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Fight Master Magazine The Society of American Fight Directors

1-1988

The Fight Master, January 1988, Vol. 11 Issue 1

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 JANUA RY 1988 American Fencers Supply Co 1180 Folsom Street San Francisco CA 94103 415/863-7911 UNIVERSITY OF NEVADA, LAS VEGAS JOURNAL OF THE SOCIETY OF AMERICAN FIGHT DIRECTORS January 1988 Volume XI number I

PATTON AND HIS SABER by Charles Conwell 15 THE METAPHYSICS OF STAGE COMBAT by Mark Olsen 19 WHEN STYLES COLLIDE by T. J. Glenn 223 3 SWORD BELTS AND FROGS by Rod ~asteel 28 TOUCHE

229 9 Oregon Shakespeare Festival 330 0 Coriolanus at the McCarterMccarter Theatre 31 Trinity TrinityRep Rep 31 Scaramouche 332 2 The Three Musketeers 32 True West 333 3 The Rivals .at Berkeley Rep 333 3 The Hairy Ape at Berkeley Rep 334 4 Purloined Poe at the Lifeline 334 4 Richard III at the Guthrie

3 Editor's Comments 4 Vice President's Report 6 Treasurer's Report 6 Workshop Coordinator 7 Film Coordinator 35 Letters 337 7 Points of Interest 442 2 Society News

SOCIETY OF AMERICAN FIGIIT DIRECTORS TIIE FIGIITMASTER Journal of the Society of American Fight Directors President Joseph Martinez Vice President Drew Fracher Editor Linda Carlyle McCollum Treasurer James Finney Associate Editor Olga Lyles Secretary Linda McCollum Assistant Editor Todd Tjaden Layout Editor Gregg Hillmar The Society of American Fight Directors was founded in May, 1977. It is a non-non• Graphic Design Akiko Osaka profit organization whose aim is to promote the art of fight choreography as Illustrations Gail Lehtinen an integral pan of the entenainment industry Members of the Society 01of American Fight Directors serve the entertainment industry by promoting thetf>e aesthetics and safety of well-conceivedwell•conceived fight choreography Published January, May, September Application for change in status within the Society should be addressedadd,essed to at the University of Nevada, Las Vegas. Joseph Maninez, AD.P.O. Box 1053,7053, Lexington, Virginia 24450. All inquiries concerning the Journal Joumal should be sent to: The Fight Master, c/o Linda McCollum, Editor, Department of Theatre Arts, University of Nevada, Las Vegas, 4505 Maryland Parkway, Las Vegas, ·- Nevada 89154 © 1988 The Fight Master director,director, actoractor oror fightfight choreographerchoreographer believesbelieves hehe hashas putput beforebefore thethe audience.audience. SomeSome ofof thethe problemsproblems withwith stagestage combatcombat thatthat areare repeatedlyrepeatedly mentionedmentioned inin reviewsreviews areare techniquetechnique showing,showing, lacklack ofof focusfocus andand lacklack ofof charactercharacter motivation.motivation. TheseThese areare obviouslyobviously areasareas thatthat needneed toto bebe As we begin the new year, some majormajor dealtdealt withwith andand maymay bebe areas thatthat thethe changes are taking place within thethe SocietySociety shouldshould addressaddress inin itsits trainingtraining Society. These changes are due in partpart toto programs.programs. the in-roads the Society is making inin thethe TheThe NationalNational StageStage CombatCombat entertainment industry. As the Society WorkshopWorkshop andand thethe AdvancedAdvanced TeacherTeacher comes more and more to the forefront and TrainingTraining ProgramProgram willwill bebe atat MemphisMemphis has an impact on contracts, telelvision, State UniversityUniversity againagain thisthis year.year. TheThe film,film, training, and rehearsal processes, it workshopworkshop trainingtraining isis growinggrowing andand thethe becomes necessary that those members needneed forfor additionaladditional workshopsworkshops maymay soonsoon whowho are representing the Society in the bebe needed.needed. ToucheTouche UnlimitedUnlimited isis industryindustry be of the finest quality. sponsoring thethe InternationalInternational AcademyAcademy ofof The officers decided to establish the Sword inin MadridMadrid SpainSpain withwith OscarOscar aa professional wing to the Society with Kolombatovich thisthis June.June. OnlyOnly twelvetwelve thethe professional classifications of advanced students willwill bebe admittedadmitted toto thethe CertifiedCertified Actor/Combatant Proficient in program thisthis year.year. ThisThis isis aa rarerare (specific(specific weapons), weapons), Certified Teacher and opportunity to study withwith somesome ofof thethe toptop CertifiedCertified Fight Fight Master. Those holding professionals in thethe fieldfield inin aa veryvery professionalprofessional status status must re-certify every unusual setting. threethree years years in in order order to to maintain their It is my hope thatthat thethe lettersletters professionalprofessional status status in in the Society. Drew section will expand thisthis year.year. ManyMany ofof FracherFracher carefully carefully reviews this process you voice concerns and ask veryvery astuteastute andand the the conversion conversion process process in his report questions in your phone conversations. inin this this issue. issue. By sharing our individual concerns withwith AA similar similar concern concern with standards other members we can have anan openopen isis to to be be found found in in the the review review section section which dialogue. Only by sharing of opposingopposing II instituted instituted upon upon becoming becoming editor editor of the view points and opinions can therethere bebe journaljournal in in the the spring spring of of 1984. 1984. I I have potential for growth and change withinwithin encouragedencouraged our our members, members, non non members members the organization. andand readers readers to to send send in in articles articles that specificallyspecifically deal deal with with fight fight choreography. choreography. Linda Carlyle McCollum EachEach review review is is the the individual's individual's personalpersonal opinion, opinion, his his response response to to what what he sawsaw during during the the theatrical theatrical experience. experience. It It is is hopedhoped that that this this response response will will be be knowledgeableknowledgeable as as well well as as objective. objective. SinceSince we we humans humans are are naturally naturally judgemental,judgemental, it it is is always always easier easier to to see see whatwhat we we don't don't agree agree with with than than what what we we do,do, and and we we tend tend to to respond respond to to the the former.former. The The respondent respondent needs needs perceptiveperceptive critical critical eyes eyes and and must must be be able able toto evaluate evaluate the the part part being being examined examined in in relationshiprelationship to to the the total total concept concept of of the the production,production, even even if if the the respondent respondent does does notnot agree agree with with the the concept. concept. The The reviewer reviewer merelymerely responds responds to to what what h h e e saw/experiencedsaw/experienced regardless regardless of of what what the the

3 All of the levels of membership within the organization will·will- change to Professional and Non-Professional status. Certified Actor/Combatants, Certified Teachers and Certified Fight Masters will be the only levels of membership sanctioned by the organization to work professionally and these three classifications are the only My Fellow Members and Colleagues, ones that may use the name of the Society With our president, Joseph of American Fight Directors in order to Martinez, being out of the country, I find procure employment. In other words, myself responsible for the President's these three classifications are the only Report in this our first issue of 1988. levels of membership that are sanctioned First of all I would like to take this by the Society in the professional arena. opportunity to wish all of you the very Our aim is to improve the quality of our best in the coming year. Secondly, I membership as we offer ourselves for would request that each and every one of professional employment. Those you "take the ball and run with it" and individuals presently holding the status of strive to make 1988 the most productive Affiliate or Associate will be given ample and prosperous year the Society has ever time to complete the required conversion seen. A great many changes and much of status, without cost, and after that progress have been realized in the last grace period the status of those that year and now is the time to keep the choose not to convert will remain in the momentum going and to continue taking non-professional status. At the end of the the giant steps forward that 1987 brought grace period, which is March 1990, the forth. A great many members have seen levels of membership status will be: terrific progress in their personal careers Professional as actor/combatants, teachers and Certified Fight Master choreographers during the past year and Certified Teacher this is a tremendous boon to all of us and Certified Actor/Combatant the organization at large. The lines of Proficient in(Specific Weapons) communication amon members are Non-Professional continuing to grow and the Society is fast Associate becoming THE organization to look to for Affiliate stage combat in this country. I urge all of Friend you to keep up the great work and to keep the Society banner held high. Let us help each other in every way possible and in Conversion of AFFILIATE status turn the organization will help each of us. to the Professional Classification Congratulations to all of you for a job of CERTIFIED well done in 1987; let us look to '88 as a ACTOR/COMBAT ANT landmark year for quality growth in the PROFICIENT IN(specific Society. weapons). As each of you know, there have All present members of the been a number of changes recently Society of American Fight Directors in instituted.in membership and status. good standing holding the status of After many hours of meetings and AFFILIATE prior to March 1987 may discussion the officers have reached a convert their status to that of CERTIFIED policy which becomes effective ACTOR COMBATANT PROFICIENT immediately. The following are the new IN (specific weapons) by notifying the requirements for each level of Secretary of the following: membership.

4 What weapons they certified in 4.4. TakeTake aa writtenwritten testtest onon historyhistory andand Where they were certified theorytheory whichwhich maymay bebe donedone throughthrough thethe With whom they studied maiLmail. Who adjudicated the test There willwill bebe nono feefee forfor thethe conversionconversion ofof There is no fee for this conversion done Associate statusstatus toto thatthat ofof CertifiedCertified in the grace period before March 1990. Teacher ifif donedone beforebefore JulyJuly 1990.1990. AfterAfter After March 1990 all Certified thatthat datedate allall CertifiedCertified TeachersTeachers mustmust Actor/Combatants will have to re-classify renewrenew theirtheir membershipmembership classificationclassification every three years in order to retain the every threethree yearsyears by:by: professional classification. Those Certified Actor/Combatants who do not 1) Paying aa $50.00 feefee andand completingcompleting re-classify every three years will have the above requirementsrequirements listedlisted forfor theirtheir status changed to that of FRIEND. conversion from AssociateAssociate toto CertifiedCertified .. To re-classify as a Certified Teacher, Actor/Combatant a member will have to OR pay a fee of twenty five dollars and take 2) Attending the AdvancedAdvanced NationalNational thethe current certification test in his Stage Combat Workshop and passingpassing thethe weapons of proficiency (i.e. that set at the Teacher Certification Test. lastlast National Stage Combat W Workshp orkshp and availableavailable in print from the Vice President) A Certified Teacher who does notnot renewrenew beforebefore a Certified Fight Master or send to his membership classification willwill havehave thethe Vice Vice President an unedited half inch his membership status converted toto thatthat VHSVHS video tape shot from a stationary of FRIEND. cameracamera of his performing the certification Any Associate or Certified testtest in in his specific specific weapons. This Actor/Combatant who wishes to apply forfor processprocess will begin as of March 1990. the professional status of Certified Teacher must complete the criteria listed ConversionConversion of of ASSOCIATE status above for conversion of status from toto the the professional professional classification Associate to Certified Teacher and pay the ofof CERTIFIED CERTIFIED TEACHER. TEACHER. fifty dollar application fee. AllAll present present members of the Any member wishing to raise his SocietySociety of of American American Fight Directors in status must complete the above listed goodgood standing standing holding holding the status of requirements and pay the following AssociateAssociate may may convert convert their their classification application fees: toto that that of of Certified Certified Teacher Teacher by completing thethe following: following: Certified Actor/Combatant $ 25.00 1.1. Submit Submit a a letter letter of of intent intent to convert classificationclassification to to the the Vice Vice President President Certified Teacher $ 50.00 2.2. Send Send in in an an up-to-date up-to-date resume resume which includesincludes training, training, professional professional credits credits and and Certified Fight Master teachingteaching experience experience to to the the Vice Vice President President $100.00

3.3. Have Have his his work work as as a a The above information may seem teacher/choreographerteacher/choreographer observed observed by by a a likelike hieroglyphics but I can assure you all CertifiedCertified Fight Fight Master Master or or send send to to the the Vice Vice thatthat we worked long and hard to establish PresdentPresdent an an unedited unedited half half inch inch VHS VHS video video aa workable workable policy. As Vice President I shotshot from from a a stationary stationary camera camera of of his his amam in charge of all conversions of status teachingteaching two two students students a a piece piece of of fight fight withwith the exception of Affiliate AffIliate to Certified choreographychoreography from from a a certification certification test test of of Actor/Combatant.Actor/Combatant. If you have any hishis own own not not to to exceed exceed seven seven minutes. minutes. questionsquestions please feel free to contact me at homehome and and I I will send you the information

5 you need. I strongly urge any of you who are interested in obtaining the status of Certified Teacher to consider attending the Advance Workshop. The amount of technique and choreographic work taught there in three weeks is simply amazing. There is no substitution for this experience and we would like all of our Yes, comrades-in-arms, it's that Certified Teachers to be put through such time again. Dues are needed to keep the paces. Upon Joseph's return, the written Society running and they are needed test will be standardized and available for now. Officially, they are due by the end taking. Until then, that portion of the test of January, so send them to Linda will be on hold. I feel assured that we McCollum as soon as possible. Make will have all of that together by the end of sure you let us know what you are doing February. Again, if any of you have any and where you are currently living so we questions please feel free to contact me can keep the membership roster current. and I will try to clear things up for you. I will send out a postcard in February, In the mean time, allow me to but to give you advance notice, here is a wish each of you a very happy and reminder that if you don't pay by the end prosperous 1988. May Mayall all of your of March you have to start the whole fighting be illusionary, safe and all that process of certification over again at the you envision. Peace. you envision. Peace. bottom, kind of like a bad game of Your comrade in arms, "Chutes and Ladders." Drew Fracher Hope you all had a fantastic, safe holiday season and I look forward to hearing about another year of fantastic, safe stage fights around the country. James Finney

Initial membership in the SAFD is Inquires concerning new Applications for lor change in status Articles for consideration in The $25. Dues for lor Fight Masters, Masters. memberships, memberships.status status or change of 01 within the Society should be Fight Maste; Master should be submitted CertifiedCertilied Teachers, Teachers. Recognized address should be addressed lo to addressed lo to Drew Francher, c/o loto the editor, Linda McCollum, Actor/Combatants.Actor/Combatants, Associates.Associates, the secretary, secretary. Linda McCollum, Abiding Grace Farms. Farms, 780 Department of01 TheatreThealre Arts,Arts. AlliliatesAffiliates and Friends are $25 P.O. Box 218, 218. Blue Diamond, Bushtown Road, Road. Harrodsburg, Harrodsburg,KY KY University of Nevada, 4505 annually. All membership membershipdues dues are N e v a d a 8 9 O 0 O 0 4 40330 Maryland Parkway, Las Vegas,Vegas. to be paid in January lo to the N e v a d a 8891 9 1 5 4 Secretary,Secretary. Linda McCollum, McCollum. P.O. Box 218, 218. Blue Diamond, Diamond. Nevada 89004 1'°1~'-111~'-

6 to) JosephJoseph MartinezMartinez willwill concentrateconcentrate hishis timetime onon thethe instructioninstruction ofof thethe participantsparticipants inin thethe TeacherTeacher CertificationCertification Program.Program. TheThe focusfocus ofof thisthis year'syear's WorkshopWorkshop willwill bebe thethe trainingtraining ofof thethe participantsparticipants inin thethe instructioninstruction ofof thethe fivefive basicbasic stylesstyles ofof fightingfighting taughttaught atat thethe NationalNational Workshop.Workshop. EachEach ofof the the teachersteachers The Society is pleased to willwill bebe trainedtrained toto prepareprepare theirtheir ownown announce that the National Stage Combat students forfor thethe certificationcertification testtest asas ActorActor Workshop and the Advanced Teacher Combatants.Combatants. Training Program will once again be held ThoseThose interestedinterested inin thethe AdvancedAdvanced on the campus of Memphis State Teacher TrainingTraining ProgramProgram shouldshould bebe University, July 18th to August 5th. The Certified ActorActor CombatantsCombatants ofof thethe SocietySociety classroomclassroom facilities, workshop spaces, or theythey maymay sendsend aa letterletter ofof andand most of all the Theatre Department recommendation fromfrom aa FightFight MasterMaster personnel make it the ideal location for along withwith aa videotapevideotape showingshowing aa fullfull thisthis event. length fightfight performedperformed atat performanceperformance The tuition and fees for the speed. toto DavidDavid Leong,Leong, thethe workshopworkshop NationalNational Stage Stage Combat Workshop and coordinator. thethe Advanced Advanced Teacher Teacher Training Program To date II havehave receivedreceived numerousnumerous willwill be as follows: requests for teachingteaching assistants.assistants. II willwill bebe contacting those individuals andand anyoneanyone NationalNational Stage Stage Combat Workshop else sending their requests toto meme inin thethe $750.00$750.00 next few weeks. Those peoplepeople stillstill interested in assisting should sendsend meme aa $150.00$150.00 Non Refundable Depost letter of request, current resume,resume, andand aa duedue May May 1st 1st record of their stage combat training.training. $600.00$600.00 Balance Balance due due June 1st David Leong AdvancedAdvanced TeacherTeacher Training Coordinator, National Stage Combat ProgramProgram $800.00$800.00 Workshop 35 West 45th St., Suite 600 $200.00$200.00 Non Non Refundable Refundable Depost Depost New York, New York 10036 duedue May May 1st 1st (212) 382-3535 (Service) $600.00$600.00 Balance Balance due due June June 1st 1st (212) 576-1060

TheThe staff staff looks looks forward forward to to the David Leong returnreturn of of Fight Fight Master Master Erik Erik Fredricksen Fredricksen whowho has has taken taken two two years years off off from from the the workshopworkshop to to continue continue his his acting acting career. career. DrewDrew Fracher, Fracher, Joseph Joseph Martinez, Martinez, Allen Allen Suddeth,Suddeth, David David Leong, Leong, Patrick Patrick Crean Crean and and DavidDavid Boushey Boushey will will also also serve serve as as Master Master Teachers.Teachers. The The tentative tentative assignment assignment of of instructorsinstructors and and their their weapons weapons are: are:

AllenAllen Suddeth Suddeth Rapier Rapier and and Dagger Dagger DrewDrew Fracher Fracher Broadsword Broadsword DavidDavid Leong Leong Courts Courts word word DavidDavid Boushey Boushey Unarmed Unarmed ErikErik Fredricksen Fredricksen Quarterstaff Quarterstaff

7 FILM COORDINATOR carrying" stuntmen stuntrnen in the Society as well I was pleased to accept the newly as non-union experts who will not ask an designated position of "film coordinator' arm and a leg of a produciton company. for the Society at a recent meeting of the Money is the name of the game officers. I will be making every effort to and if we can show a producer that we incorporate the Society of American Fight can save him money as well as give him a Directors into the film industry and I first rate product, I can assure you we intend to keep the membership abreast of will find ourselves more and more my efforts through a regular series of involved with the film industry. Stunt articles to be printed in each issue of The organizations out of Los Angeles are Fight Master. bleeding producers dry, and these same The emphasis I want to stress in producers are looking where they can this issue is the relationship between the save revenue, This is just one area where Society and the various state film we can show them what services we have commissions or offices. Almost every available and at what respectable costs. state has a commission or film board. It But first you must go through the various is their job to promote films in their film offices to find out what films are prospective states. Much revenue can be coming into your area. Who is producing garnered via film, and many states are them and what is the contact numbers for now spending large amounts of money to the producers and production managers. entice film companies to produce their Most state film representatives are films in the interested states. Some states interested in knowing who the local are even "kicking back" money to film experts are in all areas of film production. companies who opt to use their state (all You must get to know them! of this being done in a legal ways). State representatives like to show Some states such as Florida have film production companies who resides in offices with budgets in the six figures to their state and just how talented the encourage production companies to use "locals" are and what a savings it can be their state for all their film needs. to a producer. Remember, it all has to do At present more than eighty with money. Art is a dirty word and has percent of all films are independent and no place in the film industry. Money and ninety percent of them are "run away" how to save it is what you should productions--that is they are doing their concern yourself with. If we all films "outside" of Hollywood on location approached our various state film in the various states and various countries representatives we would go a long way throughout the world. Canada is doing a in bringing the Society to the forefront in tremendous film business with their thirty the ever increasing local film productions. percent offset on the dollar. We have This is the first priority for you. Let little to say about those films being shot people know you exist and what you out of the country country,but ,but what about all have to offer.offer. those film commissions in the various If you want to get more specific states? We must approach these details about how to approach a film individuals and it is quite simple to do. representative or a film producer, feel free Just look up the film commission in your to call me. I will be available to help you state in the yellow pages. It will usually establish yourself and the Society in your reside in the capitol city or the major city given area. This is an important first step in a given state. Approach them with the and I am confident we as an organization Society in mind and inform them as to can have and will have a significant what we can do for them as experts in the impact on the film industry in the near business of action. Let them know that future. people exist out there who have substantial skills andwho are local and do David Boushey not have to be brought in from Los (206) 522-7001 Angeles. Let them know we have "card

8 PATTON AND HISHIS SABERSABER by Charles ConwellConwell

George S. Patton, famousfamous forfor panache,panache, pearl-handledpearl-handled pistols, and tanks, was also oneone ofof America'sAmerica's mostmost prominentprominent swordsmen. He occupies an importantimportant positionposition inin thethe age-oldage-old argument about the superiority of thethe cutcut oror thethe thrust.thrust. HeHe waswas thethe first U.S. officer to hold thethe title,title, MasterMaster ofof thethe Sword,Sword, andand perhapsperhaps the last. His career, which culminated inin thethe mechanizedmechanized armouredarmoured fightingfighting of World War II, began in thethe daysdays ofof horsehorse andand saber.saber. Patton began fencing at West PointPoint asas aa freshmanfreshman inin 1904.1904. He studied both dueling sword (epee) andand broadswordbroadsword (cavalry(cavalry saber).saber). Broadsword practice was not thethe lightlight contactcontact sportsport thatthat sabersaber is is today. Patton described his classwork inin aa letterletter toto hishis fatherfather in in 1908. 1908.

II am the the best or one of the best in thethe classclass withwith thethe broadsword.broadsword. It is lots of offunfun and I practice it as muchmuch asas possible.possible. YouYou should should see the sparks fly on some of the parriesparries also thethe bloodblood ifif youyou chance chance to to stick your unguarded left hand in the way.way. TheThe otherother day day I I was was fencing with a man who would not acknowledge mymy touches touches though though they nearly knocked him down, so II triedtried aa duelingdueling cut cut not not supposed supposed to be used in fencing at the right wristwrist .... AsAs a a result result he he could could not hold a pen for a day but wll probablyprobably bebe aa betterbetter sport sport in in the the future. (Blumenson, Vol. 1, 112)

InIn a a letter letter to to his his future future wife, wife, Patton Patton described a fencing victory over aa professional professional member member of of a a fencing fencing club in New York.

II think think he he was was out out of of practice, still I was glad to beat him. PleasePlease pardon pardon my my boastting boastting but but .. .../ ./ would like so to be good with thethe sword. sword. (Blumenson,(Blumenson, Vol. 1, 143)

InIn 1912 1912 Patton Patton represented represented the the U.S. U.S. Army in the Fifth OlympicsOlympics held held in in Stockholm. Stockholm. His His event, event, the the Modem Pentathlon, includedincluded riding, riding, pistol pistol shooting, shooting, fencing, fencing, swimming, swimming, and running. ItIt was was based based on on a a fictitious fictitious military military scenario. scenario. A messenger rides, losesloses his his horse, horse, fires fires at at the the enemy, enemy, engages engages the the enemy enemy with sword whenwhen out out of of ammunition, ammunition, swims swims a a river, river, and and runs runs to deliver the message.message. In In fact, fact, the the five five events events are are held held on on separate separate days. days. Overall, PattonPatton placed placed fifth fifth out out of of forty-two forty-two contestants. contestants. He He ranked ranked third in fencingfencing and and was was the the only only competitor competitor to to give give the the fencing fencing champion champion of thethe French French army army a a loss. loss. The The weapon weapon used used was was the the epee, epee, then then called thethe dueling dueling sword. sword. Patton Patton called called it it

thethe rapier rapier of of history history and and the the ancestor ancestor of of all all swords swords ...... The The curved curved sabresabre is is a a hybrid, hybrid, being being a a cross cross between between the the rapier rapier and and the the scimitar scimitar andand having having the the good good qualities qualities of of neither. neither. (Blumenson, Vol 1, 230)

9 Patton inquired of his fellow Olympic fencers in Stockholm about who was considered to be the best fencing master in Europe. The consensus named Clery, Master of Arms and instructor of fencing at the Cavalry School in Saumur, France. He was the professional champion of Europe in the foil, saber, and dueling sword. For two weeks following the Olympics, Patton studied saber and dueling sword with Clery. For mounted combat Clery stressed the thrust with the sabre rather than the cut commonly favored in US cavalry training. On his return to the U.S., Patton submitted the following conclusions to the Adjutant General:

The whole French system of mounted saber fencing is concentrated in the word: "Attack!" The recruit is taught little or no fencing mounted but he has the one idea to reach his adversary with the point hammered into him constantly and he spends much time running at dummies mounted. It is argued that America being a country of ofaxmen axmen the edge comes more natural but from what I saw and was told the French recruit wants to use the edge just as much as ours do but it is drilled out of them ... Charging with the point gives the advantage of reaching the enemy at least a yard sooner than does ours, of presenting during the approach about one third of the human target, and of instilling the desire to speed up and hit hard ... For these reasons the French, English, and the Swedes are adopting straight swords or sabers. The new French saber is straight with a blade 37"'37'" long and I l/2112" "wide wide at the hilt. It has a cutting edge the whole length and is an ideal cutting weapon being at the same time perfectly adapted for pointing which is indeed its itsfirst first purpose. (Blumenson, Vol 1, 234)

Patton's weeks with Clery were decisive in the development of the Patton Saber, US model 1913, and the last sword manufactured for combat in the United States. Under Clery's influence Patton reversed the emphasis on cutting in American cavalry swordsmanship. Patton aggressively promoted the adoption of a straight saber and training that would emphasize the thrust almost to the exclusion of cutting and parrying. He circulated quotations from the British Cavalry Sword and Saber Notes, 1911, and his own translation of the French Cavalry Drill Instructions of the same year.

In the melee ...... the the troopers single out their adversaries seeking especially the officers. They attack with the point, shouting "Thrust, Thrust." (Blumenson, Vol 1,248)

On February 24th, the Secretary of War ordered the Ordinance Department to manufacture twenty thousand cavalry sabers according to a model designed by Patton. The Patton blade was thirty five inches long and one and one eighth inch wide at the hilt, two inches shorter and an eighth of an inch narrower than the

1 0 French saber that impressed Patton at Saumur. TheThe overalloverall lengthlength ofof the new saber was forty two-inches.

The blade is straight, tapering, and double edged,edged, withwith aa deep central fuller on either side running within fivefive inchesinches ofof thethe point...The grip is made of steel roughened in a diamond patternpattern forfor greater traction. There is an indentation forfor the thumb on thethe toptop ofof the grip ...... The The guard is a single heavy sheet of steelsteel mouldedmoulded inin afulla full basket with three ridges in the area of the knuckle-bow. BothBoth thethe grip and the guard are blackened. The scabbard is of khakikhaki webbingwebbing with a blackened steel tip and throat. Two fLXedfixed rings onon eithereither sideside of the throat provide the means forfor attachment to the saddle.saddle. ItIt waswas never worn on the person by an enlisted man. (Peterson, 36)

Patton was dispatched to the Springfield Arsenal in Massachusetts forfor three days to make sure that the saber was being manufactured toto his specifications. In March, 1913, issue of Cavalry Journal, Patton amplifiedamplified his previous article on the history, shape, and use of the saber:saber:

...... the the new light light cavalry was mostly armed with a curved saber The weaponweapon adopted was, however, an unintelligent copy. The scimitar ofof the oriental was a special tool adapted for cutting through defensivedefensive clothing made of wool wadding and to be used in combats whenwhen the the opposing horseman fought in open formations circling eacheach other other and not in ordered lines trusting to shock. TheThe sword given to most of the light cavalry troops was not ofof sufficient sufficient curvature curvature to give the saw-like cut of the scimitar and yet waswas curved curved sufficiently to reduce its efficiency for pointing. It may bebe noted noted that that the the scimitar was not used for parrying and could not be,be, having having neither neither guard nor balance. All the parrying was done withwith a a fig light ht shield. shield. But this this lack of balance and the curved form of thethe weapon weapon must must not not be be considered considered as essential to a cutting weapon, forfor the the long, long, straight, straight, cross-handled cross-handled sword of the Crusader has a mostmost excellent excellent balance, balance, about about two inches from the guard. Yet this weaponweapon was was probably the the one one of of all all time time capable of striking the hardesthardest blow. blow. TheThe present present saber saber of of our cavalry is almost the last survival ofof the the incorrect incorrect applictaion applictaion of of the the mechanics of the scimitar. It is not nOt aa good good cutting cutting weapon, weapon, being being difficult difficult to move rapidly. It is not a goodgood pointing pointing weapon, weapon, being being curved curved sufficiently to throw the point outout of of line. line. (Patton, "Form,", 753)

InIn the the summer summer of of 1913 1913 Patton Patton received received permission to return toto Samur Samur and and continue continue his his studies studies with with Clery Clery for for six weeks before reportingreporting to to the the Mounted Mounted Service Service School School at at Fort Fort Riley, Kansas, on OctoberOctober 1st. 1st. At At the the end end of of their their time time together, together, Clery Clery presented Patton withwith a a picture picture of of himself himself in in fencing fencing attire attire inscribed inscribed in French "to my bestbest pupil." pupil." (Blumenson, Vol 1, 262)

1 1 At Fort Riley, Second Lieutenant Patton was both a cavalry student and a sword instructor. His title was Master of the Sword. Many of his students were superior officers. While he taught, he wrote a manual for the use of the new saber published in March, 1914, as Saber Exercise. He announced his philosophy on the first page.

The saber is solely a weapon of offense and is used in conjunction with the other offensive weapon, the horse. In all the training, the idea of speed must be conserved. No direct parries are taught, because at the completion of a parry the enemy is already beyond the reach of attack. The surest parry is a disabled opponent. In the charge and in the melee, the trooper must remember that on the speed of his horse in attack, and on his own offensive spirits, rest ninetenths of his chances of success. (Patton,(patton, Saber Exercise, 5)

Instruction began on foot with the feet twenty four inches apart, the knees bent, and the left hand holding an imaginary bridle six inches in front of the belt buckle.

Instruction on foot teaches the mechanism of the use of the saber without embarrassing the trooper with the control of the horse. Its chief purpose is to increase the reach, teach accuracy and quickness, and above all, to make the thrust instinctive. (Patton,(patton, Saber Exercise, 5)

The manual details a course of instruction that progresses from the exercises on foot, to mounted charges over obstacles and against dummies, to full scale combat with masks and dull exercise sabers. A trooper who was touched was required to raise his saber and leave the designated area. Perhaps remembering his opponent at West Point, Patton wrote

A man who does not admit touches should be tried (by court martial) or in some other way have his sensibilities awakened. (Blumenson, Vol 1, I, 207)

Patton taught five guards and five thrusts from those guards: right front (also the position of charge saber), left front, right, left, and right rear. Because a cavalry man cannot thrust effectively to his left rear, he was taught when attacked from this vulnerable direction to turn his horse sharply to the right and attack his pursuer from the right front. Troopers were taught to disregard the saber of the enemy and concentrate fully on lunging at his body. Patton believed that the power of the lunge combined with a twist of the wrist to the right would deflect the enemy's saber to the outside. Patton gives special attention to the deflection of the lance. In attacking a lancer, a rapid approach is even more important than against a swordsman. The only moment of danger is when the point of the lance comes within the first reach of the fully extended saber. If, at that moment the swordsman lunges,forchng the lance to the outside, he is safe and the lancer is at his mercy. (Patton,(patton, Saber Exercise, 23) 1 2 This is the combined parry and attack in one tempo of rapier days.

In June 1915, PattonPatton publishedpublished thethe TheThe DiaryDiary ofof thethe Instructor of Swordsmanship. HeHe repeatedrepeated thethe importanceimportance ofof the saber as an offensive weapon. TheThe sabersaber waswas not for individual defense ...The... The menmen mustmust bebe impressedimpressed withwith thethe ideaidea that the proper defense isis aa transflXedtransfzxed opponent.opponent. (Blumenson,(Blumenson, VolVol 1,1, 206)206)

In 1916 the Cavalry Board ofof EquipmentEquipment consideredconsidered replacingreplacing the 1913 saber with a curved weapon.weapon. PattonPatton vigorouslyvigorously defendeddefended the weight, length, shape, and balancebalance ofof thethe weaponweapon hehe designed.designed. The distribution of weight waswas very very carefully arranged to give maximum effecteffect toto thethe chargecharge withwith the the point and and to the lunge ..in.. ln this particular thethe presentpresent sabersaber isis the the superior superior of any existing weapon inin thethe hands ofof foreign foreign nations.nations. (Blumenson, Vol 1, 312)

HeHe cited cited the the effective effective cutting power of the straight swords usedused byby medievalmedieval knights, knights, Scottish Scottish highlanders, Rupert and Cromwell inin thethe EnglishEnglish Civil Civil War, War, Charles Charles XII, and Peter the Great. He quoted numerousnumerous historical historical advocates advocates of the point including Napoleon.

AtAt Wagram, Wagram, when when the the cavalry of the guard passed in review beforebefore a a charge, charge, Napoleon Napoleon called called to them: "Don't cut! the point!point! thethe point!" point!" (Patton, "Form," 754) ChangesChanges were were not not made made in in Patton's Patton's saber! saber! Patton'sPatton's career career as as Master Master of of the Sword ended in 1914 soon afterafter Pancho Pancho Villa Villa raided raided Columbus, Columbus, New Mexico, and killed seventeenseventeen Americans. Americans. Patton Patton was was assigned assigned to the 8th Cavalry at FortFort Bliss, Bliss, Texas. Texas. He He describes describes a a regimental regimental review in a letter to his wife.wife.

ItIt was was a afine fine sight sight all all with with sabers sabers drawn drawn and and all all my sabers .. It gives youyou a a thrill thrill and and my my eyes eyes filled filled with with tears tears ...... ItIt is is the the call call of of one's one's ancestors ancestors and and the the glory of combat. It seemsseems to to me me that that at at the the head head of of a a regiment regiment of of cavalry cavalry any thing wouldwould be be possible possible ...... (Blumenson, Vol. 1, 297)

Patton'sPatton's dreams dreams were were soon soon to to be be frustrated. frustrated. On ThanksgivingThanksgiving Day, Day, 1914, 1914, he he was was ordered ordered to to attack attack a a band band of of eighty eighty MexicansMexicans who who were were camped camped on on the the American American side side of of the the Rio Rio Grande.Grande. Patton Patton planned planned a a saber saber charge charge at at dawn. dawn. His His immediate immediate superiorssuperiors ordered ordered the the sabers sabers to to be be left left at at the the fort. fort. The The Mexicans Mexicans werewere not not found found and and his his men men returned returned after after eleven eleven hours hours in in the the saddle.saddle. During During this this campaign campaign Patton Patton and and ten ten soldiers soldiers traveling traveling in in threethree automobiles automobiles shot shot and and killed killed a a well-known well-known Villista Villista officer officer and and twotwo of of his his comrades. comrades. This This was was the the first first time time that that a a U.S. U.S. Army Army unit unit 1 3 had motored into action. The days of the saber were in decline and mechanized warfare was born. Patton remained an interesting theorist in fighting with the sword. He became a monumentally successful practitioner of modem mobile warfare. In April, 1934, the Adjutant General's Office discontinued the saber as an item of issue to the cavalry and completely discarded it as a weapon. By this time Patton was involved in the development of the U.S. Tank Corp and the demise of the saber passed without his documented comment. However, when asked by the Cavalry Board in 1941 about the retention of the saber, he replied in length.

A cold steel weapon is not only desirable but vitally necessary. Very few people have ever been killed with the bayonet or the saber but the fear of having their guts explored with cold steel in the hands of battle-maddened men has won many a afight. fight. (Blumenson, Vol 2, 21)

Patton suggested that cold steel teaches aggression, the will to close with an enemy.

Only cold steel provides this will, for to use such a weapon, one MUST close.(Emphasis mine). (Blumenson, Vol. 2, 21)

Patton never used his saber in battle, but he demonstrated in WoddWorld War II this will to charge the enemy with the tanks and half-tracks that earned his armoured cavalry the name "Hell on Wheels." WORKS CITED

Blumenson, Martin, The Patton Papers 1885-1940, Vol. I, 1, Houghton MiffmMiffin Company, Boston, 1974.

The Patton Papers 1940-1945. Vol 2, Houghton Miffin Company, Boston, 1975.

Patton, George S. "Form and Use of the Saber." Cavalry Journal., Journal. 23 March 1913.

Patton, George. S. Saber Exercise, Government Printing Office, Washington, 1914,

Peterson, Harold, The American Sword, 1775-1945. Ray Riling Arms Books Company, Philadelphia, 1983. GENERAL REFERENCE

Blumenson, Martin, Patton, William Morrow and Company, New York, 1985. 14 THE METAPHYSICS OFOF STAGESTAGE COMBATCOMBAT by Mark Olsen

Relationship with the tooltool givesgives thethe workmanworkman hishis skill,skill, andand aa longlong apprenticeship is needed toto mastermaster aa tooltool ...but ... but masterymastery isis notnot merely merely something that is reached ...rather,... rather, masterymastery isis anan openingopening toto anan innerinner world in which a new authority andand newnew qualitiesqualities cancan beginbegin toto bebe felt. MichaelMichael DonnerDonner TheThe WayWay ofof WorkingWorking

Gather any number of stage fighters toto looklook atat aa setset ofof weapons and one will hear them enthusiastically comparingcomparing thethe qualitiesqualities of each weapon. The size, form andand relativerelative beautybeauty willwill bebe ferventlyfervently discussed. They'll assess thethe hilt shape oror bladeblade widthwidth oror qualityquality of the finish. Visual evaluation, however, cancan onlyonly gogo soso farfar andand true true assessment must therefore involve handlinghandling ofof thethe weapons.weapons. It is only then that the invisible qualities cancan bebe revealed--revealed-­ qualitiesqualities like like weight, balance, or sound., ReactionsReactions will, of course, vary according toto individual tastestastes (although(although I I suspect suspect a superior weapon would win unanimousunanimous praise).praise). And And the the interesting thing to me, aside from the appraisalsappraisals themselves,themselves, is is the the fact fact that that taste, the sense of discernment, dependsdepends entirelyentirely upon upon the the internal internal world of the combatant. And at thisthis stage,stage, wewe have have shifted--ever shifted--ever so slightly--from the ordinary into what oftenoften isis considered considered to to be be the the extraordinary extraordinary world of metaphysics. Today'sToday's experts experts in in the body/mind field of metaphysics, whilewhile differing differing on on a a wide wide variety of subjects, at least agree on thethe ideaidea that that man's man's motor motor function function is is intimately linked with his mental andand emotional emotional growth. growth. This This idea idea is most strongly supported by the workwork of of F. F. M. M. Alexander, Alexander, Moshe Moshe Feldenkrais, Ilana Rubenfield, andand an an ever ever growing growing number number of of researchers researchers in this field. TheThe recent recent wave wave of of interest interest in the subject, however, tends to shadowshadow the the fact fact that that the the importance importance of motor function to psychologicalpsychological health health has has long long been been a a factor factor in many ancient spiritual traditions.traditions. Sacred Sacred dances, dances, yogic yogic postures, postures, and many prayer rituals werewere used, used, at at least least in in part, part, to to train train the the kinesthetic system. In fact, mostmost martial martial arts arts disciplines, disciplines, aside aside from from the obvious defense attributes,attributes, were were designed designed to to strengthen strengthen the the organs, organs, train the muscles, andand coordinate coordinate body body and and mind. mind. This This coordination coordination refined the nervousnervous system system as as a a prelude prelude to to spiritual spiritual work. Spiritual involvementinvolvement could could not not progress progress in in earnest earnest unless unless the the nervous system waswas properly properly aligned. aligned. And And this this translates translates as as being being psychologically psychologically healthyhealthy (or (or metaphysically metaphysically fit). fit).

DonDon Ahn, Ahn, a a Taoist Taoist Master Master in in New New York, York, teaches teaches Tai Chi sword,sword, for for example, example, not not only only as as a a defense, defense, but but as as a a preparation preparation for for paintingpainting and and calligraphy. calligraphy. The The transformation transformation that that occurs occurs with with each each studentstudent in in this this process process is is a a function function of of ordinary ordinary life, life, but is consideredconsidered metaphysical metaphysical because because it it cannot cannot be be seen seen or or scientifically scientifically

1 5 quantified. The world is actually full of ordinary processes which are considered mysterious because they defy comprehension through observation alone. The inventor, Itzakltzak Bentov, in his book Stalking the Wild Pendulum, gives an analogy to describe the metaphysical dimension of ordinary experience. He suggests we show a bicycle to someone who has never seen one and try to convince them that it is a safe and practical conveyance. Naturally they will take one look and think you are joking; The bicycle to them looks like a very unstable contraption. Explanations will, of course, be useless. It is only through learning how to ride it that they will see its merits. They might then realize that previously they had missed the invisible principle of inertia that keeps the bicycle upright when in motion. The handling of a stage weapon or even the timing of good hand to hand stage combat, also relies on invisible laws. And, like learning to ride a bike, it is only through practice, trial and error, guidance, and clarity of intent, that the invisible laws can come to be known or "embodied." Unlike the bicycle, however, laws of stage combat return to the ether if not kept in constant rapport. It might seem odd to apply a spiritual dimension to something as irreverent as stage fighting. The depiction of violence and brutality seems entirely non-spiritual. The people involved seem to be rogues, wenches, and rascals; the most unlikely candidates for spiritual work it might seem. But, as I have come to learn, nothing is as it seems. A teacher of mine once said, "anything can be used as a key, one just needs to find the lock." And actually, this is the central notion motivating many spiritual practices; particularly in Zen Buddhism. Whether arranging flowers, raking leaves, painting, or shooting archery, the Zen adept is using the activity as a key in hope of unlocking his or her true self. How? By applying the fundamental principle known as "mindfulness." Mindfulness is the effortless yet full involvement in whatever activity is occurring at the moment. This includes brushing one's teeth, driving a car, making love, or simply sitting still. Our minds usually chatter incessantly into the past or future, unable to commit to the present. In Zen, this distracted state is seen as a major hindrance to man's full development. Mindfulness is therefore a practice to still the chattering mind. When practiced sincerely, it produces very striking results. One can especially see the results in Zen art forms such as pottery, painting, garden design, calligraphy and much, much more. The true result, however, does not depend on the visible product. In fact, there is a Zen master who, when working with his students, would often have them paint on the surface of a flowing river; illustrating clearly the idea that one should not become attached to the outer result; it is the inner process that matters. The ultimate aim of the inner process has many names and shapes according to each culture or belief system. Nearly all, however, adhere to a notion of salvation whereby the soul passes from corporeal existence into an exalted non-corporeal "beyond."

16 This transition isis usuallyusually precededpreceded byby surrendersurrender toto aa muchmuch higherhigher law. Now, it is nono secretsecret thatthat thethe SpaniardsSpaniards hopedhoped toto codifycodify andand put into practice a systemsystem ofof swordplayswordplay basedbased onon cosmiccosmic laws.laws. They no doubt relied uponupon elementselements ofof sacredsacred geometry,geometry, KabbalisticKabbalistic numerology, astrological configurations,configurations, andand otherother devicesdevices inin anan attempt to reach this goaLgoal. Unfortunately,Unfortunately, itit provedproved entirelyentirely tootoo cumbersome and obviously nono matchmatch againstagainst anan opponentopponent whowho fought with instinct, free of codified restraints.restraints. AsAs usual,usual, intentionsintentions to conscribe cosmic lawlaw with thethe finitefinite limitslimits ofof man'sman's rationalrational mind,mind, however well conceived, were doomeddoomed toto failfail inin thethe faceface ofof thethe infiniteinfinite dynamics of life. The Spaniards, poor fellows, actuallyactually mightmight havehave beenbeen onon toto something.something. Regretfully, for them,them, theythey fellfell intointo thethe traptrap thatthat seemsseems toto snare most efforts of this nature: They becamebecame dazzleddazzled byby theirtheir ownown reflections and failed to see the invisible functionfunction thatthat waswas atat hand.hand. It was too simple for their zealous tastestastes andand thereforetherefore escapedescaped them. And here it is, the function they missed andand thatthat unitesunites nearlynearly allall religious religious practices, all art, music, science, andand thethe essentialessential ingredientingredient for for any human development--an aspect ofof consciousnessconsciousness soso simple simple as to render it almost invisible. Its use and growth,growth, inin allall fields,fields, is is mankind's mankind's most powerful tooLtool. It is simply: focusfocus ofof attention.attention. AllAll meditations, meditations, prayers, chants, dances, drawings,drawings, painting,painting, pieces pieces of of music, writing, sculpture, carpentry,--virtually allall of of culture--makes culture--makes use of this function. But it is so "under thethe nose"nose" it it becomes becomes invisible invisible (like finally realizing you are allergicallergic toto kleenex)!kleenex)! And And here here we we are again, back to the earlier concept ofof mindfulness.mindfulness. HadHad the the Spaniards Spaniards used their system to train the attention, creatingcreating a a springboard springboard into into a clear state of awareness, they mightmight havehave revolutionized revolutionized swordplay. swordplay. Instead, they got cut to ribbons and werewere forced forced to to abandon abandon their their invention. invention. KarateKarate Master Master Dale Dale Kirby, Kirby, during his stay at the National StageStage Combat Combat Workshop Workshop this this past past summer, summer, often referred to the importanceimportance of of being being in in the the moment, moment, in in life life as well as the martial arts.arts. He He is, is, as as most most of of us us observed, observed, the living living embodiment of that idea.idea. And And much much of of what what he he has has achieved achieved is is an obvious result of his highlyhighly developed developed focus focus of of attention. attention. As As aspiring aspiring stage fighters, it is importantimportant to to learn learn from from his his example example and and apply apply the the principles to our ownown lives. lives. Therein Therein rests rests the the "spirit" "spirit" of of our our art. art. Whatever belief systemssystems we we may may adhere adhere to, to, the the aspect aspect of of "mindfulness" "mindfulness" in our work andand creativity creativity must must certainly certainly be be present. present. And And as as a a skill begins to develop,develop, it it will will have have the the tendency tendency to to enhance enhance one's one's overall attitude towardtoward life. life. Masters Masters from from all all endeavors endeavors agree agree that that at at some some point theirtheir work work creates creates them them as as much much as as they they create create their their work. work. SoSo even even something something as as irreverent irreverent as as stage stage fighting fighting could, could, if so desired,desired, be be used used to to focus focus the the attention, attention, channel channel aggressions, aggressions, balance thethe mind mind and and body, body, and and ultimately ultimately provide provide an an opening opening into into the the deep qualitiesqualities of of compassion compassion and and the the positive positive destiny destiny of of the the soul. souL And it needneed not not be be codified, codified, ritualized, ritualized, or or formalized formalized in in any any way. way.

1 7 ·Then, when an assembly of people sit (with focused attention)attentlon) to watch a rousing, creative, action-packed fight, they will sense somewhere deep inside the beauty of elevating man's warlike naturenatu~e to anCl? art form which transcends brutality; thus proving what ~~-al~~.al artists artlsts have always known: the enemy is not martial energy, 1tIt 1s IS ignorance. Ignorance. And when theatre exposes ignorance, the veil is momentarily lifted, preparing the way for a destiny more suited to humanity's higher aims.

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1 8 WHEN STYLESSTYLES COLLIDE:COLLIDE: BLADES OFOF EASTEAST ANDAND WESTWEST by T.T. J.J. GlennGlenn

Recently I was stuntstunt coordinator/fightcoordinator/fight choreographerchoreographer forfor aa televison pilot. This gavegave meme veryvery directdirect reasonreason toto exploreexplore thethe easteast versus west debate close up.up. TheThe pilotpilot waswas calledcalled MidnightMidnight Warriors and was to contain fightsfights betweenbetween aa westernwestern stylestyle fencer,fencer, a ninja-to stylist and a kenjitsu expert.expert. Since these three sword stylesstyles havehave hadhad littlelittle historichistoric oror theatricaltheatrical contact, staging thethe fightsfights waswas aa chore.chore. Additionally,Additionally, littlelittle informationinformation was available as toto theirtheir relativerelative strengthsstrengths andand weaknesses.weaknesses. Aside from some east/west confrontationsconfrontations onon thethe oldold T.V.T. V. seriesseries Kung Kung Fu (none of which involved swordsword toto swordsword work)work) andand the the movie Red Sun (where again sword toto swordsword waswas ignored)ignored) mymy research research uncovered only three instances ofof westernwestern versusversus easterneastern sword sword styles. Oddly enough, all werewere JapaneseJapanese versusversus EuropeanEuropean and and two out of three were. light sabers versusversus katana.katana. InIn ShogunShogun Richard Richard Chamberlain briefly used a katanakatana (maybe(maybe fourfour cuts)cuts) as as if if it it were were a western rapier against a ninja'sninja's blade.blade. InIn SwordSword of of Heaven Heaven a light cavalry saber was used (( andand prettypretty badlybadly at at that) that) against against a "magical" katana at the end ofof thethe film.film. InIn TheThe Bushido Bushido Blade Blade Frank Converse fought Sonichi (Sonny)(Sonny) ChibaChiba saber saber to to katana katana in in a a match of honor. ThisThis poor poor theatrical theatrical list left me with precious little visualvisual referencereference so so I I started started cracking cracking the the books for clues. Here againagain II foundfound little little historical historical evidence evidence of the the collision of styles since mostmost travellerstravellers who who recorded recorded confrontations confrontations were not fencing masters or, inin many many cases,were cases,were not not actually actually present when soldiers boasted of theirtheir exploits. exploits. Alternately, Alternately, the the Japanese Japanese were shot before reaching swordsword range. range. Therefore,Therefore, I I was was left left to to my my own own resources to test weapons forfor their their strengths strengths and and weakenesses weakenesses and and then then to match them up in simulatedsimulated sparring. sparring. From From this this information information came came my choreography. HereHere is is some some of of what what I I learned: learned: TheThe least least commonly commonly known known weapon weapon (to (to the western public) isis the the western western sword sword I I chose chose for for the the hero, hero, the the small small sword. The scriptscript originally originally called called for for a a Prussian Prussian military military saber saber but I felt that sincesince the the saber/katana saberlkatana combination combination had had been been done done by some of the aboveabove mentioned mentioned films, films, the the small small sword sword would would give give the fights a freshnessfreshness and and a a look look which which no no one one had had ever ever seen seen before. before. In In fact, it maymay have have been been the the first first time time the the three three weapons weapons have have ever ever crossed crossed in combatcombat (albeit (albeit choreographed). choreographed). TheThe small small sword sword ( (oror court court sword sword or or walking walking sword) sword) was the directdirect descendant descendant of of the the rapier rapier (circa (circa 1480 1480 A.D. A.D. to to roughly roughly 1655 1655 A.D.)A.D.) and and parent parent of of the the modern modern fencing fencing epee. epee. It It was was the the direct direct resultresult of of improvements improvements in in the the swordmaker's swordmaker's art, art, battlefield battlefield technologicaltechnological advances advances and and better better steel. steel. The The heavy heavy broad-bladed broad-bladed rapierrapier (not (not the the wispy wispy epee epee blade blade substitute substitute used used for for the the Errol Errol Flynn Flynn films)films) was was narrowed narrowed and, and, as as an an accommodation accommodation to to everyday everyday wear, wear, shortenedshortened to to facilitate facilitate wearing wearing in in the the crowded crowded cities. cities.

© 1988 T.J. Glenn 19 This meant that from the sometimes five foot (yes five feet of cold steel) length of the rapier, the blade length of the small sword shrank to an average of thirty two inches. The blade shape started as a junior copy of the rapier blade in the 1650s l650s and went through several changes in an effort to both lighten and strengthen the blade. The Colichemarde Colichemardeblade blade was square at the base (forte) and became diamond shaped (in cross section) near the tip. This evolved into a completely diamond cross sectioned blade for the whole length. It was this this" "diamond" diamond" small sword which became the pattern for so many of the military presentation swords we have today. It was a thrust and cut weapon which was used primarily for point attacks but had sharpened edges that could deliver a fatal cut just as easily. It was this period of small sword I chose for the hero of Midnight Warriors because of the flexibility of style it afforded. Later the walking sword became the epee de combat and developed a triangular blade with no edges. While this is quite deadly (a two inch penetration of a point is almost always more fatal than a slash, and triangular wounds don't heal well), it also means that the fighting style would leave little room for the swashbuckling the audience would expect to see in a sword fight--and I'd just as soon not use a weapon incorrectly. Since much has already been written about the katana or Samurai sword, I shall be brief with its story. It is a curved single edged weapon used primarily with two hands, which, like all Japanese blades was designed to cut on the draw. It was almost exclusively a cutting/slashing sword. It also had a point and was used for very effective lunge attacks, particularly in the late nineteenth century when confronted with the bayonets of western style standing armies. Many of these swords were family heirlooms and were made with perhaps the finest pattern welding craftsmanship in the world. Today there are still many Ryu or schools of kenjitsu (the use of the katana). In the past, however, when each clan had its own school and secret tricks--tricks that could mean the difference in a duel and so were carefully guarded--there were literally several hundred different styles. The third sword in the pilot script was a ninja's sword, properly called a ninja-to. This was a straight, generally crudely made piece of steel roughly thirty inches long with one cutting edge and a point. It was straight, because the characteristic curve of the katana required a complex forging process that made them too expensive (and traceable) for the generally poorer ninja clans to afford. Also, a straight blade served the ninja's purpose just fine. Unlike both the small sword and the katana (which were both class symbols as well as weapons), the ninja-to was a utilitarian tool. As such its handguard (tsuba) was square to provide a foot rest for climbing. Also, when the sword was set down it would not roll, which created noise (practical people those ninja). The ninja's sword was made for alley fighting, easy carrying and concealment and for throwing (as a last ditch defense, of course). It was foremost a tool and a close range weapon. As such, it had shorter length as an advantage against the sword of the samurai, historically. If a ninja could not avoid conflict, could not hide or flee, he would come to close quarters with his opponent, his

20 thrusting point and shorter bladeblade allowingallowing himhim toto getget insideinside thethe samurai's guard. Because ofof thethe poorpoor naturenature ofof thethe steelsteel inin hishis sword the ninja employed a saw-like push pull with his cut. ' sword the ninja employed a saw-like push pull with his cut. ThisThis also facilitated a deeper cut since hishis bladeblade diddid notnot havehave thethe weightweight ofof a full swing behind it to penetrate. The ninja-movie technique of holdingholding thethe swordsword inin aa reversereverse position with an underhanded grip waswas onlyonly usedused onon rarerare occasions,occasions, because l)it gave little power in a cutcut andand waswas thusthus onlyonly usedused forfor face and throat slashes and 2)it shortens thethe effectiveeffective cuttingcutting arcarc ofof the blade by almost half--a silly thingthing toto dodo inin almostalmost everyevery situation.situation. The reverse technique was used in the dark ofof nightnight toto hidehide thethe glinting blade behind the ninja's body so he could slashslash quicklyquickly andand with the element of surprise on his side or in the extremeextreme confinesconfines ofof aa narrow alley or overgrown woods where the fullfull swingswing ofof eveneven thethe short ninja-to would be hampred by thethe overgrowth. ItIt isis aa techniquetechnique which has been seized on and used toto excess inin mostmost filmsfilms featuringfeaturing ninja, and so I avoided using it in Midnight WarriorsWarriors altogether.altogether. Before it came time to compose the choreography forfor thethe scenesscenes and actually have the hero and villains cross blades II setset myselfmyself and and my fight crew to sparring with the blades to see howhow theythey matched matched up. Here is what we found: TheThe lengths lengths of the ninja-to and small sword made themthem comparablecomparable distance distance weapons and we discovered that while the twotwo handedhanded grip grip of of the ninja-to gave it superiority for beats on the blade, thethe one one handed handed grip and the western lunge-advance step gave thethe smallsmall sword sword a a point advantage and a quicker riposte (counter-(counter­ attack).attack). ThisThis quicker quicker response to attack proved to be the deciding factorfactor in in the the engagements, engagements, for for even if beat out of line by the ninja-to, thethe slight, slight, swift swift small small sword sword was able to bring its point into play and endend the the match match (and (and the the ninja). ninja). AllAll the the above above was was purely based on blade work, but since ninjasninjas never never stick stick to to the the rules rules we had our ninja use kicks and grapplinggrappling in in the the fight fight as as well. well. Fortunately Fortunately the hero of the show is a mastermaster of of multiple multiple western western fighting fighting arts, among them Boxing Franceise.Franceise. This This means means that that he he can can fight fight it out with the ninja kick for kick.kick. HereHere also, also, the the one-handed one-handed grip grip on on the small sword allowed thethe left left hand hand free free for for grabs grabs and and punches, punches, leaving leaving our two fighters matchedmatched slightly slightly in in favor favor of of the the western western fighter. fighter. One interesting tactictactic we we discovered discovered was was that that when when the the two two blades blades were in in corp de corpcorp (blades (blades locked locked up) up) with with the the sharp sharp edge edge of the ninja-to downward,downward, all all the the western western fighter fighter had had to to do do was was place his left hand onon the the false false edge edge of of the the ninja ninja sword sword and and press press low low out out of the way. MeanwhileMeanwhile he he brought brought his his own own sword sword over over the the top top at at the ninja's face.face. The The ninja ninja had had no no similar similar surface surface to to grab grab on on the the small small sword. TheThe katana katana man man fared fared better better in in this this limited limited sparring. sparring. The greatergreater length length and and weight weight of of his his blade blade (and (and greater greater resulting resulting power) mademade approaching approaching close close enough enough to to strike strike with with the the small small sword sword a riskyrisky business. business. The The katana's katana's curve curve does does limit limit its its lunge lunge capabilities capabilities somewhatsomewhat but but not not enough enough to to count count against against the the samurai. samurai. TheThe katana katana proved proved impossible impossible to to parry parry by by direct direct opposition opposition (as(as many many G.I. G.!. riflemen riflemen discovered discovered in in World World War War II) II) but but the the same same

2 1 deflection parries used by kenjitsuist are part of the small sword arsenal as well as beat parries. The katana's two handed grip made attacks against the blade, such as beats or envelopment, all but useless. The katana technique had only one major flaw which the small sword fighter could exploit. This was the arc of its swing. If it missed in a cut, a quick man with a small sword could easily make a stop hit (direct lunge) to a vital spot before the samurai could recover. Even a slower man could make a pricking attack, with a quick cut on the sword arm and retreat (given the space). He could then continue in that fashion while blood loss weakened and slowed the samurai until a stop thrust could be made. This strategy has a lot of historical precedent and is the main reason that the small sword replaced the heavier rapiers of the earlier era. My partners and I found that just as the ninja chose to come to close quarters to inhibit the deadly swing of the samurai's swords so too the small sword man had to be aggressive and move in at the first opportunity, pressing the samurai with short thrusts and cuts to gain advantage. The combat logic of "get in close and neutralize his reach" holds true even with blades. The script had the western stylist win so I utilized this distance flaw in the samurai techniques to give the victory logical weight. More important than solving the immediate problem of the pilot, I discovered some interesting things about the collisions of styles. Namely, that there is no style which is flawless, no technique, eastern or western so complete that a counter can not be found. In fact I reaffirmed the old truism. What the mind of one man can invent, the minds of other men can improve on. And location, and cultural factors create no obstacle that those minds can not overcome.

22 SWORDBELTS AND FROGS:FROGS: ALL-PURPOSE STYLESSTYLES YOUYOU CANCAN MAKEMAKE by Rod Casteel

It occurs to me thatthat itit isis a rarerare thingthing toto seesee properproper swordbeltsswordbelts and related weapon accessory items inin stagestage productionsproductions today.today. When rapier and epee-bladed facsimiles areare used,used, II havehave observedobserved aa total absence of scabbards for thesethese weapons.weapons. WhileWhile thisthis mightmight seem "unimportant," it never feels quite rightright toto anan actor.actor. Epees,Epees, inin particular, have an unfortunate tendency to bebe hilt-heavyhilt-heavy andand willwill fallfall hilt-down and point-up unless carried in aa scabbard. InIn fact,fact, aa number of difficulties manifest themselves whenwhen facingfacing thethe prospectprospect of carrying/wearing weapons throughout a stage performance.performance. II don't doubt that you've been aware of some of these. On the other hand, I feel that the advantages of adequateadequate weapon accessories are fairly significant:

1.1. Actor confidence is improved; (the weapons are muchmuch lessless inclinedinclined to be a distraction at the wrong time).

2.2. Better Better definition of character attitude.

3.3. The potential for added character "business" and authenticauthentic ritualism in terms of the relationship between oneself,oneself, one's one's weapons, and (their) component accessories.

4.4. Enhanced Enhanced dramatic dramatic values (such as: the "rasp" of steel againstagainst steel steel as as a a blade is drawn from its scabbard)!

5.5. A A more more comfortable comfortable relationship between the actor and his/herhis/her weapons weapons during during NON-COMBAT scenes (i.e.,quality andand sureness sureness of of movement movement and physical carriage are improved).improved).

6.6. Greater Greater historic historic accuracy accuracy and and the satisfaction that what oneone is is presenting presenting is is made made more more true-to-life for the period beingbeing depicted. depicted.

AllAll of of the the above above adds adds up up to to a a whole whole new awareness and perspectiveperspective on on weaponry, weaponry, and and it it is is just possible that you might discoverdiscover some some things things about about weapons weapons and and their function that you didn'tdidn't previously previously know. know. If If you've you've never never had had the the experience of workingworking with with complete complete gear, gear, it it should should answer answer questions questions which may havehave occurred occurred to to you you from from time time to to time. time. For For example: example:

Q:Q: How How does does one one manage manage to to sit sit in in a a chair chair while while wearing a swordsword and/or and/or dagger? dagger? (After (After all, all, you you can't can't sit sit ON ON them!) them!)

A:A: The The DAGGER DAGGER is is the the lesser lesser problem, problem, as as it it can can be be shifted shifted on thethe belt belt if if necessary. necessary. As As to to the the SWORD, SWORD, it it may may be be necessary necessary to to removeremove the the entire entire belt belt and and weapon weapon if if it it is is a a large large sword. sword. For the the rapier/epee,rapier/epee, remove remove the the sword sword and and scabbard scabbard as as ONE ONE unit unit from from frog frog

23 and belt before sitting down. Then treat the weapon as if it were a cane. In a combat situation which allows time and ritual for preparation, the entire belt or baldric (shoulder belt) may be removed (with scabbard, if any is used). Or, as with sitting down, remove only sword and scabbard as ONE, then draw the sword and discard the scab bard.

Q: What if there is no time to discard belt or scabbard before engaging in combat?

A: When there is only enough time to draw one's sword and fight, the scabbard must be held and controlled with the LEFT HAND (particularly when the scab bard is STIFF rather then FLEXIBLE). A flexible scabbard can be largely "ignored," lIignored,lI while a stiff scabbard is very capable of causing you to trip.

Q: What about the same situation (above) with both SWORD and DAGGER?

A: If possible, make disposal of the SCABBARD the top priority. If this is not feasible, the actor must be aware of the scabbard and take care not to trip over it while fighting. Also, never fall ON the scabbard if it is of the stiff type. A "soft"" IIsoft"IIscabbard scabbard would not be problematic to wear while fighting with both hands engaged.

As you can see, the variety of circumstances and situations dictates a new set of problems when complete gear is used; but, the "new"lInewll set of problems has solutions. Discovering these can even be fun. All of the maneuvers above should be practiced until familiarity and adeptness are achieved. So, play around with it and see what works best for you. And, the next time you're able to watch an Errol Flynn ( (oror other such) film, take care to observe how these things are handled. Moving on to the area of historic accuracy, happily we seem to have advanced at least to the point where the generic cup-hilt epee is no longer acceptable as the universal, all-purpose "rapier." lIrapier." I find this sort of progress encouraging. It seems to indicate that the lack of correct period equipment is probably not due to lack of desire for authentic detailing; rather, I suspect it is due to a general lack of information and know-how in terms of how such gear is constructed and how it should look. Such information is not always readily obtainable. My proposition is this: picture an actor in a wonderfully detailed Elizabethan costume. Now imagine that the same actor presents himself onstage in his BARE FEET (because, you see, there is some problem about providing him with proper footwear). So, we just OMIT footwear from his costume and this is our "solution."IIsolution. II Does this really "work?!" lIwork?!" I'm sure you will agree that it does not. This is exactly how I feel when I see a play with beautiful costumes and swords ...... but but NO scabbards, frog (hangers), nor reasonably proper swordbelts. Often, what I do see is a sash or waist-belt with the sword thrust through it. At first glance, this may seem a small thing, but it always leaves me feeling just a bit

24 "cheated" (and acutely awareaware ofof thethe problemsproblems andand discomfortdiscomfort ofof thethe actors) ...about... about the same wayway you'dyou'd feelfeel ifif thethe actorsactors wurewore tennistennis shoes with otherwise gorgeous periodperiod costumes.costumes. TheThe impactimpact isis lost.lost. As members of the Society ofof AmericanAmerican FightFight Directors,Directors, wewe are all "combat-conscious." OfOf course,course, weaponsweapons areare aa veryvery important part of most combat scenes. ThatThat wewe allall shareshare aa degreedegree ofof awareness of weaponry is inevitable. Yet,Yet, II getget thethe feelingfeeling thatthat "weapons-consciousness" may bebe aa secondarysecondary considerationconsideration forfor some of us. Again, this may have toto dodo withwith lacklack ofof availabilityavailability ofof certain items, ·insufficient 'insufficient knowledge (perhaps(perhaps coupledcoupled withwith insufficientinsufficient skills) as to how to construct thesethese itemsitems ourselves,ourselves, andand thethe belief that these items would be excessively expensiveexpensive eveneven ifif wewe COULD build or buy them .. As a sword-maker, I have a fair knowledge ofof thesethese things.things. SinceSince I feel it is non-constructive to offer only criticism whenwhen II amam ableable to offer ideas and answers for these problems, itit struckstruck meme thatthat II should do something about it. It is my sincere hope thatthat II mightmight inspireinspire you to set, by example, a more credible visual standardstandard forfor thethe stage stage ...... by by starting with your own gear. It IS up toto usus toto possesspossess andand to disseminate correct information about our chosen fieldfield ofof endeavor.endeavor. Ort1y Only in this way can we continue to command thethe respectrespect duedue to to true true professionals. SoSo...first, ... first, I would like to debunk the idea that YOU "can't afford"afford" to to outfit outfit yourself properly with swordbelts and frogs. NotNot onlyonly is is it it possible possible for you to make up your own correctly styled periodperiod swordbelts swordbelts and hangers .. ...it .it is EASY and ECONOMICAL, as youyou will will see: see:

' '' .' ,..->..---:>' FOLD SMOOTH FOLDFOLD SIC€ CUT LINELINE ,...-,...- ..---..---LINE Figure I

Figure 1-A Figure 1-B

First,First, for for a a good good ALL-PURPOSE ALL-PURPOSE BELT BELT & HANGER whichwhich works works well well with with any any (standard (standard length) length) "cross-hilt" "cross-hilt" sword, sword, see FigureFigure 1. 1. The The belt belt should should be be of of heavy heavy leather leather with with a a plain harness buckle,buckle, width width about about or or nearly nearly two two inches inches wide, wide, and and large large ( (oror extended)extended) sizes sizes are are best. best. They They will will fit fit almost almost anyone anyone and and the overlongoverlong end end can can be be "tucked" "tucked" in in the the medieval medieval style style (as (as shown). shown). I

25 know what you're thinking: "Won't the belt be EXPENSIVE!" Answer: NOT if you acquire the habit of searching for such things at your local thrift/second-hand stores. When you do, you needn't expect to pay more than two dollars for a sturdy belt with buckle. (While you're there, look for a second belt about one inch wide, as this is what you'll be using to construct your "Elizabethan" sword­ sword- girdlegirdle). ). For the HANGER on the first belt, you need a piece of leather about five to six inches wide and about fourteen to sixteen inches long (See Fig. 1-A). I-A). The HANGER should be made separate from the belt in case you want to use it on another belt. It should also be made to hold the sword vertically and must be loose enough for easy withdrawal of the weapon. ASSEMBLY of hanger: Use rivets or (even better) buy a STITICHING AWL from Tandy Leather Company. It's easy to use and you'll find many purposes for it. The cost is about four dollars. (NOTE: If you use NYLON thread, finish a series of stitiches with a knot, bum the thread ends, and press flat with an awl handle while hot. Nylon thread lasts a long time!). See Fig. 1-B I-B

Figure 2

Now see Figure 2 for a detail of an historically correct "Elizabethan sword-girdle." The example shows exactly how an original was designed and constructed. The problem is: this style requires special hardware which is not generally available. (I plan to offer KITS of such hardware in the near future, but we will have to make it up ourselves). Meanwhile, I have offered a simplified version of the same design. It will read onstage just like the more detailed original, but you can make the simpler version yourself.

26 Figure 3

SeeSee Figure 3 for the THEATRICAL (SIMPLIFIED)(SIMPLIFIED) PATTERNPATTERN (this (this actually has a PRE-Elizabethan looklook whichwhich willwill alsoalso work work for for later period). The FROG loops overover thethe beltbelt andand downdown through through the friction slider, attaching belowbelow it.(FRICTIONit.(FRICTION SLIDER:SLIDER: a a buckle buckle WITHOUT a "tongue."). Points 1,2,3,&1,2,3,& 44 areare securedsecured with with RIVETS. RIVETS. To further simplify this design, thethe frictionfriction sliderslider and and the the small small buckle buckle (on frog and small strap, respectively)respectively) CANCAN be be omitted omitted and and the the same same look will be maintained for theatricaltheatrical use.use. IllustrationsIllustrations A, A, B, B, & CC (based on European andand AmericanAmerican Arms Arms by by Claude Claude Blair, Bonanza Books, New York,York, 1962).1962). show show three three basic basic styles styles of swordbelts and how they werewere worn.worn. Sryle Srjle A A is is an an Elizabeth Elizabeth Sword-Girdle, Sword-Girdle, circa 1570; style BBis is aa swordbelt swordbelt in in the the style style of of the the seventeenth seventeenth century; and, style C is a BALDRICBALDRIC or or shoulder shoulder belt belt of of the the seventeenth seventeenth century. NowNow you you know know enough enough to to create create credible swordbelts. The interestinginteresting thing thing about about knowledge knowledge of of any any kind is that it has worth onlyonly when when shared shared with with others others and and put put to to use. I find that theatre productionproduction people people desire desire this this knowledge. knowledge. WE WE should be the ones whowho provide provide it. it. By By doing doing so, so, we we enhance enhance our our credibility and the credibilitycredibility of of the the Society Society of of American American Fight Fight Directors Directors

27 TOUCHE UNLIMITED Touche Unlimited is one year old and has been doing incredible things for fight choreography on the West Coast Besides training students in stage combat in the Bay Area with their regular sessions, they have also conducted two Swashbuckling Intensives which were two day workshops dealing with a number of weapons. Touche did the choreography for the premiere of The Very Last Lover of the River Cane for San Jose Repertory Theatre and they staged the 1946 prison break-out on Alcatraz Island. They have worked with and for Placido Domingo on The Tales of Hoffman at the San Francisco Opera and Macbeth at the Los Angeles Opera. Chris Villa and John Robert Beardsley, the two fight masters in the organization, worked on the Conan show at Universal sSudios in Los Angeles. Chris Villa is working on Romeo and Juliet at Ashland this year. There have been national radio and television interviews and numerous articles written about this exciting swashbuckling company. Touche's mission is to promote historically accurate stage combat. They have taken the acting out of stage combat and yet have been able to maintain a historical accuracy in their work. This is partly done by instilling in the students a respect for the sword and an awareness that the sword has sharp points and edges. Once the student has endowed the weapon with these attributes, he handles and respects the sword as a potentially lethal weapon. The student learns how to live the fight which expands the choreographic potential. Touche puts a professional focus on both the aesthetics and safety of brilliantly choreographed stage combat. In keeping with their mission of his historical tori cal accuracy, Touche also sells and rents state of the art equipment that is combat worthy historical replicas. This spring Touche will be conducting interviews and auditions in Milwaukee and Massachusetts for their performance company which will be doing a major fight show with an internationally known playwright. Those interested in audtitioning should send a photo and resume to Touche Unlimited, 761 Colusa, ElEI Cerrito, California 94530. You may call (415) 525-8290 or (415) 526-3755 for further information. At the end of June, Touche will be involved with the International Academy of the Sword for two to three weeks in Madrid Spain. Oscar Kolombatovich, the world's foremost historian on the use of the sword will be lecturing and teaching at the workshop and William Hobbs, of cinema fame, has also expressed an interest in support of the workshop which will involve advanced training in fencing, sword building, horseback riding and other theatrical projects. The company will then travel around Spain performing.their swashbuckling routines. For further information on the International Academy of the Sword, contact Touche Unlimited. At Touche Unlimited, anything is possible!

28 ThereThere waswas oneone spectacularspectacular stuntstunt inin thethe showshow thatthat involvedinvolved LadyLady MacBethMacBeth inin thethe sleepwalkingsleepwalking scene.scene. WhenWhen climbingclimbing thethe stairs,stairs, LadyLady MacBethMacBeth stops,stops, turnsturns outout toto thethe audience,audience, andand sayingsaying "Give"Give meme youryour hands,"hands," reachesreaches forfor herher imaginaryimaginary MacBeth.MacBeth. TheThe resultresult waswas aa six-footsix-foot free-free­ OREGON fallfall intointo thethe armsarms ofof herher waitingwaiting SHAKESPEARE attendants.attendants. TheThe stuntstunt waswas pulledpulled offoff byby FESTIVAL thethe fullfull commitmentcommitment ofof thethe actressactress playingplaying In October I had the opportunity LadyLady MacBethMacBeth andand thethe reactionsreactions ofof thethe toto see the closing night performances of otherother actors.actors. NeedlessNeedless toto say,say, aa veryvery MacBeth and A Midsummer Night's audibleaudible gaspgasp waswas heardheard fromfrom thethe Dream at the Oregon Shakespeare audience.audience. Festival in Ashland, Oregon. Both AA MidsummerMidsummer Night'sNight's outdooroutdoor productions were choreographed DreamDream faredfared slightlyslightly better.better. TheThe showshow by Roger A. Barnett, a member of the started withwith aa ritualisticritualistic fencingfencing boutbout actingacting company. involvinginvolving threethree pairspairs ofof actors.actors. AsAs thethe The production of MacBeth was ritualritual proceeded, oneone combatantcombatant slowlyslowly costumedcostumed almost entirely in black, with sped up untiluntil thatthat boutbout becamebecame "real""real" splashessplashes of white and red used competition. AfterAfter victory,victory, thethe combatantcombatant symbolically.symbolically. Combatants fought with was then revealedrevealed toto bebe Hippolyta.Hippolyta. rapiersrapiers and and simple simple cross hilt daggers that Sabres were usedused forfor thisthis action,action, offeredoffered very very little hand protection. The although the target areasareas andand thethe parriesparries firstfirst battle battle scene scene started with the used were more of thethe "single"single rapier"rapier" combatantscombatants walking on stage and variety. assumingassuming various various guards. The ensuing The entrance ofof TitaniaTitania andand fightsfights were were staged staged in in slow motion, Oberon was a choreographed dancedance thatthat althoughalthough the the effect effect was was marred by the ended with Titania slapping Oberon.Oberon. varyingvarying speeds speeds of of the the individual individual groups. This was a full contact slap straight outout toto TheThe killing killing of of Banquo Banquo consisted of a the audience. Even inin my thirdthird rowrow seatseat simple,simple, bloodless bloodless cutting cutting of of the the throat full (and Ashland's Elizabethan theatretheatre seatsseats aa onon to to the the audience. audience. Fleance's Fleance's escape escape was thousand) the effect was lost. justifiedjustified by by his his captor's captor's astonishment astonishment at The combat possibilities of thethe thethe killing killing of of Banquo. Banquo. While While this this was lovers' confrontation scene was given justifiablejustifiable stage stage action, action, it it was was not not exciting exciting short shrift, although at one point Hermia --something--something one one hopes hopes for for always, always, but does grab Lysander's sword and give it a especiallyespecially in in MacBeth. MacBeth. The The final final battle few swings. These moves actually scenescene had had MacBeth MacBeth donning donning a a breastplate breastplate worked the best because the simpleness withwith no no apparent apparent thought thought as as to to how how this this of them allowed the actors to commit wouldwould affect affect fighting fighting styles. styles. Does Does this this fullyfully to the moves moves. . increaseincrease MacBeth's MacBeth's bravado, bravado, having having his his Overall I was very disappointed, vitalvital organs organs covered covered with with armor? armor? How How both with the fights and the festival's mightmight this this change change MacDuff's MacDuff's strategy strategy attitude towards fight choreography. whowho is is similarly similarly armed, armed, but but less less Ashland is a major repertory company protected?protected? The The resulting resulting fight fight was was thatthat not only employs upwards of fifty sloppy,sloppy, with with cuts cuts being being either either too too high high or or actorsactors (about (about one-third are Equity), and tootoo low low much much of of the the time--giving time--giving the the fight fight generatesgenerates over three hundred thousand anan Errol Errol Flynn Flynn style style not not helped helped by by the the audienceaudience members a year, but has choreography.choreography. The The fight fight ends ends with with previouslypreviously employed employed professional fight MacDuffMacDuff chasing chasing MacBeth MacBeth off off stage stage to to re­ re- choreographerschoreographers David Boushey and appearappear with with MacBeth's MacBeth's severed severed head. head. ChristopherChristopher Villa. Villa. Unfortunately, in the lastlast few few years, years, Ashland Ashland has increasingly reliedrelied upon upon actors actors with small amounts of

29 combat training to choreograph their stronghold opened simultaneously, shows. Not only do their audiences revealing Aufidius and his men prepared deserve better, but just as importantly, to do battle. Ashland's actors deserve the safety and David Leong, assisted by Payson training that a professional fight Burt, staged some of the most focused, choreographer can provide. acrobatic, and historically accurate battle maneuvers seen in live theatre. Small Dexter Fidler "stories" about the battle were told throughout the action and the movement CORIOLANUS AT THE and stage pictures brought the audience's McCARTER THEATRE eye to those moments that told and Liviu Ciulei's production of reinforced the total story. Coriolanus at the McCarter Theatre in The Romans assaulted the fortress Princeton, November 4th through the by attempting to scale the walls with 22nd was a visually stunning production. ladders which were repulsed by the The mass battles in the first act and the VVolscians olscians sending Roman soldiers assassination of Coriolanus, flying to the ground. The Romans were choreographed by David Leong, lived up forced to retreat to the trenches and, after to the keen picturization of the cursing his men for their cowardice, production. Coriolanus led the second attack with the The cold grey set consisted of a Romans forming a Greek phalanx and rock wall pierced on three levels by nine going shield to shield and then pilum to symmetrically placed Roman style arches. shield with the enemy. Coriolanus In front of the wall was a black sculptural managed to drive a wedge through the unit which resembled a monumental Volscian defenses, breaking up their portal. In the opening scene the rabble formation and sending them back into the tears the monument apart in a powerful fortress while fighting off three Volscians beginning to this strongly socio-political in gladiator style combat. The infantry play. Movement occurred around, over men who had approached the fortress and under the sculptural unit as it was made a "tortoise" formation with their disassssembled during the rioting scene. shields to protect themselves from the During the course of the play the missiles being hurled from above and sculptural unit, with its four leg units and Coriolanus climaxed the second assault tongue, became the benches of the senate, by marching up the shields of his men the cannons before Aufidius' stronghold, and into the second level of the fortress a tent like structure, an oriental style gate as the gates closed in on him. In the third or an overpowering object/image attack the Romans wiped out the hovering over the action on stage below. Volscians, entered the city and began , This, accompanied by visually strong sacking it. white light, enhanced Liviu Ciulei's The movement, acrobatics and the "living sculptures" in this cold, grey anti­ anti- savagery of the three battles involving democratic epic. thirty five actor/combatants were riveting The mass battles consisted of in their complexity and precision timing. three assaults on Aufidius' stronghold. There was some slight confusion at first The first battle begins with huge cannons in differentiating the armies as they pointing out over the audience in defense prepared to do battle due to the similarity of the stronghold. The Romans in their German style helmets and the cautiously emerge from -the pit in the muted khaki or grey costumes which apron with their pilums and shields were non-descript as to period or culture. (scrutums)(scrotums) in guarded preparation before The shields of the Volscians were round springing into attack. After dismantling in contrast to the Roman scrutum scrotum which the cannon and just as the Romans helped to distinguish between the armies reached the wall, a startling piece of in the opening moments of the battle. staging occurred when all the doors of the

30 The confrontation betweenbetween leftleft hungryhungry forfor thethe climaxclimax ofof thethe Coriolanus and Aufidius beganbegan withwith thethe productionproduction asas aa resultresult ofof thisthis sortsort ofof opponents diagonally across fromfrom eacheach thinking.thinking. other.. A long pause toto establishestablish thethe DuringDuring thisthis samesame periodperiod ofof timetime ritual/preparation of combat occurredoccurred whilewhile inin BostonBoston II sawsaw aa showshow atat oneone ofof which, because of lack of specific stagestage thethe majormajor theatrestheatres inin towntown directeddirected byby aa business, caused the bottom to drop outout wellwell establishedestablished directordirector inin thethe area.area. TheThe of this scene. The fight between the twotwo climacticclimactic scenescene ofof thethe playplay involvedinvolved anan warriors was well executed and keptkept unarmedunarmed fightfight betweenbetween twotwo ofof thethe majormajor within the specific dictates of Liviu Ciulei characterscharacters andand thethe resultsresults (obviously(obviously that there be little or no blade contact. stagedstaged byby thethe director,director, ifif stagedstaged atat all)all) Leong had the two leaders test each other werewere entirelyentirely laughable.laughable. TheThe bottombottom lineline by using a great deal of shield to shield isis thatthat youyou didn'tdidn't carecare atat allall aboutabout whowho work and sword to sheild work. While wonwon oror lostlost thethe confrontation.confrontation. YouYou werewere technicallytechnically sufficient it did not live up toto tootoo busybusy cringingcringing atat thethe factfact thatthat punchespunches thethe spectacle of the battle scenes which werewere milesmiles offoff targettarget andand knapsknaps andand had just preceded it. maskingmasking nonexistent.nonexistent. ThisThis "easy""easy" piecepiece The next and final image of of combat broughtbrought thethe showsshows realismrealism toto aa r violenceviolence in the play did not occur until the crashing halthalt andand nono oneone eveneven caredcared asas toto fifthfifth act when Coriolanus was thethe resolution.resolution. assassinatedassassinated and his body raised on the Three cheerscheers forfor thethe directordirector ofof pilumspilums of the soldiers, a devastating Ma Rainey ...... forfor hiringhiring GilbertGilbert toto addadd momentmoment as as he seems to momentarily hang toto thethe realismrealism ofof hishis production.production. therethere with with the the polearms pole arms piercing his Gilbert's work waswas safe,safe, simplesimple andand veryvery body.body. The The final picture of this coldly convincing; notnot tootoo muchmuch forfor thethe actorsactors passionatepassionate production production was the body of to handle and justjust enough toto serveserve thethe CoriolanusCoriolanus lying lying alone on the bare stage scene. I was completely takentaken inin byby thethe atat the the conclusion conclusion of the performance. action and it drove the climaxclimax ofof ActAct II toto aa ThisThis production had some of the crescendo that demanded thethe audience'saudience's bestbest battle battle scenes scenes seen seen on on stage in recent attention. The murder in ActAct IIII waswas aa yearsyears and and David David Leong Leong (assisted by complete surprise and caught usus allall offoff PaysonPayson Burt) Burt) is is to to be be congratulated congratulated for guard, making the results all thethe moremore hishis concept concept and and its its execution execution in this ultra poignant as the play closed. It wouldwould modemmodem production production of of this this classic classic epic. serve us all well to urge any directors wewe LindaLinda McCollum McCollum know to hire an expert in all casescases containing action and violence. The TRINITYTRINITY REP REP resulting rise in production values can DuringDuring early early December December I I had had the only make for better theatre in this pleasurepleasure of of attending attending Trinity Trinity Rep's Rep's country. Again, a hearty well done to productionproduction of of August August Wilson's Wilson's play, play, Ma Gilbert McCauley. Rainey'sRainey's Black Black Bottom, Bottom, directed directed by Drew Fracher WilliamWilliam Partlan. Partlan. Gilbert Gilbert McCauley McCauley stagedstaged two two short short but but highly highly effective effective SCARAMOUCHE scenesscenes of of violence violence that that added added greatly greatly to to The world premiere of the well thethe high high quality quality of of the the production. production. While While known Sabatini novel and screen play hardlyhardly considered considered a a fight fight show, show, hats hats off off ScaramoucheScaramouche was presented for the toto the the director director for for seeing seeing the the need need to to bring bring firstfirst time time on stage at the Empty Space inin an an expert expert to to stage stage what what is is a a very very TheatreTheatre in in Seattle. It was adapted for the climacticclimactic scene scene of of violence violence in in both both acts. acts. stagestage by by James James Monitor, Robert Wright SoSo very very often often directors directors do do not not see see a a need need andand Rex Rex McDowell. McDowell. It was a formidable toto make make use use of of a a fight fight director director for for a a scene scene efforteffort and and all their parts and many good asas small small and and "easy" "easy" as as the the ones ones contained contained momentsmoments prevailed in this adapatation. inin Ma Ma Rainey Rainey ...... So So very very often often we we as as WhatWhat was was without a doubt the most audienceaudience members members are are disappointed disappointed and and frustratingfrustrating aspect aspect of of the the production was

3 1 its length--three and a half hours! One knew what was to come at the end of this THE THREE MUSKETEERS marathon--a great duel! So I, like most The Seattle Times in their of the others present on this final preview review of Seattle Children's Theatre night waited with baited breath to see the production of the The Three villain get his "come uppence." And our Musketeers raved about the dazzling wait was worth it! Allen Suddeth had swordplay by David Boushey, one of the done some lovely courtsword courts word world's top fight choreographers. The choreography. The point work was very reviewer was amazed at how David fine and the actors who were somewhat managed to stage four hair-raising sword inexperienced (especially in courtsword) and dagger fights simultaneously on the did an admirable job. The build to the cozy stage of the Poncho Theater. The final duel was set up by various small fights alone were well worth the price of exchanges earlier, including a nice piece admission. of work by James Monitor ( a member of the Society) and co-author of the adapted TRUE WEST piece. He and Charlie Robinson West Virginia University's (Scaramouche) set up the final fmal duel with a production of True West was clean and piece of choreography that was sure to innovative with an outstanding lead make the audience wonder what would performance by Jim McCrum playing come of this final confrontation which Lee. Ben Link played Austin and did an had to be. A bit of cape work was admirable job of keeping up with thrown in, a bit of chair work was McCrum, but the level of experience thrown in along with some excellent point between the two actors was very work by Allen. apparent. Kerry Skalsy (Society member) Susan Vagedes, the fight did an excellent job both in dueling and choreographer and assistant professor at acting. It is always obvious when you West Virginia University, was given carte see Society members performing fights blanche with the ending fight which could on stage because they come off looking have been dangerous having a "do very good. anything you like" fight, but the final There were only two scary result did not detract or interrupt the flow moments. One was when the actors got of the play. The fight included the too close to the audience and the other strangling scene with a telephone cord, was when the magic chair didn't break ending with both men out of breath and properly. Allen was a bit nervous as the scrambling on the floor like animals as actor was about to use a semi-lethal part the lights went down. of the chair to accompany his courts word The strangling sequence was the work, but the actor finally managed to most effective part of the fight, from the deal with the predicament before anyone wrap of the cord, struggling through and could get hurt. destroying the kitchen with Austin on The play was a bit dull at ti'mes, Lee's back, and ending downstage center but the fights or the anticipation of the with Austin riding Lee like a horse fights kept a certain edge on the evenings controlling and strangling him with his proceedings. I think with some "reins." A few times the two actors substantial cuts, this adapatation could be would get too far apart to make the a winner. Like a typical fight illusion of the strangle work, but the choreographer, I don't feel any of the tension on the telephone cord was steady fight situations need altering. Perhaps the and safe. play is a little too ambitious and a little too By far the most impressive wordy. By and large, it was a nice technique of the night, and one I evening at the theatre. particularly enjoyed was Austin heaving David Boushey his brother up to his knees by using what appeared to be the telephone cord

32 wrapped around his neck. Because II waswas intentionintention ofof thisthis engagingengaging comedycomedy waswas looking for the technique, II saw AustinAustin thatthat thethe fightfight wouldwould bebe oneone asas welLwell. reach down, grab a handful of thethe backback of WasWas thethe fightfight everever disappointing!disappointing! Lee's shirt, plant his feet under his own DirectedDirected byby MichaelMichael Cawelti,Cawelti, itit waswas and lift, using the shirt. But the audience short,short, withoutwithout dynamics,dynamics, andand unclear.unclear. truly believed that Lee was hanging by TheThe actorsactors wentwent muchmuch tootoo fast,fast, werewere inin his neck. The "ah's" when Lee dropped distance andand withoutwithout focus.focus. ToTo dodo aa his hands from around the cord and let good comediccomedic fightfight aa combatantcombatant mustmust firstfirst them hang limply at his sides were clearly have veryvery goodgood technique,technique, andand thesethese audible. By the time Lee dropped his fighters werewere definitelydefinitely withoutwithout training.training. hands, the audience had already forgotten Choreographically therethere werewere somesome off-off­ about seeing Austin's hand at the back of targettarget lunges,lunges, high-low'shigh-low's wherewhere youyou Lee's shirt shirt, , if they even saw it at all. don't knowknow whowho isis attackingattacking whomwhom andand After thinking Lee is dead we are gratuitous cuttingcutting ofof bushes.(Thisbushes.(This waswas surprised when he comes to life and starts without an evasion. TheThe actorsactors merelymerely fighting with his brother again. This walked away from oneone anotheranother duringduring thethe sequence takes the two actors through the fight toto cut shrubs). entire house, destroying everything in The fight, whichwhich should havehave their path with assorted body slams, falls, been the highlight of thethe show,show, actuallyactually and rolls over the furniture. All sharp 1 and rolls over the furniture. All sharp put off the audience. The audienceaudience hadhad I and/or breakable objects were kept away actually grown to care aboutabout thethe fromfrom any fighting area. characters and the production didn't carecare This part of the fight, however, about the fight. was much more conservative with good Richard Lane clean stage combat techniques being well setset up and executed precisely. Two problems I had in this second section THE HAIRY APE at Berkeley RepRep were the vagueness of the wrestling on The Hairy Ape is a play aboutabout thethe floor floor and changes of advantages class distinctions or about the beast thatthat makingmaking transitions unclear and the lives within us all. From a director's secondsecond was the the stiffness stiffness of Ben Link's standpoint the approach could be one of falls.falls. Considering Considering the the quality of the rest stylizationsty lization or harsh reality. In thisthis ofof the the fight, fight, these two things stick out production an attempt at stylization of likelike a a sore sore thumb. thumb. The The problem with the movement was made. The upper class fallsfalls was was not not his his doing doing them them incorrectly, mimicked birds and the workers made made forfor he he clearly clearly knew knew what he was doing. ape-like movements. ButBut every every fall fall lacked lacked the abandon These choices could have been someonesomeone out out of of control control displays. displays. every effective. The opening scene in the CongratulationsCongratulations to Susan for a stoker of a steamship afforded an successfulsuccessful fight fight in in her her first first year as both a opportunity for some very violent combat professorprofessor of of movement/stage movement/stage combat at in harsh lighting to a percussive sound WestWest Virginia Virginia University University Theatre score by Max Roach. Unfortunately, this DepartmentDepartment and and as as a a Certified Certified Teacher Teacher in same lighting made it very difficult to see thethe Society. Society. unless one sat in the front row. Payson H. Burt Additionally, the actors seemed very hesitant about the combat (fight direction THETHE RIVALS RIVALS at at Berkeley Berkeley Rep Rep by Michael Cawelti) and any reality to the ThisThis wonderful wonderful comedy comedy of of word­ word- fightfight was lost in the anticipation of playplay and and mistaken mistaken lovers lovers quite quite naturally naturally punches. Very few rolls were used (one(one culminatesculminates in in a a sword sword fight fight between between the the ofof the actors said that the Fight Director professionalprofessional pirate, pirate, Sir Sir Lucius Lucius O'Trigger, O'Trigger, waswas unable to teach them) and andand the the thwarted thwarted lover, lover, Captain Captain Jack Jack consequentlyconsequently the fight seemed to be on Absolute.Absolute. The The play play is is a a comedy comedy and and the the oneone level and was very repetitive.

33 The show was staged with the which lent itself to a believable degree of audience on risers on two sides of the realism in this well masked fight. The stage. Knaps were almost always visible; kill was on the down left platform and this could have been avoided by timing one saw and heard the sword thrust into the fight out to the percussive sound the flesh. Blood flowed as Poe score. This would have also anchored pommeled his opponent to death in a the actors to a rhythm rather than having vicious final attack. them fall back on their obvious lack of Besides the duel at the end of the training. play there were several well executed falls The sloppy combat in the opening from ladders and two attempted was never redeemed by any of the combat strangulations. Considering that the two to come. Roundhouse punches to the seemingly confident and assured actor head with an evasion or removal were combatants had never held a sword in uniformly so high as to be completely their hands until three weeks before the non-believable indicating a lack of trust opening, this was an amazingly well between the actors or a fear of hurting conceived and executed fight. David each other. Punches and kicks and their Woolley is obviously a hot property for reactions made it difficult to understand stage combat in the Chicago area and one the points of contact in the fight. In the to keep an eye on. scene outside the Union Hall there was a Linda McCollum crotch punch that was so obviously a punch to the thigh. RICHARD III at the Guthrie All in all, this show was very Upstage of the proscenium the set disappointing. In a meeting with the was a bare stage with everything director George Ferencz before casting, exposed--suggestive of anything from a he said how much he was looking Hollywood sound stage, a cold castle or a forward to the full contact violence in his prison. The thrust was covered with wire vision of The Hairy Ape. They grating with some sections opening into missed. pits below. The wire grates allowed light Richard Lane and Dexter Fidler to shine up from below the actors distorting their features and casting huge shadows on the walls which were PURLOINED POE at the Lifeline reminiscent of Eisenstein's Ivan the Christina Calvit's Purloined Terrible. Byron Jenning's Richard was Poe at the Lifeline Theatre culminated in the quintessential paradox with some an extraordinary courtsword courts word and cape unusual colorings to lines in this well duel on a four foot wide U-shaped known history play. Garland Wright's platform eight feet high. David cinematically styled direction, Woolley's fight incorporated a feeling of underscored by music, revealed more risk and danger in this dark scene with its about this play and its numerous combatants leaping from one platform to characters than one normally encounters. another in this daring duel between Edgar David Leong's fights in the final Allan Poe and his alter ego William act were brutal and in keeping with the Wilson. whole concept of the production which The fact that Woolley chose to use had a huge column stage right that oozed capes in this confined space was a blood every time someone was murdered. surprise in itself and the fact that the cape Most of the battle occurred on the thrust work was so well executed was even a with the ghosts of Richard's numerous bigger surprise. Woolley used the victims scattered about the battlefield. limitations of the confines of the space to David used unusual pairings of weapons advantage. There were no long drawn in the battle at Bosworth Field which lent out point work sequences. Direct attacks a great deal of variety to the mass battles were made, responded to and and made them convincing. Edges of maneuvered for next advantage or attack shields were used as offensive weapons,

34 objects were flung at thethe enemy,enemy, murdersmurders waswas aa physicallyphysically grotesquegrotesque elementelement asas thethe occurred in direct view ofof thethe audienceaudience twotwo combatantscombatants struggledstruggled withwith eacheach with nothing masked and werewere donedone soso other.other. AfterAfter aa corpscorps aa corps,corps, RichardRichard well that one would swear theythey heardheard thethe keptkept RichmondRichmond inin thethe clinchclinch andand draggeddragged impact of the blade as theythey sawsaw itit himhim awkwardlyawkwardly aboutabout thethe fieldfield tryingtrying toto penetrate. getget thethe advantage.advantage. ViciousVicious pommelingpommeling ofof Specially designed armor byby thethe victimvictim waswas seenseen inin thisthis fightfight asas wellwell asas Christopher Poor of Arms and Armour inin ofof somesome ofof thethe soldierssoldiers inin thethe battlefield.battlefield. Minneapolis was used for Richard andand RichardRichard waswas killedkilled downdown centercenter inin Richmond which permitted direct blows fullfull viewview ofof thethe audienceaudience justjust asas ClarenceClarence to the body. Richard fought with a mace hadhad beenbeen earlierearlier inin thethe playasplay as wellwell asas aa which he flung madly about, and thethe soldiersoldier duringduring thethe battlebattle whowho waswas armour on his left arm had hook like physicallyphysically liftedlifted offoff thethe floorfloor withwith aa protrustions which made this yet another swordsword bladeblade atat hishis throat.throat. weapon. Richmond fought with sword TheThe finalfinal imageimage ofof thisthis brilliantlybrilliantly and dagger. conceivedconceived andand directeddirected playplay waswas What was so amazing about the RichmondRichmond exitingexiting upup centercenter withwith hishis Richard/Richmond fight was the enormous bloodblood stainedstained capecape draggingdragging convincinglyconvincingly real conflict as the two over thethe bodiesbodies onon thethe smokesmoke filledfilled foughtfought to to the death to be king. It never battlefield. as thethe columncolumn oozedoozed blood.blood. lookedlooked choreographed with precisely LindaLinda McCollumMcCollum timedtimed attacks and parries. Instead there

DavidDavid Leong's Leong's staging staging of of the the assasination assasination of of Coriolanus Coriolanus in in Liviu Liviu Ciulei's Ciulei's production at the 3 5 McCarterTheatre,McCarter Theatre, November November 1987. 1987. due to the fights. Of course spatial distances were close but if one were to observe the fights from the "wings" he would have seen that the combatants were out of reach. If some "drifted" in the fights, that was due to their lack of following my very specific requests on Many thanks for sending me the copy of safety and distance. Anyone who knows your magazine The Fight Master .... me knows I am fanatical about fencing congratulations on an excellent measure but unfortunately I cannot do the publication to all concerned and my best fights for the actors nor can I be there at wishes for continued success. every performance to keep them in line. Because we are answerable to the Yours sincerely, director,director. the development of the action William Hobbs was what the directors wanted. We can suggest various possibilities, but if the Reviewing the Reviewer director wants the action erupting from It is always interesting to hear out of no where, that is what I as a fight other perspectives of your work director must give him. And in many especially when it is a Society member ways, the style in which the play was who you know has a base of knowledge written dictated instantaneous action. to support his observations. In some After fifteen years of ways Tony Soper was right on with choreographing fights I know how to various comments in his review of The draw focus but there are times when you Three Musketeers and in some ways do not want to draw focus, i.e. when he was a bit presumptuous. your combatants look so weak you feel it The major problem was an age will be a distraction if given focus. I old problem in choreographying the deliberately at times pulled focus and twenty-five separate fights in The Three relied on the impact of the total mayhem Musketeers for the Seattle Children's to carry the fights (again because of weak Theatre. The director made a point of cardinal's guards). I hope some of the casting four good to excellent actors and younger choreographers in the Society swordsmen to play the roles of the take note that it is sometimes prudent to musketeers and not one experienced draw focus from your combatants. When swordsman to play the Cardinal's in the case of Constance fighting one of Guards! The Cardinal's Guards were the guards in place of Aremis then without any prior experience. I mean obviously you must give her focus as I ZIP! The fact that I managed to gettheget the did. fights out of them should have earned me I am not being defensive about a TONY! But as we all know, we cannot my choreography. It is a matter of one always assume that a director will cast person making assumptions about my semi-experienced or better yet work that are not totally correct. I expect experienced swordsmen in a given show members of the Society to know certain even if it is The T h r e e aspects of the fight game that regular Musketeers.Musketeers.You You as the fight director reviewers don't know. are expected to wave your magic wand Now as far as the move "stolen" and the actors instantly become world from Conan.In the first place I don't use class swordsmen. Conan to inspire my choreographic I take exception to some of the skills. In the second place, the move comments made in Mr. Soper's review. was described incorrectly. Let me First, the staging area was indeed small describe it so that if any of my colleagues and things were indeed tight but they want to "steal" it from me they may do so were not unsafe. Once the show opened, with my blessings. It begins with a there was not one injury among the actors thrust by Rochfort to the left breast of 36 D'Artagnan He parries "high" prime,prime, then steps in with a passing movementmovement with his left foot while wrapping hishis leftleft arm in a serpentine fashion around Rochfort's blade grasping the hilt so he cannot cut the arm or retreat with his sword. Once he is "hung up" with this trapping move, D'Artagnan can thenthen cut across the attacker forcing him to jumpjump back without his sword or he can "stick" him which is what I did to Rochfort. Now D'Artagnan has Rochfort's sword in his left hand and his own sword still in his right hand. The point of Rochfort's sword is portruding behind him (from the disarm). D'Artagnan turns around to talk to Porthos. The wounded Rochfort draws a dagger from his boot (sneaky devil) and re-attacks at the back of D'Artagnan and D'Artagnan thrusts Rochfort's entrapped weapon straight back and into the chest of Rochfort. One might see a little poetic justice in this action.action. So, there is no transfer of the weapon from the right to the left hand. I stolestole this this move some fifteen years ago fromfrom my mentor who stole if from his. WeWe have been thieves for centuries Tony! ThereThere are are only so many moves one can comecome up with and it is the way which you couplecouple those those moves together that makes forfor interesting interesting fight fight choreography Tony oftenoften has has many interesting and valid commentscomments to to make make regarding regarding the various showsshows he he reviews reviews but but I do feel that sometimessometimes a a review review of a reviewer is necessarynecessary and and informative. informative. DavidDavid Boushey

37 Quarterstaff Casey Cooper Passed RapierlDaggerRapier/Dagger Unarmed Quarterstaff Rob Kahn Recommended RapierlDaggerRapier/Dagger Unarmed Passed CERTIFICATIONS Quarterstaff Renaissance Pleasure Faire Peter Suarez Recommended On August 14th I travelled up to Rapier/DaggerRapierlDagger northern New York to the woods near Unarmed Syracuse to adjudicate the students of Passed Dale A Girard at the Pleasure Faire of the Quarterstaff Renaissance. On an outdoor stage, under Michael Oarth Passed shady trees, and with a cool wind Rapier/DaggerRapierlDagger blowing, I saw some mighty good good. work. Unarmed Seventeen combatants took the test, many Quarterstaff with creative scenes: to wit, A Dr. Ruth Chris Walz Recommended sketch with sperms struggling to be Rapier/DaggerRapierlDagger "first," a Musketeer and his younger Unarmed brother, and the Snake and Eve. More Quarterstaff important, however, was a very solid Michael Maag Recommended base in technique. Though there were Rapier/DaggerRapierlDagger some failures, overall Dale's students' Unarmed work is very good. good.. The best fight of the Quarterstaff day should go to Chris Walz and Michael Jeff Hicks Passed Maag, who were recommended in Rapier/DaggerRapierlDagger rapier/dagger, unarmed and quarterstaff, Unarmed in a scene about a younger brother's QuarterstaffQuarters taff ambition to become a musketeer. John St. Angelo Passed Rapier/DaggerRapierlDagger Unarmed Paul Kiemon Passed Quarterstaff RapierlDaggerRapier/Dagger Unarmed Instructor: Dale A. Girard Quarterstaff Adjudicator: J. Allen Suddeth Kevin Hackett Passed RapierlDaggerRapier/Dagger Quarterstaff VIKING at PARK RAPIDS Recommended On August 27th I adjudicated Unarmed several combatants at the outdoor drama Tamara Lewis Passed Viking in Park Rapids, Minnesota. The Rapier/DaggerRapierlDagger students were under the guidance of Unarmed Twelve students took the test and Broadsword eleven managed to pass. Overall, I was Steve Mallinson Passed very pleased with the progress these Rapier/DaggerRapierlDagger students showed as I had witnessed their Unarmed work in the beginning stages and was Broadsword pleasantly surprised to find a significant Leslie Buxbaum Passed improvement in their work. I feel much RapierlDaggerRapier/Dagger of the credit should go to Mr. Coyl who Unarmed displayed much poise and skill as a

38 teacher. My favorite scenario waswas ClintClint thethe safetysafety factorfactor waswas paramountparamount withoutwithout Eastwood and Sylvester StalloneStallone whowho beingbeing intrusive.intrusive. II waswas alsoalso muchmuch meet at an audition for HamletHamlet andand impressedimpressed withwith thethe wayway yieldyield parriesparries commence to brush upup on theirtheir skillsskills withwith werewere handledhandled withwith Broadsword--theBroadsword--the cutcut the various weapons at hand. Of course,course, toto centercenter headhead onon aa runningrunning attackattack parriedparried several one liners were part and parcelparcel ofof inin sixsix forfor example.example. TheThe testtest tooktook placeplace onon the scene--"Mak:e scene--"Make my day" and "You're thethe stagestage ofof aa life-sizelife-size replicareplica ofof thethe oldold the disease and I am the cure" toto name aa GlobeGlobe TheatreTheatre ofof Shakespeare'sShakespeare's day,day, flagflag couple. flyingflying atop.atop. II feltfelt proudproud forfor thethe studentsstudents This was the second adjudication andand theirtheir mentors.mentors. at Viking and both have been quite successful. It is good to see so many outdoor dramas conducting combat David Watts PassedPassed classes and certification tests. I hope this RapierlDaggerRapier/Dagger isis a permanent trend. RecommendedRecommended The following people passed the UnarmedUnarmed BroadswordBroadsword JamesJames Kline Laura A. Vicari PassedPassed BobBob Wicklund RapierlDaggerRapier/Dagger HelenHelen Mutsch RecommendedRecommended ValaryValary Ann Smith UnarmedUnarmed PatrickPatrick Williamson BroadswordBroadsword KevinKevin Coltrane Coltrane Scott Nice PassedPassed BobBob Sylskar Sylskar RapierlDaggerRapier/Dagger MartinMartin Seal Seal RecommendedRecommended KentKent Hoffman Hoffman UnarmedUnarmed DexterDexter Ramey Ramey BroadswordBroadsword VincentVincent Barrett Barrett Justine Reiss PassedPassed RapierlDaggerRapier/Dagger Instructor:Instructor: Chuck Chuck Coyl Coyl Recommended Adjudicator:Adjudicator: David David Boushey Boushey Unarmed Broadsword

PENNSYLVANIAPENNSYL VANIA The following passed the certification testtest OnOn Thursday, Thursday, October October 8th, 8th, 1987, 1987, with proficiency in rapier/dagger, II had had the the great great pleasure pleasure of of adjudicating adjudicating an unarmed and broadsword. SAFDSAFD Certification Certification Test Test at at the PennsylvaniaPennsylvania Renaissance Renaissance Faire. Faire. The twenty-seventwenty-seven participants participants all all passed passed as as Kristen Adams Actor/Combatants,Actor/Combatants, with with four four Nesta Chapman recommendationsrecommendations in in broadsword broadsword and and Betsy Brody unarmedunarmed combat. combat. The The overall overall standard standard Andrea Shedwick waswas very very high. high. Fight Fight Director Director David David Vivian Sorenson Leong,Leong, his his Fight Fight Captain Captain Doug Doug Mumaw, Mumaw, Donna L. Bouchard andand Fight Fight Lieutenants Lieutenants Jamie Jamie Cheatham Cheatham Ellen Jane Abrams andand Michael Michael Donahue Donahue are are to to be be ToddTodd Fleming congratulatedcongratulated on on this this happy happy result. result. The The ChrisChris Hildebrandt Hildebrandt playletsplaylets on on which which the the combatants combatants hung hung DavidDavid Klionsky Klionsky theirtheir test test routines routines were were highly highly ingenious ingenious RhondaRhonda Knola Knola andand extremely extremely well well acted. acted. My My favorite favorite MarkMark Priest Priest waswas a a hilarious hilarious romp romp entitled entitled "Fawn "Fawn and and AllenAllen Kretschmer Kretschmer Ollie:Ollie: The The True True Story." Story." Particularly Particularly SusanSusan Shimer Shimer outstandingoutstanding was was the the unarmed. unarmed. Every Every ChristopherChristopher Adams Adams movemove had had a a hundred hundred percent percent realism, realism, and and ValerieValerie Lippincott Lippincott

39 DeenaDeenaGray Gray CAL ARTS Michele Foor On December 11th I was invited Ted Schaeffer to Valencia, California to adjudicate the Kitty Jones students at the California Institute of the Stephen Welsh Arts. As has been my experience for the David Donovan past two years, Erik Fredricksen had Gwenne Weber choreographed some very effective fight routines. It was obvious again that he Instructor: David Leong had put forth a great deal of effort to Assisted by: Doug Mumaw, Jamie prepare his students for their certification Adjudicator: Patrick Crean and again it was quite obvious who had worked hard and who tried to slide by. I TOUCHE UNLIMITED find Cal Arts frustrating at times because On November 7th I adjudicated I get the impression that many of the the first fight test at Touche Unlimited. students are willing to do just enough to The adjudication took place in San pass certification. At this testing, no one Francisco with a large gathering of received a recommendation nor did any enthusiastic spectators. Over-all, the come close. Several passed the test fights were well conceived and it became which speaks well of their efforts but the very apparent that their instructor J. R. students at hand simply weren't willing to Beardsley had kept a tight grip on the "go for the gold." They were quite class structure and on the various content to "get by" and that is what techniques that had been honed.. I found frustrates me about Cal Arts. The it especially in the swordplay and more so potential is there and the students simply with the ladies who took their male are not willing to really go for it. I am counterparts to task in the quick sure this must frustrate Erik, as we all dexterous courtsword courts word work. The know him to be a consummate unarmed work was a little weak in spots professional. What was lacking in these and thus I was unable to give any fights was intensity! The students were recommendations. I did pass six out of not willing to raise the "stakes." They the eight combatants. were content to get by. Overall the It appears as though Touche technique was fairly good, but the Unlimited is gearing up for some big illusion of danger was not there. I feel successes in the not too distant future. If perhaps too much Tai Chi is presented in this adjudication was any kind of a the movement program as most of the beacon light for things to come I suspect students appear to be 1960's mellow we will be hearing a lot more about the rather than grounded and forceful. Fights Bay Area swashbucklers from Touche have to be acted with a certain amount of Unlimited. intensity and if it is lacking, the fights go Those passing the certification test nowhere and everybody simpy "gets by." are as follows:

Tina Hansen My congratulations to Erik for his AlfAlfAdams Adams imaginative choreography. Next time, if John Hilinski I am invited down to Cal Arts, I will be Melanie Diamond expecting much more tenacity! Michael Levinson The following students passed the James Hayes Kevin Free Instructor: J.R. Beardsley Kristie Sanders Adjudicator: David Boushey Aaron Alpern Peter Duchenes DonnyLeeDonny Lee

40 Judy Goff Jeffrey Coussens Summer Rognlie 1418 32nd St. Sean Doherty Rock Island, Illinois 61201 Craig Koller Jeff Gifford Joe Dempsey TomSlottenTomSlotlen 1247 N. Cass #9 Ferdinand Lewis Milwaukee,WI53202Milwaukee, WI 53202 Judity Hawking Melissa Lechner Bill Ferrell LuchBoryer 348 W. 47th St. Apt SA 5A New York, New York 10036 Instructor: Erik Fredricksen Adjudicator: David Boushey Dexter Fidler 335 Divisadero San Francisco, CA 94117

Stanley Raehl Haehl 100 #2 Hudson Athens, Ohio 45701 CHANGE OF ADDRESS Rob Hall Paul B. Anderson Jr. 121 Carroll Ave Apt B-8 5 Craig Court DeKalb, Illinois 60115-320 Pittsburg, PA 15228 John Miskulin Patrick Anglin Southern Methodist University 9100 Meadow Creek Drive #360 Meadows School of the Arts Theatre Department Orlando, Florida 32821 Theatre Department Dalls, Texas 75206 LeoLeoBahr Bahr David Rothman 1200 Riverside Drive #239 David Rothman Burbank, Clifornia 91506 607 Ray Drive Silver Spring, MD 20910 Randy L. Bailey 1315 N. Cass #101 Emily Conable Vaughan Milwaukee, WI53202 WI 53202 800 Vernal Road Attica, New York 14011 Richard Barrows Jr. 397 State St. Apt 3B Brad Waller 204 Potter St. Albany, New York 12210 204 Potter St. madison, WI 53715 George Bellah 420 N. Cedar St. Robert Walsh 1004 S. 11th St. Greensboro, North Carolina 27401 1004 S. 11th St. Lafayette, IN 47905-1474 Eric Booth 30-8730-8737 37 St. Astoria, New York 11103

JJamie arnie Cheatham 260 Cumberland Brooklyn, New York 11205

41 NEW MEMBERS P.O. Box 292 Litiz, PA 17543 Ellen Abrams 320 E. 91st #3E BradJ. Mead New York, New York 10128 5435 S SEW E Woodhaven oodhaven Milwaukie, Oregon 97222 Christopher Adams 1445 Harbin Road SW George McGee Atlanta, GA 30311 Georgetown Children's Theatre Box 87 Georgetown College Georgetown, Kentucky Kristen Adams 9 River Valley Dr. Ralph F. Miller Little Rock, Arkansas 72207 875 Derbyshire Road #125 Daytona Beach, Florida 32017 J. Amaral Companie Scaramouche Justine Reiss 354 Tremont St. 2100 Rockwood Drive Boston MA 02116 Sacramento, California 95608

Donna L. Bouchard Andrea K. Shed wick 109 Oak Lane #3 227 Port St. Brockton, MA 01401 Ford City, PA 16226

G. Duncan Eagleson David T. Watts 612 Argyle Road No. 3L 43 Zurich Way Brooklyn, New York 11230 Tell City, Indiana 47506

Stephen Welsh David Klionsky 694 Anderson 25-1525-1538 38 Ave Memphis, TN 38104 Long Island City, New York, 11101

Allen Kretschmar P.O. Box 292 Litiz, PA 17543

L. Lippincott

42 ZastrozziZastrozzi atat thethe RoundRound HouseHouse inin SilverSilver Spring,Spring, Maryland,Maryland, CorpseCorpse atat CircaCirca 2121 inin IllinoisIllinois andand RomeoRomeo andand JulietJuliet atat thethe UniversityUniversity ofof Iowa Iowa inin January.January.

GeorgeGeorge FosgateFosgate spentspent hishis leaveleave fromfrom thethe UniversityUniversity ofof Minnestoa,Minnestoa, MorrisMorris inin SanSan FranciscoFrancisco wherewhere hehe diddid aa lotlot ofof acting acting Eric Booth staged the fights in HamletHamlet andand aa littlelittle assistantassistant directing.directing. HeHe waswas in a workshop production forfor thethe assistantassistant directordirector onon thethe MagicMagic Theatre'sTheatre's Nashville Institute for the Arts (he played revivalrevival ofof BuriedBuried Child,Child, actedacted atat the title role), and led an unarmed combat severalseveral smallsmall professionalprofessional theatrestheatres workshop at Smith College. includingincluding OneOne ActAct TheatreTheatre CompanyCompany andand thethe BerkeleyBerkeley JewishJewish Theatre.Theatre. HeHe workedworked David Boushey will choreograph onon LucasfilmsLucasfilms productionproduction ofof HowardHoward Hamlet for the University of South thethe Duck.Duck. HeHe isis backback inin MinnesotaMinnesota andand Carolina where he will be teaching a will bebe doingdoing Lorca'sLorca's BloodBlood WeddingWedding master class. His feature film Promised inin February. LandLan d premieres in January Jan uary at the American Film Festival where he will be Drew FracherFracher hashas mostmost recentlyrecently joiningjoining other members of the United finished aa guestguest artistartist stintstint teachingteaching Stuntmen'sStuntmen's Association in conducting a swordplay at BrandeisBrandeis UniversityUniversity inin seminarseminar on on stunts and special effects. Boston. While therethere hehe stagedstaged aa smallsmall TheThe made made for telelvision film in which he sword duel for theirtheir currentcurrent productionproduction ofof waswas principle principle stuntman will air in mid The Rivals. BeforeBefore thatthat hehe joinedjoined JanuaryJanuary and and is is entitled A Stranger on Society members MarkMark Guinn,Guinn, JamieJamie MyMy Land. Land. Cheatham and DougDoug MumawMumaw inin aa fivefive day run of The Fools ofof Defense,Defense, aa PaysonPayson Burt Burt assisted assisted David Leong comedic swordplay piece developeddeveloped byby onon Coriolanus Coriolanus at at the the McCarter Theatre David Leong for the PensylvanniaPensylvannia whilewhile choreographing choreographing Rashomon at Renaissance Faire. During OctoberOctober hehe DrexelDrexel University University in in Philadelphia. He staged fights for the UniversityUniversity ofof willwill be be doing doing Peter Peter Pan Pan at Drexel Cincinnati's production of Cymbeline. UniversityUniversity in in the the Spring. Spring. David Leong's fights can bebe seenseen DanDan Carter Carter is is teaching teaching stage stage combat at currently in Garland Wright's production FloridaFlorida State State University University and and is is assisted of Richard III at the Guthire Theatre byby MFA MFA directing directing candidate candidate Thomas Thomas and in the pre Broadway tour ofof Cavano.Cavano. Macbeth starring Christopher Plummer and directed by Ken Frankel. The three BillBill Ferrell Ferrell appeared appeared in in the the New New York York month tour will cover Baltimore, RenaissanceRenaissance Festival Festival and and doubled doubled Pittsburgh, Toronto, Boston and New "Frankie""Frankie" for for a a fall fall on on One One Life Life to to Havenabefore opening April 21st at the Live.Live. Bill Bill also also had had a a running running role role as as St.S1,James James Theatre in New York. David is officerofficer Rick Rick Kovacs Kovacs on on Another Another World World now in rehearsal for Michael Kahn's lastlast Spring Spring and and appeared appeared as as the the Phantom Phantom MacbethMacbeth at the Folger Theatre. onon One One Life Life to to Live. Live. EmilyEmily Conable Vaugh has been JamesJames Finney Finney choreographed choreographed the the fights fights teachingteaching stage stage combat along with her forfor Scheherezade Scheherezade at at the the Riverside Riverside husbandhusband Steve Steve at SUNY Geneseo, TheatreTheatre and and directed directed Pirates Pirates of of UniversityUniversity of of Rochester Summer Theatre PenzancePenzance in in Iowa Iowa last last fall fall as as well well as as whilewhile continuing continuing their work with Allen havinghaving taught taught three three workshops workshops around around Suddeth'sSuddeth's Fight Fight R Us and Murder to thethe state. state. He He .is .is doing doing the the fights fights for for Go.Go.

43 David Woolley choreographed Troilus and Cressida at the Ruth Page Theatre in Chicago and a courtsword and cloak duel for a new play, Purloined Poe at the Lifeline Theatre. David continues to teach classes in stage combat at Columbia College. David also staged fights for the film, An American Murder.

Dennis L. Graves -Swordcutler- 255 So. 41st Boulder, CO 80303 303-494-4685

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