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The Fight Master, Spring/Summer 2003, Vol. 26 Issue 1

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The Fight Master, Spring/Summer 2003, Vol. 26 Issue 1 Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors Summer 2003 The Fight Master, Spring/Summer 2003, Vol. 26 Issue 1 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/fight Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons MMARTIALARTIALAARTSRTS ONON TTOUROUR BBARAR FFIGHTSIGHTS In Voice of the Dragon, Miao Hin (Philip Silvera, left) battles with his nemesis Red Phoenix Manchu Warrior (Bilqis Benu). Martial arts choreography and photo provided by Jose Manuel Figueroa. The 24th Annual Society of American Fight Directors National Stage Combat Workshops July 7-25, 2003 SAFD and University of Nevada-Las Vegas College of Fine Arts, Department of Theatre ForFor moremore information:information: LindaLinda McCollumMcCollum atat (702)(702) 895-3662895-3662 oror www.safd.orgwww.safd.org www.safd.org Actor/Combatant Workshop (ACW) Train in the foundation skills of stage combat. World-class industry professionals teach tech- niques in Rapier and Dagger, Unarmed and Broadsword. Additionally, participants will receive an introduction to Quarterstaff, film fighting, and other weapon styles. Participants may opt to take an adjudicated Skills Proficiency Test at the end of the workshop. Intermediate Actor/Combatant Workshop (IACW) Move past the basics in this exciting workshop. Study many weapon styles and other issues of fight performance for stage and film. Build onto your existing knowledge of stage combat under the tutelage of a wide array of world-class industry professionals. Participants may opt to take a combination of adjudicated Skills Proficiency Tests or Renewal Tests in up to six weapon forms at the workshop. Prerequisites and additional paperwork are required to apply for the IACW. ThThe e FigFightht MaMSpring/Summeraster 2003 Volumester XXVI, Number 1 FeaturesFeatur e s O scar Kolombatovich 7 Richard Gradkowski shares some memories on Oscar Kolombatovich. D eath Over a Tennis Match 8 The controversial duel between the painter Michelangelo Merisi Da Caravaggio and Ranuccio Tomassini is examined from the extant sources by Linda Carlyle McCollum. A Pedagogical Experiment 15 Andrew Vorder Bruegge reports the experience and results of a new course entitled The Exercise of the Courtier. Technique and Impulse in Stage Combat 18 The blending of technique with impulse is evaluated by Tom Turner. V oice of the Dragon 23 Ruth Margraff, the author of a martial arts ballet created by Fred Ho and choreographed by Jose Figuero, examines the public response to this unique form of theatre. The Bar Fight 28 The experience of filming a fight in a bar as a teaching tool is shared by Dana Anderson-Wyman. N ational Stage Combat Workshops 2002 30 Michael Chin reports on the exciting times that the 2002 National Stage Combat Workshops furnished the participants as the SAFD prepares for the upcoming workshops in 2003. DepartmentsDepartme nts E ditorially Speaking 2 F rom the President 5 T o the Point 33 S wordplay 36 T he Pen & the Sword 38 P ut to the Test 40 MiscellanyMiscellany P hoto Call 4 C ontributors 4 R egional Workshops 37 S uppliers 39 Why Do the Nations so Furiously Rage Together: Pal Udvarhelyi (left) and Ilir D irectory 42 Shtylla fight in representative battle scenes in Carolina Ballet’s Messiah. Fights M embership Application 44 by Jeff A.R. Jones; photo by Russ Howe. DITORIALLY ThThe e FigFightht MaMasterster E Journal of the Society of American Fight Directors PEAKING The Fight Master is published twice a year. S Copyright ©2003, SAFD gain the members of the world of staged combat mourn the loss of one EDITORIAL STAFF its greatest contributors, Oscar Kolombatovich. Many have had the EDITOR opportunity of using his historically accurate stage weapons, but few Linda Carlyle McCollum Amay have known or even have met him. Kolombatovich was an extraordinary CO-EDITOR man with an obvious bearing of European nobility which he humorously attrib- Bill Campbell, Ed. D. uted to the fact that his father owned the only horse in the village from which ART DIRECTOR he came. He could discuss anything in his usual charming and argumenitive Jeff A.R. Jones way —in several languages. He had definite opinions that often led to heated ASSOCIATE EDITORS discussions, which he always seemed to win. He will be missed. Angela Bonacasa: Testing/Directory Brian Byrnes: Health and Safety On a historical note, Caravaggio’s duel in Rome at the beginning of the sev- Lloyd Caldwell: History enteenth century, brings to light the ambiance of Rome at the time Shakespeare Neil Fishman: Business was writing in England. Rome, which had been practically destroyed earlier in Lewis Shaw: Weaponry the sixteenth century, had been rebuilt; and by the end of the century the city ADVISOR itself was overrun with military personnel from the recent wars who were unem- Drew Fracher ployed and trying to integrate themselves back into society. Unaccepted by the COPY EDITOR community who considered them vagabonds, military personnel were argume- Julie Artman native and frustrated after having served their country’s leaders under extreme- Articles and letters for The Fight Master are ly harsh circumstances. Similar discrimination of military personnel has accepted at anytime. Articles intended for occurred repeatedly throughout history and has led to various forms of reper- inclusion in the Spring/Summer issue must be received by November 1. Articles cussions. intended for inclusion in the Fall/Winter In the academic vein, Andrew Vorder Bruegge shares with the readers the issue must be received by June 1. results of an experimental course that used both dance and stage combat, along Submissions to The Fight Master with SAFD fighting techniques and historical research. Some pleasing results should be sent to UNLV Dept of Theatre came from this on-going experience. On a similar note Tom Turner, a graduate 4505 Maryland Parkway of UNLV, talks about his experiences working with actors to blend impulse with Las Vegas, NV 89154-5044 Fax 702-895-0833 technique. Michael Chin reports on NSCW 2002 and Dana Anderson Wyman [email protected] reports on a unique experience of filming a fight in a bar at the Winter Stage Submitted material will be edited for clarity Combat Workshop in 2002. and length. Articles should be typed, and Voice of the Dragon, which has been called a martial arts ballet with music is include a short biography, 50 words or less, about the author. Please include your an hour long epic based on 17th century Chinese fable from the Ching Dynasty, address, phone/fax and email address in but laced with 21st century cultural precepts, which has been attracting a lot of your correspondence. attention. The work, which was part of BAM’S Next Wave Festival in 2001, To advertise in The Fight Master, began its national tour in 2003. Ruth Margraff , the author, sheds some light on please contact the whole process of working with this unique form of theatre. Jeff A.R. Jones 2917 Isabella Drive Articles for the Spring/Summer 2004 issue are due by November 1, 2003. Raleigh, NC 27603 (919) 835-3557 [email protected] Feinting the pen briskly, Notification for advertising in the DŽ Spring/Summer issue must be received Linda Carlyle McCollum by December 1; artwork due by January 15. Notification for the Fall/Winter issue must be received by July 1; artwork due August 15. Please call for rates or other information. ThThe e FigFightht MaMasterster is a publication of The Society of American Fight Directors Friend One need not be a stage fighter, teacher or choreographer to join and be active in the SAFD. Any individual who has an interest in the stage combative arts who wants to keep abreast of the field and receive all the bene- fits of membership may join as a Friend. Actor/Combatant » Any individual who has passed an SAFD Skills Proficiency Test and is current in The Society of American Fight Directors is a not for profit organization dedicated to Unarmed, Rapier & Dagger (or Single Sword) and another discipline. The promoting safety and fostering excellence in the art of directing staged combat/theatri- SAFD considers Actor/Combatants to be cal violence. The SAFD is committed to providing the highest level of service to the proficient in performing stage combat field through initiating and maintaining guidelines for standards and quality, providing safely and effectively. education and training, promoting scholarly research and encouraging communication and collaboration throughout the entertainment industry. Advanced Actor/Combatant Any individual who is current in six of eight The SAFD recognizes members at a variety of levels, including Fight Master, Fight SAFD disciplines, has had three years tran- Director, Certified Teacher, Actor/Combatant and Friend. SAFD members have staged spire since their first SPT test and has been or acted in countless numbers of fight scenes for live theatre, film and television. a dues paying member in good standing for two years. The SAFD acknowledges Through its training programs across the United States, the SAFD has schooled thou- Advanced Actor/Combatants as highly sands of individuals in the necessary skills to perform or choreograph safe and effective skilled performers of the staged fight. stage combat. Certified Teacher Any individual who has successfully com- pleted the SAFD Teacher Training Work- shop. These individuals are endorsed by Visit the blazing SAFD Website the Society to teach stage combat and may teach the SAFD Skills Proficiency Test. Member Membership Representatives Information Fight Director Regional Regional Any individual who has held the status of Representatives Workshops Certified Teacher of the SAFD for a mini- mum of three years and has demonstrated Certified Teachers Upcoming Events through work in the professional arena a Fight Directors Directory high level of expertise as a teacher and cho- Fight Masters Links reographer of staged combat.
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