevent re-injury of a combatant combatantduring during rehearsal or performance.perfonnance. In a first-aid situation, never do anything rrore complicated than compressionwithcompression with an ACE-typeACE-tyoe elastic bandage (to hold downthedown the swelling). YoushouldYou should never use the following techniques unless Md.;:U1d until permissionpennission is given by the consulting physician for return to rehearsal or performance. Premature stress of the injury is risking chronic or permanentinjurypermanent injury to the muscle or ligarrent, ligament, possible impairing the actor for life. ANKLEANKLEINJURIES INJURIES TheTherrost rrost comron COIlllIDninjuryto injury to the fighter is "turning the ankle", or sprainingsprainmg of the large ligamentligarrent on the outside of the ankle. "Stirrup" strapping gives goodsupportgood support and can usually be wornunderworn under any costume. The idea here is to let the tape take the function of the injured ligament, providing support against lateral rrovernentofrrovernent of the ankle. First, before taping, the ankle should be adequately warmedup.warrred up. It should be "statically" stretched to the point of pain for at least tw::>t'WOminutes. minutes. This stretching prevents the scar-formingscar-fonning collagen fibers fromfromhardening hardening into a glue-like substance that restricts the elasticity of the ligarrent ligament and makesitmakes it prone to re-injury. Therefore, care should be taken that the stretch is slow, steady, and controlled, no bouncing bouncingor or jerking allowed. This stretching should be performed performedat at least three timesti.Ires a day for a·minimumoftwoa·minimum of two to three minutes, and always alwaysprior prior to taping. Before applying the tape, makesuremake sure any cuts or abrasions are dis-dis infected. The Theentire entire area should be clean and dry, and if particularly hairy, shaved (sorry, guys). To begin, place an anchoring strap around the leg, about six inches aboveabovethe the ankle bone. I-'bldalltbld all the tape to the leg as you go, as air-air bubbles will cause blisters. Attach the tape firmly,finnly, but not so tight as to cut off circulation. -19- TakeTakea a second secondstrip strip of tape and tack it lightly to the anchor strap on the inside of the leg, rt.ll1itnm it straight downthedown the leg,le:>g, underW1der the footandfoot' and up again to the anchor strap. Pull gently but finnlyfirmly straight up, then anchor the tape and sm:::oth srroothout out the air bubbles. RepeatReneat twice rrore, starting No. 3 slightly behing and No. 4 slightly in front of the initial strip. strlp. You' You'll 11 end up wlthwith a "fan" shape (see diagram.)diaqram.) vllienWhen strapping illin thisUns "stirrup" "stlrrup" sty.le,style, try LOc:u lJutvut as muchweightmuch weight on the foot as possible, keeping it in the bent position for .bestbest results. For maximum maxirmnnsupport,use suIJfX)rt, use one a:mtinuousstripcontinuous strip of tape, and strap over the "stirrup" in the followingfollo.-;ing manner: startStart on the outside of the ankle just a1:xJvetheanklearove the ankle rone,tone, Q), [) , rt.ll1run downdownunderthe under the arch and over instep, rrovingfranrroving fran right to left (2). ContinueContinuearound around the ankle and downacrossdown across the outside of the heel (3). FallawFollow under the foot and up on the inside of the leg, pulling the tape to the back across the starting point (4), then downondCMD on the inside, and up again over the instep as in (2). ThesixthThe sixth PaSspass (6) then duplicates (3), renEmberrerrernberto to "fan". Likewise, {7) (7) fans over (4), and (8) fans over (5). ((9) 9) then brings us back to the sane direction as (1),( l) , and there we secure the tape on the inside of the leg just abovetheal:xwe the ankle. To'Ib complete completethe the taping, add locking strips (about(al:out three) fromthefrom the initial "stirrup" anchor strap dCMn downto to the last point of the "wrap". Nen issue : KNEE I~TURI:::S -20- The Body Language of Aggression: Training the combatant Actor DavidDavid E. E. Shapiro Shapiro JohnJohnHeil ·Heil LindaLinda Beltz Beltz TheThe special special skills skills of of a a fight fight director director should should go go beyond beyond choreographing weaponweapon play play or or fisticuffs, fisticuffs, just just as as the the emotional emotional impact impact of a fight scene shouldshould extend extend beyond beyond the the fracas fracas itself. itself. Directors Directors can can and should teach actors notnot only only how how to to work work with with violence violence in in the the theatre, theatre, but also how to maintain continuitycontinuity and and integrity integrity of of feelings feelings portrayed portrayed before, during, and after the fight.fight. This This means means integrating integrating actors' actors' total total expression expression -- choreographing not onlyonly the the ballet ballet of of movement, movement, but but also also the the emotional emotional flow of the scene. GesturesGestures and and expressions, expressions, which which are are the the symbols symbols by which we communicate emotion,emotion, derive derive from from natural natural patterns patterns of of movement. Thus consciousness of actionaction patterns patterns can can give give actors actors greater greater facility facility in portraying emotion. StudentsStudents of of dueling dueling may may be be familiar familiar with the origins of certain formal gestures.gestures. One One example example is is the the open open hand hand extended in greeting, a custom ofof universaluniversal meaning meaning whose whose origins origins reach reach to to antiquity. This gesture isis believedbelieved toto have have originated originated as as a a sign sign of of friendliness friendliness showing that no weapon waswas heldheld andand that that no no physical physical threat threat was was intended. intended. In contrast, it is theorizedtheorized byby socialsocial scientists scientists that that the the narrowed narrowed eyes eyes and tense jaw, neck, shoulders andand amsarms of of the the angry angry human human derive derive from from the primitive instinct of our apelikeapelike ancestorsancestors to to fix fix their their vision vision upon an ener:iy, enemy, and to attack with handshands andand teethteeth if if necessary. necessary. WhileWhile historians historians shed shed interesting interesting light on the developmentdevelopnent ofof formalformal gesturesgestures through through the the age age of of chivalry chivalry and earlier, the writingswritings onon bodybody languagelanguage most most germane germane to to fight fight directors are those of other socialsocial scientists.scientists. SinceSince the the time time of of Charles Charles Darwin, psychologists and anthropologists havehave studiedstudied body body language, language, especially especially that related to aggression. DesmondDesmond Norris,1Jorris, authorauthor of of The The Naked Naked Ape, Ape, develops the view that expressions ofof emotionemotion areare derivedderived directly directly from from primitive behaviors existing inin modernmodern humanshumans asas vestigialvestigial representations representations of instincts. A research groupgroup ledled byby PaulPaul EkmanEkman andand Wallace Wallace Friesen, Friesen, of the UC - San Francisco MedicalMedical Center,Center, havehave focusedfocused theirtheir study study on on the the human face. In Emotion inin thethe HumanHuman Face,Face, theythey identifyidentify aa set set of of categories categories of feeling that may be detecteddetected inin facialfacial expressionexpression andand showshow that that facial facial expressio11 expression constitutes aa universaluniversal language.language. InIn UnmaskingUnmasking thethe Face, Face, they they reduce all facial displays of emotionemotion intointo canbinationscanbinations ofof designateddesignated muscle muscle movements. This work also functionsfunctions asas aa trainingtraining manualmanual thatthat provides instruction on how to readread faces;faces; and,and, howhow toto constructconstruct crediblecredible emotional emotional expression through carefulcareful attentionattention toto specificspecific smallsmall musclemuscle movement. So thorough and soso appliedapplied inin orientationorientation isis UnmaskingCnma.sking thethe Face that Ekman and Friesen might justjust asas wellwell havehave designeddesigned thisthis workwork specificallyspecifically for the use of directors andand actingacting coaches.coaches. The task of the director isis toto ensureensure congruencecongruence andand continuitycontinuity soso thatthat the movement of a fight scenescene proceedsproceeds naturallynaturally fromfrom thethe posturalpostural andand otherother physical messages presaging it.it. TheThe directordirector mustmust guideguide thethe actorsactors inin their work with voice qualities, movement,movement, postureposture andand facialfacial expressionexpression soso that these elements are built intointo thethe fleshflesh ofof aa play,play, toto clotheclothe thethe barebare bones of the script. -21- For example, when in King Lear, Oswald confronts Edgar, the scene is fraught ,,ith ,.ah menace. It <1ould tlould be astonishing to see Edgar fight and then kill Oswald if the actors slouched and spoke calmly during the prece<\ingprece,\ing conversation. Any member of the audience - bellicose or benign - would sense the incongruence of the scene played in this ~y.~~y. An actor with wIth martial arts training is best prepared to engage in stage combat having dwelt in the experience of aggression and having beco'1lebeco11e familiar with caution, confusion, anger, fear, helplessness and triu'1lphintriu11ph in the context of the fight. A fight director can thereforet'lerefore ,Iraw:lraw on the heightened sensibility that this emotional base provides. In the case of actors without this combative experience, there is still a reservoir of personal knowledge on <1hich which to draw. For all who wish~-ish to engage in stage combat, bridges ,nust must be created between this reserve of personal knowledge and the practical demands that the fight sequence places upon the actor, so that the fight may be played in a way that maxi;nallymaxi11ally enhances the develop-develop ment of the character. The foundation upon which these bridges are to be built is body awareness. There are many theatre games that either teach or can be adapted to teach body awareness. The "tense muscle" exercise that Viola Spolin describesdescrib2-s in Improvisation for the Theatre is one example. Fight directors can (and many, no doubt do) develop exercises that will enable students tato tap their reserves of personal knowledge. An example follows Yhichw~ich is oriented in particular to fight training. Have a pair of students spar "freesytle" in 51.0''';s1,a:,; HOTION'.!OTIO!: using any weaponed or unarmed approach with which they have,,ave so-neso-:1e familiarity.faf'.liliarity. The other students should observe the action taking care to attend to those stylistic elements of movement that composecor::pose a physical atc1ttitude. titude. These include: orientation to the opponent, pastu·re?')sture and faciaLfacial expression, weapon grip, breathing patterns and rhythm of • mation,otion, etc. \llienatWhen at least one of the combatants has developed a distinct physical attitude (this may take some time!) the action ac tion may be stopped and this "a"attitude" ttitude" studied. Begin by describing desc ribing in a holistic \ilaYwhatway what the combacombatant tant has conveyed. This can be followed by a more detailed look at the particular stylistic elements of movement. It may also be useful to tap into the actors' "stream of consciousness" having them note the flow of images and feelings that they experience during the fight. The others should then mimic this "attitude" taking their turn at sparring "freestyle" in SLOW MOTION. If work with the physical attitude ini.n its holistic form proves unsuccessful, it would then be advisable to work with one or more of the stylistic elements which compose the physical attitude. If this activity does not yield satisfactory results it would be worthwhile to lead the actors through a sequence of "guided imagery." To do this have everyone lie down, close their eyes and letLet themselves relax. After a time h,we have them recreate in their imaginationsimaginatiorts the fight they have observed and then have themthein imagine themselves performing those same actions. This particuLarparticular process may be enhanced by haVinghaving everyone focus on the images that were experienced by the initial set of combatants; by imagining significant literary or historical figures engaging in combat; by calling to mind "stage fights" of high quality that had been observed on previous occasions, etc. -22- TheThe use nse of of dialogue dialogue should should be be reserved reserved until unttl the the combatants combatants ;i.re InIn addition addition to to those those works works previously previously mentioned mentioned there there are other wor"sworls.s byby psychologists psychologists.. that that may may help help the the actor actor to to come come to to an enhance,1 enhancecl understanding ofof the. the reLHionship reLHionship between between mind mind and and body body and, and, of of the the human ·mechanisms of emotionalemotional expression. expression. In In ~onverbal ~onverbal Communication, Communication, body language researcher, AlbertAlbert Mehrabian Hehrabian details details the the relationship relationship between between physical gesture and emotional'emotional state· state' focusing focusing on on the the role role of of body body language language irt ill the communitationCOl!lmunication ofof mood mood states states •. •.. In In contrast, contrast, bioenergetic bioenergetic psychotherapist, psychotherapist, Alexander Lowen,L6wen, isis more more concerned concen~ed .with .with the the relationship relationship between between deep seated muscular tensiontension andand personality personality type type and and with with the the insight insight into into personality that may bebe gainedgained by by the the stu,ly stndy of of body body type. type; ·. , :ByBy recognizing recognizing posture, posture, facial facial expression expression and othero.ther. ele~entsele:n.ents ofof physicalphysical attitude attitude that that occur occur during during fight fight training and by working withwHh . .. the physicalphysical attitude attitude both both. fight fight directors directors and combatant actors cancan enhanceenhance the effectivenesseffectiveness with with which which they they may may play playa a fight. In thist.his way fightfight dtrectorsdirec.tors cancan better better ensure ensure that that stage stage combat combat is well integrated into thethe emotionalemotional flowflow of of the the drama drama and and can can b~tter better help actors develop their craft. READVIGS Baldick,Baldick, R. R. The The Duel: Duel: The The History of fueling. ·new New York:York: CrownCrown Publishers,Publishers, 1966.1966. Darwin,Danvin, C. C. ·Expression Expression of the Emotions in ,1an)1an and Animals.Animals. Chicago,Chica,.;o, lL:IL: UniversityUniversity of of Chicago Press, 1965. Ek.man,Ekman, P. P. and and Friesen, Friesen, W. Unmasking the Face.Face. EnglewoodEnglewood Cliffs,Cliffs, NJ:NJ: Prenticc-Hllll,Prentice-H Ekman,Ekman, P., P., Friesen, Friesen, W. V., Imd8-nd Ellsworth, P.P. EmotionsEmotions inin thethe HumanHuman Face.Face. NewNew York: Pergamon Press, 1972. Lorenz; K. On Aggression. New York: Bantam Books, 1970. Lowen, A. Bioenergetics. New York: Penguin Books, 1976. Mehrabian,Mehrabian, A. Nonverbal Communication. Hawthorne,Hawthorne, NY:NY: AldineAldine Publishing,Publishing, 1972. Morris, D. The Naked Ape. New York: :kGraw-llill, 1967. -23- THI.:.: FABULOUS SAMURAl ShORDFIGHT CompiledCompiledby by T. J. Michaels Part I ITS E.VOLUI'ION FROM STAGE 'ID SCREEN - By Daniel M. Furuya The fabulous swordplayofswordplay of the charnbara charnbarafilm film has entertained millions, both East and West, for the PaStpast half century. AlthoughAl though the production of newnewcharnbararrovies chambara novies has peaked and fallen donmnt domant in JaPan,Japan, films from the chambara'scharnbara's golden age have .-.Dn v.Dnan an enthusiastic and loyal following of AmericanAmericanviewers. viewers. ToshiroMifune ToshiroMifune(Yojimbo,5anjuro) (Yojirnbo, Sanjuro) and Katsu Shintaro (Zatoichi), norma.lly nonnally play to full houses whenever whenevertheir their films are screened. Recently, the influence of Japanese JaPanese cinerratic sl.\Drdplay s\\Urdplayis is becomingrrorebecoming nore and nore rrore evident in Arrerican Americanand and European EuroPeanfilms, films, especially in martial arts novies rrovies and the "S¼Drd "Sv.DrdandsOlIErY"genre. and so.l'.CEry" genre. Despite the i.mp:)rtance irop:>rtanceandmystique and mystique of these films, hardly anything has been written about thehistnry thehistory and evolution of the chambara's sword sword- play art itself. However,toHowever, to fully appreciate and understand the tech tech- niques which continue to captivate today's viewers, it is necessary to return to the roots of charrbara charrbarain in the traditional kabuki theater of Japan.JaPan· KabukiKabukiFight Fight Scenes: History and Techniques The -word wordcharnbarawas chambara was coined from fram the slang "chan-chan "chan-chanbara-bara," bara-bara," which is the sound of S¼Drds Sv.Drdsbangingand banging and clashing away awayin in the swordfight swquences. Chambara Chambarais is :i;opularly PJPli1arly used to refer to the samurai film genre, or swordfight action films set in feudal Japan. JaPan. These films are properly knownknownas as jidai-geki which whichrreans rreans "period" or "historical" pieces. More fure specially, the chambara charribarafilms films were derived from fran ken-geki, the swordplay theater which enjoyed great popularity during the turn of the century. As a stage production with plots focusing on the final cliroactic climactic S'iNOrd Sv.Drd- fight scene, the ken-geki was heavily influenced by the traditional kabuki and tales of popular folk heroes. The actual fight sequence in the kabuki is known knownas as the tachi-rna.wari tachi -mawari which literally rreans means"standing "standing and turning." "Standing" refers to the different stances truck by the hero to drarna.tize dramatize the effect of fighting; "turning" refers to the falling victims. (Tachi-rnawari (Tachi-mawarialso also has the double rreaningmeaningof of tachi, "S¼Drd", "Sv.Drd",and and rna.wari, mawari, "swinging", or "sword "swordswinging" swinging" sequence.). The individual techniques used in the tachi-rna.wari tachi -mawariare are called tate. Tate literally rreans means "stance" or "pose", but the Chinese characters used to write the term rreans means"killing "killing sequence" or "killing techniques." Both kabuki tenns, terms, tachi-rna.wari tachi -mawariand and tate, emerged emergedin in popular usage around the turn of the century, with the development developmentof of the chambara -?LI.--?Ll- genre.genre. The The tenns terrns are are often often used used interchangeably. interchangeably. MostI"'l.osttermsused tenns used in in ken-geki ken-geki refer refer to to stances stances and and postures postures rather than toto martial martial arts arts techniques. teclmiques. This This is is due due to to ken-geld ken-geki' 1 s s origins origins in tradi tradi-- tionaltional kabuki kabuki theater. theater. In In kabuki, kabuki, the the principal principal actor actor controlled controlled the major aspectsaSPeCtsof of dance, dance, acting, acting, dialogue, dialogue, and and singing. singing. During Duringthe the fight scenes, however,however,his his role role was was reduced, reduced, although although he he remained remainedin in the spotlight. InsteadInstead of of perfonuing performingthe the martial-like martial-like techniques, teclmiques, the main actor on the kabukikabuki stage stage might might wave wavehis his hand hand or or strike strike a a dramatic dramatic pose (rnie) (rnie)to to symbolizesymbolizeactual actual fighting, fighting, which whichthe the antagonist antagonist flies through the air in aa somersault. somersault. The Thehyoshi hyoshi ki ki (percussion (percussion clappers) clappers) struck the flor with a resoundingresoundingbang bang as as themain the mainactor actor stanped stanped _his his foot on the ground groundand and swung hishis S¼Drd, sword, again again striking striking a a dramatic dramatic pose. At the same sametime, time, in perfect coordinationcoordination with with the the actor's actor's rrovenent, IIDvenent,a a dozen dozenvillains villains wouldsuddenlywould suddenly turnturn somersaults. somersaults. It It appeared appeared that that the hero had downed downedall all his enemies withwith a a single single mightly mightly blow. blow. The Theprincipal principal always alwaysconcentrated concentrated on the dama andand impact impact of of the the scene, scene, while while the antagonists carried the action. TheseThese antagonists antagonists were were known knownas as karumi, and functioned very muchITn.lch likelike present present day day stuntmen stuntmenand and extras. The literal meaningofmeaning of karumi isis "twisting""twisting" or or "winding" "winding"and and refers to the somersaults and gyrations thethe karumikarumiperform perfonn as as they they are are being "killed" by the hero. KarumialsoKarumi also carriescarries thethe meaning meaningof of karu karu (light) (light) and mi (tx:xlied). O:xxlied). "Light bodied"bodied" suggestssuggests thethe acrobaticacrobatic nature nature of of the the techniques teclmiques employed. The appearanceofappearance of dramaticdramatic fightingfighting on on stage stage was l.ITlfX)Ssible impossible without the tumbling and somersaultssomersaults ofof thethe karumi, karurni, who whocarried carried off all the fight scenes. This typetype ofof action,action, typicaltypical of of kabuki, kabuki, shaped shaPedall all early charnbaraandchambara and swordfight sequences.sequences. SpecificSPeCific techniques teclmiques of the karumiwerekarurni were not institutionalized inin thethe fonnalformal kabuki kabuki theater until the 1770's. AboutthisAbout this time,time, approximatelyapproxirrately 200200teclmiques techniques were used to create the dramatic illusionillusion ofof swordplayswordplay action.action. In 1804, 1804, the Gekijo KurmoZuroku(IllustratedKumro Zuroku (Illustrated InstructionsInstructions onon thethe Theater),Theater), the first book to have illustrations andand explanationsexplanations ofof thethe karumi'ska.rumi's swordplay swordplayteclmiques, techniques, was published. Dance-likeDance-like IIDvementswererrovements were combinedcombinedwith with classical poses to produce an aestheticallyaesthetically "tasteful""tasteful" sword-sword play style. Realism Realismin in the fighting sequencewassequence was discourageddiscouraged asas mukuinurnuku inu no kenka kenkaor or "dog fighting." The 200 techniques teclmiques of kabuki fight scenesscenes werewere condensedintocondensed into 1616 basic categories formingthefonning the basicbasic repertoirerepertoire ofof thethe karurni.karurni. TheseThese techniquesteclmiques had manyvariations,many variations, andand werewere oftenoften usedused inin combinationwithcombination with each other on the stage. TheywereThey were notnot evaluatedevaluated forfor theirtheir martialmartial appli-appli cation or realism but for thethe dramaticdramatic effecteffect theythey produced.produced. 1. Tonbo(dragonfly).Tonbo (dragonfly). ThisThis teclmique,technique, alsoalso knownasknown as tonbotonbo gaeshigaeshi (dragonfly turn) and tonbotonbo kirikiri (dragonfly(dragonfly cut),cut), isis oneone ofof thethe IIDStnost .importantimportant and IIDrepopularnore popular teclmiquestechniques usedused byby thethe karumi.karumi. InIn fact,fact, inin -25- the kabuki and early film -world, world, the karumi karurniwere were often nicknamed nicknamedtonbo. ton.be. TonboTonbois is a compl-te cornpl-te somersault sornersault or hand spring executed by the kanmri. karumiwhen when he is "cut down" down"or or "thrown" "thrown"by by the hero. There are many manyvariations variations to the tonbo such as the hirarra hirama tonbo, for example, in which the karumi does a complete completebackwardssomersault backwards somersault from froma a sitting position. 2. Ebi Zori (shrimp (shrimpcurl). curl). When Whenthe the principal actor is surrounded or pursued by his assailants, he strikes a dramatic pose and stamps his foot on the ground. Simultaneously, all the karurni karumi fall back curling their bodies (like shrimps). The hero seems seemsto to be pushing away awayor or throwing downdownall all of his opponents opponentswith with one sweep. 3. Giba (breakfall, no literal equivalent). When Whencreating creating the effect of being thrown, kicked, or cut down downby by the hero, the karurni karumi throws his legs up and falls back onto his butt. The skill and dramatic effect of this technique is judged by the height at which the karumi can throw him him- self upwards upwardsand and fall back. This is a difficult technique due to the obvious danger of injuring the tailbone. Variations of this technique include rnune munegiba giba (chest breakfall), hara giba (stomach (stomachbreakfall) breakfall) and yoko giba (side breakfall)breakfall). . 4. Jya Kago Kagoor or Hebikago (snake train). This technique is used whenwhenthe the hero is being held back or pulled by many manypursuers. pursuers. The karumi line up in a highly stylized· stylized snake-like formation forrration with only one karumi actually holding on to the hero. The "tug-of-war" situation, which creates the effect of many manypeople people attacking the hero, is cormon corrrronin in kabuki plays centering around Robin RobinHood-typefolk Hood-type folk heroes. These plays were very popular because the audience sympathized sympathizedwith with the hero and enjoyed the great number numberof of action scenes in which the hero was pursued by the law. Another dramatic use of the jya kago technique occurs in Kyokanoko KyokanokoMusume .Musume Dojoji (The (TheYoungDancerof Young Dancer of Dojo Terrq;:>le) Temple)in in which a young youngdancer dancer transforms herself into a dragon to wreak vengeance vengeanceon on her lover who whoj jilts il ts her. WhenWhenshe she assumes assumesthe the dragon persona, the karumi line up behind her to fo:rmform the dragon's body and tail. This gives a larger-than-life effect of a hugh terrifying dragon. 5. To-ate (distance striking). In this technique, the hero rroves sharply as if cutting with a S¼Ord swordor or throwing someone someonedownto down to the ground. The karurni karumi across the stage suddenly suddenlymakesa makes a turn as if feeling the sharp sharp- ness of the blade. Al Althoughboth though both actors are separated from each other on the stage, the effect is quite dramatic. Many Manyof of the action techniques were overly exaggerated to convey conveytheir their effect to a large audience in a big theater. 6. Gantsu ( (eyeeye sting) sting). • This technique simulates a strike to the eyes. -26- 7. Tenchi (heaven (heavenand and earth). In the action scene, the hero slashes his sword swordhigh high and low repeatedly, creating the effect of actual swordswordcorrbat. combat. The same sametechnique technique is used for a spear fight, when whenthe the spear is thrust high and low repeatedly. 8. Yanagi (willow) (willow). . When Whenthe the hero is attacked with a sword, he deflects the attack and springs back with a counter-rrovement. The name was suggested by the image imageof of a willCM willONdeflecting deflecting the falling snow. This technique dramatizes the action of a skilled swordsman swordsmanagainst against his opponent. 9. Yamagata Yamagata(rrountain). (rrountain) . The k.arumi karumi continually attacks the principal with overhead blows of the sword, cutting to the left and right of his head. This gives the dramatic effect of a barrage of svJOrd svvordcuts. cuts. 10. Chishirna (plovers arrong arrongthe the waves) waves). . As a group of karumikarurni attacks the hero, he cuts them down downone one by one to the left and right. This tech-tech nique, used for the dramatic presentation of a massive swordfight, became one of the special characteristics of the chambara charrbaragenre, genre, especially films whichwhichwere were shot outside and used a large numberofnumber of "opponents." 11. Kara Usu ( (emptyrrortar).empty rrortar) . This technique dramatized a desParate,desparate, hit-and-miss style of fighting byby~ ~ or rrore unskilled characters. As one actor cut and missed, the other spins around. Thenhe,Then he, in turn, vvouldv.0uld cut and the first person -would vvoulddo do a turn-around.tum-around. The··effectThe-effect was of a highly stylized struggle in which neither antagonist accomplishedanything.accomplished anything. Hence, the name nameimplies implies the "grinding awayinaway in an emptyrrortar."empty rrortar." Although this type tyPe of scene was often used canically, it was also used to drama- tize a cruel and painful death in which the end comesaftercomes after manyunskilledmany unskilled cuts and stabs. This st,yle style of fight scene is characteristic of the yakuza or gambler genre. 12. Monshichi !-1onshichi(lucky (lucky seven). This term describes a scene in which the principal is pursued or attackedattacked. from both sides. MonshichiisMonshichi is thethe namenameof of a notorious bandit whofigureswho figures popularly in the kabuki plays where this scene was madefarrous.made farrous. 13..13. Hayakiri (quick cutting). 'Ihe hero makeslightningmakes lightning cuts with the swordswordand and karumi begin falling alloverall over the place. This is also used to dramatize a massive swordfight. 14. Kiri Kaeshi (cutting turn). ~VhentheprincipalWhen the principal cuts with the sw:Jrd,sword, the karumi does a complete turn-around,tum-around, as if being killed. 15. Jizo Taore (falling jizo, a stone Buddhist statue). This technique is also called shogi taore (falling chessmen). v1hentheWhen the karumi is cut downbydown by the hero, he falls over backwardswithoutbackwards without bending his backback muchinmuch in the mannerofmanner of falling dominos. This technique is often executed with a numberofnumber of karumi giving it the nameofname of shogi taore. 16. OhMawari(Oh Mawari ( majornajor tuning). OhmawariorOh mawari or tachi mawari, the 27 generic tenn for swordfighting sequences, have basically the same samemeaning maaning and .are of:ten otten used interchangeably. It is quite possible that the later tenn of tach.imawari tachimawarievolved evolved fran this word. 'WOrd.In In the swordfight scene, the karumikarumicircumambulatearoundthe circumambulate around the principal actor much muchlike like the Indians attacking a wagon wagontrain train in the cow'rx)y ccMrx>yrrovies. rcovies. There are many manyvariations variations to this style of fight scene and, in effect, all fight scenes, especially eSPecially the samurai swordfight scenes, are a typetyPe of oh ohmawari. mawari. The Therrost rcost farrous farrousand and rcost rrost elaborate elalx>rate oh-mawari oh-mawariis is taken from the kabuki play Benten BentenKozo Kozo (Benten (Bententhe the Thief) Thief). • Benten Bentenwas was a notor- . ious Robin RobinHood-typehero Hood-type hero who wholived lived during the mid-F.do mid-EdoPeriod Period (1700's). In the play, he tries to swindle a merchant merchantout out of rconey rroneyby by posing as a female customer. Later, he is pursued by the police across the rooftops rCX)ftops of the city. The play is fanous farrousfor for exploiting every method methodof of tachi tachi- rnawarimawariin in tlJEtilE kabuki repertoire. Benten is finally trapped trapPed on the roofs rCX)fs by the police, who whouse use poles and ladders to block his rcovement rrovementandtrap and trap his arms anus so he can't wield his sword. S'WOrd.Theuse The use of ladders by the police in kabuki is called hasigo danawari or major ladder fighting. In the feudal days, during the time of Benten, the police had the rcost rrost difficulty in apprehendingapprehendingskilled skilled samurai Sv.OrdSirEn sv.Drdsmenbecausethe because the police themselves thernselves came from the lower classes and were not expertly expert1y trained fighters or martial artists. To capture these samurai-type criminals, the police used ladders, doorsdCX)rs('WOOdpanels),and (wood panels), and long poles to trap and hinder their rcovement. rrovement. On the stage, these techniques created an intesely dramatic dranatic effect. AudiencesAudiencesenjoyed enjoyed this rcost rrost i:opular popular scene of the swordfight sequence sequencewhich which was adopted early in the develoµrent developrent of the charnbara charnbaranovie. novie. As mentionedmentionedpreviously, previously, the sixteen :furrlanental fUIrlamentaltechniques techniques·of of the tachi-mawari were used in combination combinationto to produce over 200 200variations. variations. Using the traditional techniques as a base, the karurni kanmri.continued continued to create newneweffects effects to surprise and entertain their audiences. au:Ji.ences. These-effects usually varied with the individual karurni's kanmri.'s interpretation of timing, spacing, and dramatic dranatic effect. It was these techniques that formed formedthe the basis of the early chambara chambaranovies. novies. -28- M)RE DUELS IN FRANCE From The Duel by Robert Baldick The institution of duelling, which whichLouis Louis XIVhadXIV had failed to destroy, took on a new newlease lease of life under the Regency Regencyof of Philippe d'Orleans, since no attempt was made madeto to enforce the law on this point. Six six weeksafterweeks after the King's death, two officers of the Guards fought on the Quai des Tuileries in broad daylight; but since the young youngmencamefrom men came from families of the "long robe", the Regent, out of respect for the Parlement, simply suspendedsuspendedthem them from the corps and sentenced them to a fortnight's impri-impri sonment. This duel had been fought over an Angora Angoracat; cat; and the duke, when reprimanding the young youngmen, men, remarked remarkedthat that a matter of that sort should have been settled with claws instead of swords. The feeble wit and elnient punishment punishmentdispensed dispensed in this case offer a blatant contrast with, say, the death sentence carried out on Bouteville early in the previous reign. SoonSoonother other duellists followed the example exampleof of the twobvo officers, scorning any effort at concealment. Thus a duel took place between Cont:i.desContq.desandBrissac, and Brissac, in which both were 'vvOunded, wounded,in in the palace itself, without any proceedings being taken against the twot'v\10 Parties.parties. Another duel, fought in broad daylight in the centre of Paris betweentwobetween two noblemen,noblemen,Jonzac Jonzac and Villette, also went ~Bnt unpunished; and Duclos, in his secret merroirs, asserts that the Regent Regentopenly openly stated that duelling had gone too much muchout out of fashion. With no curb on duelling, offended parties Parties did not need to resort to the Court of Honour, Honour,and and its services were called for even rrore rarely than under Louis XIV. Even Evenso, so, it restricted its labours still further by refusing to intervene when whenone one of the parties was not of high birth or distinguished rank. A case of this sort which caused somethingsomethingof of a scandal in Paris concerned an abbe called c'c'Aydie Aydiewho who had fought with a clerk, allegedly at an opera dancer's house, and v-.Dundedv..Dundedhim.The him. The Duchesse Duchessede de Berry, the Regent's daughter, imnediately had the Abbe Abbed' d'Aydie Aydiedeprived deprived of his preferment, and compelledtocompelled to become a knight of Malta. Malta.. This did not prevent the clerk, once he had recovered fromfromhis his v-.Dund, v..Dund,fromrepeatedly from repeatedly seeking out his antagonist and forcing him to fight four duels, until at last the duchess brought rothl:x:>th Partiesparties before the Court of Honour. Here, however, however,her her efforts to makepeacemake peace were thwarted by the President of the Court, Marshal f'larshal de Chamilly, who, on hearing of the social rank of one of the Parties,parties, exclaimed "What"Whatthe the devil has he come comehere here for? Does Doesa a fellow whocallswho calls himself BoutonBoutonpresumeto presume to think that we can be his judges? DoesheDoes he take us for bishops or keepers of the seals? And Andthe the fellow dares to call us -29- mymylords!" lords!" It should perhaps be explained, with regard to this last point, that the .Marshals Marshals of France were only called my mylords lords by the aristocracy, and regarded the same sameappellation appellation from a camoner as an insult. It should also be added that d'Aydie d' Aydiewas was the lover of the Duchesse Duchessede de Berry, whowhowas was not unnaturally afraid that the clerk might deprive her of him in a duel. The Court recomrended recomrendedthe the Regent Regentto to imprison his daughter's lover as a punishment punishmentfor for having fought the law-born law-bornBouton, Bouton, whom whomthey they ignored as being beneath their notice. This, of course, was not at all what the duchess wanted; so, after obtaining d'Aydie's d' AydieI s release, she persecuted the unfortunate clerk with such relentless spite that she finally had him hanged, thus arousing,. according to .Madame l'1a.damedeCrequi, de Crequi, 'the horror and the animadversion animadversionof of all Paris. Paris.' ' Morality, however, was saved; the vindictive duchess died a rronth ITOnthto to the day after the execution of her victim victim. • .Mattersl'1a.ttersdid did not improve improvewhenLouis when Louis -XV"XV took over the government governmentof of France, receiving from the Regent, as one historian put it, 'aI a sceptre stained by corruption and a crown crowndinmedby dinmed by depravity'. True, in the first year of his personal rule he resolved to check the practice of duelling, and issued an edict to the effect that any gentleman gentlemanwho who struck another should be degraded from fromhis his rank and forfeit his arms; and he solermly declared that he would wouldreligiously religiously observe the coronation oath, by which whichhe he had bound boundhimself himself to enforce the law. But under the influence of his libertine court, his coronation oath was soon forgotten; and when whena a counsellor at the High HighCourt Court of Grenoble Grenoblewas was condermed condemnedto to be broken on the wheel for having killed an army anny captain in a duel, it was only an effigy which whichwas was executed, the m311ffi3Il himself having made madehis his escape. The greatest duellist of this time ·wasviaS undoubtedlyundoubted1y the celebrated DueDucde de Richelieu, who whowas was forever engaged engagedin in affairs of honour, and even killed one of his own ownrelations, relations, the Prince de Lixe..n, Lixe...n,in in 1734. The two men menwere were at supper at the Prince de Conti's Conti I s during the siege of Philippsbourg. Richelieu, who whohad had exerted himself considerably during the day, was hot and tired, and beads of sweat broke out on his forehead. The Prince de Lixen, offended by some someof of the duke's witticisms, remarked "that it was surprising that he did not appear in a rrore ITOresuitable suitable state, after having been purified by admission into his family." The suggestion that Richelieu had bettered himself by his marriage was all the rrore IlDre intolerable in that it was true; and at midnight the two men menmet met in the trenches, where wherethe the Prince fell a victim to the duke's sword, which, as contemporary contemporarywits wits observed, was only poetic justice, since Lixen had himself killed one of his relations, his wife's uncle the .Marquis l'1a.rquisde de Ligneville. -30- ENGLISH BATI'LEBATTIE ARMSARMS ANDAND ARM)URARM)UR OFOF THE FIF'IEENTH ANDAND SIXTEENTHSIXTEENTH CEN'IURIESCEN'IURIES Part IV By William Bauserman TheThebreastplate breastplate in the early part ofof thethe fifteenthfifteenth centurycentury wasmadewas made in one piece. Its shape was globular andand itit extendedextended fromthefrom the shouldersshoulders to the waist. TherewasThere was also a corresp::mdingbackplate.corres:p::>nding backplate. ThebreastplateThe breastplate remainedremainedin in an awkward awkwardandrigid and rigid state nntiluntil aboutabout 1445whenit1445 when it wasmadewas made intointo two pieces, the lower hald overlapped thethe upper,upper, andand waswas strappedstrapped inin place to make makethe the torso ITOreflexible.rrore flexible. The lower portion:p::>rtion ofof thethe breastplatebreastplate was called the demi-placcate. It rose fromthefrom the waistwaist andand thethe upperupper partpart was formed formedinto into a series of cusps, the apex of whichcametowhich came to aboutabout heartheart level.level. The Thedemi-placcate demi-placcate allowed greater flexibility andand gavegave ITOrestrengthrrore strength toto the the breastplate as a whole. Shortly after this fashionfashion caughtcaught on,on, thethe backplate,backplate, too, was formed formedfrom from several pieces to obtain greatergreater flexi-flexi bility.bility. AnotherAnotherinnovation, innovation, although small, was the lance-rest. ThisThis waswas addedaddedto to the the breastplate in the latter half of the fifteenth century.century. ItIt was was simply simply a hook hookthat that was hinged so that the knight could putput oneone endend of of his his long long lance on the hook hookand and hold the other end. This wayheway he diddid not not need need to to sup:p::>rt support the weight of it whenitwhen it was not in use.use. WhentheWhen the lancelance was wasneededhe needed he lifted lifted it off the lance-rest and off he went toto thethe charge.charge. Often Often the the lance-rest lance-rest had a spring mechanismsothatmechanism so that whenitwhen it waswas notnot in in use use it it could could fold fold up against the breastplate. AnotherAnotherwayof way of gaining gaining flexibility in the torso throughout the fifteenthfifteenth century century was was the the way wayin in which whichthe the skirt of the breastplate was constructed.constructed. The The skirt skirt was was called the taces and can be described as follows.follows. "From "Fromthe the waist, waist, and and connected connectedwith with the breastplate, dependedadepended a rCMrowof of plates plates or or lames lames of of steel steel overlapping each other and madeinmade in various designs;designsi these these weredenomi.nated weredenomlnatedthetaces. the taces. To sup:p::>rt support them thema a lining of leatherleather or or other other strong strong material material was wasused used underneath, nnderneath, to which whichthey they were firmlyfirmly affixed." affixed." A A lame lameis is a a narra.v narrowstrip strip of metal which whichmakesup makes up part ofof the the taces. taces. These Thesetaces taces allowed allowed the the knight to bend at the waist and sit onon his his horse. horse. AnotherAnotherdefence defence which whichhnngdownfromthe hung down from the taces were the tuilles. TuillesTuilles were were rectangular rectangular shpaed, shpaed, curved curved plates which whichwent went on the top andand outside outside of of the the knight's knight's thigh, thigh, over over his his cuissarts. cuissarts. This gave added protectionprotection to to the the rrounted ITOnntedknightas knight as that that part part of of his leg -would wouldreceive receive many blowsblows from fromsoldiers soldiers who whowere were on on foot. foot. In In the the early early part of the fifteenthfifteenth century century tuilles tuilles were were of of rredium mediumsize. size. Around Aronnd1450, 1450, however, tuillestuilles were were not not used used at at all. all. This This can can be be explained explained by by the the following -31- "The"Thefrequent frequent absence of tuilles at this time is held to imply that they were not used in combats combatson on f(X)t, foot, then very p)pular." pJpular." Tnis makes makesa a great deal of sense because they were only needed neededby by the rrounted rrountedknight knight whose thighs were the rrost exposed. As the node of fighting returned to rrounted again, the tuilles reappeared. When v-Jhentheydid they did reappear, the taces were getting shorter and shorter. This necessitated the tuilles to get longer and broader in order to protect the thighs. They Theyeventual1y eventually evolved in the sixteenth century to being very large indeed. Tuilles got their name fromfromtheir their shape; they resemble tiles so they were named namedas as they were. There are two tworrore rrore pieces of arrrour amour which complete completethe the suit. Both the epaulettes and the pauldrons were to protect the shoulders. The epaulettes were the first of the two to be used. 'Ihey Theyconsisted consisted of articu articu- lated lames lameswhichran which ran from fromthe the breastplate over the shoulder shOUlderandwere and were con con- nected to the backplate in the rear. These articulated epaulettes allowed a great deal of freedom freedomof of rrovernent rrovernentfor for the shoulders and arms. ByBy1440the 1440 the pauldrons were added addedon on top of the epaulettes. The pauldrons were plates which whichwere were attached roth both to the breastplate and backplate and were generally of one piece and very strong. The size of the pauldrons were similar to that of the coudieres, they started out being rroderate,noderate, grew grewto to eno:rnous enorrrouspropJrtions prop)rtions and finally receded to normal size again. When v-Jhenthepauldrons the pauldrons and coudieres were at their peak size, they com com- pletelpletely y overshadowed overshadowedthe the brassarts. The left pauldron was generally larger and heavier than the right because that is the rdde [dde which whichwas was rrost battered. They Theyoften often had a lip on the top of them themcalled called a pikeguard whichwhichwouldprevent would prevent the weap)n weapJnof of the enemy enemyfromglancing from glancing off the arm and shoulder into the face and head area. ByBythe the beginning of the fifteenth century the knight was covered oovered cap-a-pied and all of his amour was wasnade IPade of steel. Under Underthe the steel arrrour amour was chain !Pail nail (equally heavy), and a gabeson. All in all, the complete suit weighed weighedanywherefrom40-100lbs. anywhere from 40-100 lbs. For this reason one can easily iIPagineinagine how howthe the a:rnourer arrrourer strived to reduce the weight by making makingnodifications rrodifications of sizes, shapes and thicknesses without sacrificing the protection it gave to the knight. Therefore, all suits had their own ownvariations variations and were different from one another and can only be examined examinedin in a general IPanner.nanner. -32- "POINI'S II OF L."\i'TEREST 3-iere?here are seven new members to the Society of AmericanAITterican Fight Direcotrs. ~•;e~.;e welcome these new members and hope that they will be contributing ~embers~eubers to the Society. Yark L. Cole Actor/CombatantActor/Canbatant 118 East 7th St. Oswego NY 13126 3arbara L. Dilker Actor/Combatant 484 W. 43rd St., No. 26-L New York, NY 10036 Charles Killian Actor/CombatantActor/Canbatant 530 Garrard St. Covington KY 41011 Kenneth Morgareidge Friend 5115 Federal Blvd. (Swordplay) Denver CO 80221 University of North Dakota Friend University Station {Theatre(Theatre Arts Dept.) Grand Forks ND 58202 Gray Stevens Affiliate 7120 Kensington Ave. St. LouisI.Duis MO 63143 Jay Stone Actor/Combatant Atwood Rd., R.F .D. 3 Pelham!'lliPelham NH 03076 * * * * * * ="here have been sane address changes regarding members to the Society. ?..ick?..ickSordelet Sordelet Pete Moore 208 Sanf -34- SOCIETY NEWS J. R. BEARDSLEY(Affiliate)isBEARDSLEY (Affiliate) is still teachingteaching combatcombat atat DramaSchoolDrama School ofof Londonwndon at Berkeley. He is also acting in aa musicalmusical productionproduction ofof PhasesPhases produced by "I WannaBeYou"Productions.Wanna Be You" Productions. DAVIDDAVIDL.BOUSHEYrecentlychoreographed L. BOUSHEY recently choreographed the fights andand actedacted inin RomeoandRomeo and Juliet starring AmyIrvingAmy Irving at the Seattle RepertoryRepertory Theatre.Theatre. HeHe isis nownow choreographing the fights for The Three .r.msketeersatMusketeers at thethe UniversiwUniver&iiy ofof Washington. He still continues to head the IlDvementarearrovement area atat CornishComish InstituteInstitu~e in Seattle. ERIKERIKFREDRICKSENisstill FREDRICKSEN is still IlDvementcoordinatornovement coordinator and acting teacherteacher atat thethe University of Michigan. He is presently a resident actor withwith thethe com-com pany that resides at the university. BRUCEBRUCEKING(Affiliate) KING (Affiliate) is teaching at Shasta College which includes classesclasses in fencing and arrned armedand and unanned unarmedcanbat. canbat. He recently directed a childrenchildren'sI s operetta - The Little Sweep. JANJANKIRK(Affiliate) KIRK (Affiliate) recently choreographed the fights in a musicalmusical RoguesRoguesto to Riches. He taught a workshopatworkshop at WesleyenUniversityWesleyen University and SouthernSouthern Connecticut State College. 1-bst recently, he choreographed Julius Caesar and Romeo RomeoandJuliet and Juliet for the Arts EducationalFiiucational ProgramatProgram at thethe Lincoln Center. JOSEPHJOSEPHMARrINEZisIlDvementheadfor MARI'INEZ is novement head for the University of Illinois at Charrpagne/Urbana.Champagne/Urbana.His His new newbook, book, Ccmbat Canbat Mime,Mi.me, is nowonnow on the bookshelves. HeHe is is now nowin in the process of taking on the responsibility of editor for thethe Society's Society's magazine. DAVIDDAVIDLFDNGconducteda LFDNG conducted a workshop workshopon on special effects in combatatcombat at the KentuckyKentuckyTheatre Theatre Association at the University of Kentury. A group of hishis students students are are currently in rehearsal for a fight review that will traveltravel to to Pittsburgh, Pittsburgh, Chattanooga, Lexington, IExington, and Atlanta. T.J.T.J. MICHAELS MICHAEIS(Affiliate) (Affiliate) will be acting in and choreographing the fights forfor an an independent indePendent film film called Hellspa:wn. Hellspawn. He is also choreographing the fightsfights for for Hamlet Hamlet for for the the Queens QueensCollege College branch of the City University ofof New NewYork. York. PRIERPETERMOORErecentlychoreographed MOJRE recently choreographed the fights for sweet Sweet Prince at TheatreTheatre Off-Park Off-Park in in New NewYork. York. He continues to teach fencing at the Y.M.C.A.Y.M.C.A. FRANKFRANKSPARKS(Affiliate) SPARKS (Affiliate) coordinated coordinated the stunts in "Rooster" and an episodeepisode of of "Fall "Fall Guy". Guy". He Hewill will soon be coordinating the stunts for "Srrokey"SrrokeyIII" III" starring starring Jackie Jackie Gleason, Gleason, Paul Williams and Pat McConnach. McCorrnach. -35- THE SOCIETY OF AMERICAN AMERICANFIGHT FIGHT DIRECTORS DIRECI'ORS WISHES ALL OF ITS MEMBERS MEMBERSAND AND THEIR FAMILIES ••• ••. A VERY HAPPY CHRISTMAS SEASON AND NEW YEAR. Each year the Society develops and grows stronger and we expect 1983 to be an even better year. we\"Jehopealso hope also that the NewYearNew Year brings joy and fulfillment to each member memberand and family family. . .ABaJTABaJT THE SOCIETY The Society of American AmericanFight Fight Directors was founded in May, 1977. Its aims are to prarote the art of fight choreo:Jraphy choreography in such a manner that the Fight Director will be accepted as an integral part of the theater and cinana cinema industry. Praroting Prcm:>tingthe the aesthetics of well well- conceived fight choreo:Jraphy choreography as an integral Partpart of the total productionprcrluction is another aim of the Society. SOCiety. Full members membersare are professional Fight Directors. Affiliate members membersare are fencing masters in drama schools, overseas members,members,or or Fight Directors of· of"limited limited experience. Friends are people interested in stage fighting but who whoare are not necessarily connected with professional fight directing. Student members membersare are drama students who whoaspire aspire to become becomePight Fight Directors. Society Rules ManbersManbersare are reminde'.i remindErlthat that only full members membersmayuse may use the Society's namenameto to secure employment; employment;hcMever, hcMever, affiliate and stude..11t Stude..l1tmembersmay members may use their status in any capacity other than securing employment. Inquiries al:x.Jut al:xJutmembership membership should be made madeto to Erik Fredricksen, and inquiries regarding the magazine should be made madeto to Joseph Martinez. -36- MARK HANEY Official Master of Arms for the Society of American Fight Directors. Specializing in the production of serviceable medieval weapons including various sized broadswords as well as dagger, axe, mace, halberd and other heavy duty weapons. These weapons are meant for the stage as reliable fighting weapons and not just ornamental weapons to be carried on stage. Inquire through the Society's permanent address or by calling 206-522-7001 1".JI/TI' I' ..11/T .A' I" A""#' .I' I" I .I.I .I' .I' I I .I.JII' .I' .I I I I'..1/T.,,t..l' The Official T-Shirt of the Society of American Fight Directors Comes in biege es : small Depicting the medium Ha I/ Hotspu re large fight in x-large Henry IV $6.00 (includes mailing) ORDER YOUR:, NOW! 4720 - 38th N. E. Seattle, Washington 98105 GEORGE SANTELLI, INC. AMERICA'S FINEST FENCING EQUIPMENT GEORGE SANTELLI, Inc. 412 SIXTH AVENUE NEW YORK, N. Y. 10011 Tel. Algonquin 4-4053 -----