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305 NE 2nd Ave P.O. Box 45 Delray Beach, FL 33444 561-409-4034 [email protected] Hamilton Luefan Height: 5’8” Waist/Inseam: 30 Hair Color: black Eye Color: black Film/TV Role Production Company/Network Bushido Aimoto The Torres Brothers Productions Dear Chronos Lonzo Project Vida Hunter’s Bounty Ciel Vision Jump Productions Meg & Margot Brody Dir: Rebecca Donovan Don’t Blink Restaurant Host Dir: Roberto Torres Commercial Role Production Company/Network South East University (2019) Principal Diamond View Studios Mid West University (2019) Principal Studio Say So Robotics Company Shoot Principal Applebox Studios Golf Training App Principal Good Neighbor Productions Other Media Role Production Company Drug Rehab Voice Over Peter RPG Media Brand Of Sacrifice Music Video Lead Dir. Joey Durango Jades Goudreault Music Video Lead Motion Minds Productions Arixx Skincare Shoot Model/Demonstration Arixx Corp. Workshops/Training Meisner Technique - Andi Matheny Acting Studios - Eugenie Bondurant Scene Study & Acting Core Exercises - Andi Matheny Acting Studios - Eugenie Bondurant On-Camera Audition - 3rd Act Studio - Lee Perkins Monologue & On Camera Audition - Coach Ian Stevens Stunt & Stage Combat - The Forge - Phi-Long Nguyen On Camera & Acting Core Exercise Workshop - Andi Matheny Acting Studios - Andi Matheny Stage Combat (Samurai Style) - The Kung Fu Couple - Yi “Christina” Liu, Michael Laughton Special Skills Stage Combat, Stunts, Samurai Sword Combat, Firearms, Manual Transmission, Motorcycle, Skiing, Snowboarding, Long Boarding, Boating, Soccer, Track, Public Speaking, Dog Training, Guitar (beginner), .

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The Seven Forms of Lightsaber Combat Hyper-Reality and the Invention of the Martial Arts Benjamin N
CONTRIBUTOR Benjamin N. Judkins is co-editor of the journal Martial Arts Studies. With Jon Nielson he is co-author of The Creation of Wing Chun: A Social History of the Southern Chinese Martial Arts (SUNY, 2015). He is also author of the long-running martial arts studies blog, Kung Fu Tea: Martial Arts History, Wing Chun and Chinese Martial Studies (www.chinesemartialstudies.com). THE SEVEN FORMS OF LIGHTSABER COMBAT HYPER-REALITY AND THE INVENTION OF THE MARTIAL ARTS BENJAMIN N. JUDKINS DOI ABSTRACT 10.18573/j.2016.10067 Martial arts studies has entered a period of rapid conceptual development. Yet relatively few works have attempted to define the ‘martial arts’, our signature concept. This article evaluates a number of approaches to the problem by asking whether ‘lightsaber combat’ is a martial art. Inspired by a successful film KEYWORDs franchise, these increasingly popular practices combine elements of historical swordsmanship, modern combat sports, stage Star Wars, Lightsaber, Jedi, Hyper-Real choreography and a fictional worldview to ‘recreate’ the fighting Martial Arts, Invented Tradition, Definition methods of Jedi and Sith warriors. The rise of such hyper- of ‘Martial Arts’, Hyper-reality, Umberto real fighting systems may force us to reconsider a number of Eco, Sixt Wetzler. questions. What is the link between ‘authentic’ martial arts and history? Can an activity be a martial art even if its students and CITATION teachers do not claim it as such? Is our current body of theory capable of exploring the rise of hyper-real practices? Most Judkins, Benjamin N. importantly, what sort of theoretical work do we expect from 2016.
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Sword Fighting : a Manual for Actors & Directors Pdf, Epub, Ebook
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Download Riley's Stage Combat Resume
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Health and Martial Arts in Interdisciplinary Approach
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Combat Dance:A Creatively Holistic Approach to Movement Performance Art
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B. Slade Billew
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The Fight Master, Spring/Summer 2003, Vol. 26 Issue 1
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Glossary of Terms, 2016 (PDF Version)
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THFM 3503-001 Stage Combat for Actors
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Moss Has Training in Fencing and Stage Combat, and He Regularly Attends
or as long as you’ve been teaching, the students to be safe. They’ll know Moss has training in fencing and you’ve had in your mind that perfect how to make it a part of the show, stage combat, and he regularly attends play to direct—a Shakespearean trag- rather than a fight that interrupts the workshops to keep his skills sharp. “For edy, say. Maybe Romeo and Juliet. acting. They can teach the students me,” he says, “the reality of being in a Now you have the actors who can things the teacher might not know. small school where you’re a one-stop carry it. The administration is behind “We don’t teach you how to fight. shop anyway is when I have money, I you. Your students are thrilled. We teach you how to act with vio- would rather spend it on an expertise I There’s just one problem. Almost lence. You want to learn how to fight, don’t have myself.” before you can bite your thumb, you can go watch wrestling,” says Both Martin and Rodgers hire chore- there’s a brawl with naked blades in New York-based fight director ographers, but they’ve also gained Act I, scene one. The year might be Michael Chin, who recently earned enough experience to teach or choreo- right for Shakespeare, but you have the title of fight master from the Soci- graph some of the basics without out- better things to do than face disas- ety of American Fight Directors. (He’s side help.
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