The Virginia Beach Bash Stage & Screen Combat Workshop 2019
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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. -
Sword Fighting : a Manual for Actors & Directors Pdf, Epub, Ebook
SWORD FIGHTING : A MANUAL FOR ACTORS & DIRECTORS PDF, EPUB, EBOOK Keith Ducklin | 192 pages | 01 May 2001 | Applause Theatre Book Publishers | 9781557834591 | English | New York, United States Sword Fighting : A Manual for Actors & Directors PDF Book Sportsmanship, Hook. Fencing techniques, The Princess Bride. Today, I'll be breaking down clips from movies and T. List of styles History Timeline Hard and soft. Cheng Man-Ch'ing Mercenary Sword. By Yang, Jwing-Ming. Afterword by John Stevens. Very dead. Half-speed doesn't mean half-fighting. Come and Fence with us! By Dorothy A. Boken Japanese wooden sword , Budo Way of Warrior. Come on, then! The broadsword was notable for its large hilt which allowed it to be wielded with both hands due to its size and weight. It was originally a short sword forged by the Elves, but made for a perfect weapon for Hobbits. Explanation in Mandarin by Yang Zhengduo. A Swordsmith and His Legacy. But what he's doing is a lot of deflecting parries that are happening, so as an attack's coming in he's moving out of the way and deflecting the energy of it so that's how he's able to go up against steel. What the Studio Did: The Movie was near completion when Dean passed away, in fact all of scenes were completed. Experiences and practice. Garofalo's E-mail. Generally more common in modern contemporary plays, after swords have gone out of style but also seen in older plays such as Shakespeare's Othello when Othello strangles Desdemona. With the sudden end of constant war, the samurai class slowly became unmoored. -
Download Riley's Stage Combat Resume
Riley Wesson Rileywesson.com 254-931-7377/[email protected] SELECTED CREDITS, FIGHT CHOREOGRAPHER Production Weapon Style Producer – Director THE ODYSSEY Short Sword Austin Shakespeare – Ann Ciccollela MACBETH (B. Iden Payne Outstanding Knife, Longsword Austin Shakespeare’s Young Shakespeare Choreography Nominee) Company – Ann Ciccollela and Nancy Eyermann TAIL END CHARLIE Unarmed, Gun Haymaker Players – Joey Banks and Matt Connely ROMEO AND JULIET Unarmed, Knife Texas State University Alpha Psi Omega – Nate Nelson SHE KILLS MONSTERS Unarmed, Single Sword, Brennan High School – Vanessa Garcia Sword and Shield, Quarterstaff SPIKE HEELS Unarmed Texas State University D2 Festival – Madison McAllister SELECTED CREDITS, COMBATANT Production Combatant Role Weapon Style Producer/Director/Choreographer HAMLET Laertes Unarmed, Single Texas State University – Liz Fisher – Toby Minor Sword, Knife TAIL END CHARLIE Robert Dobson Unarmed, Gun Haymaker Players – Joey Banks and Matt Connely – Riley Wesson RAGTIME Policeman, Militia Police Baton Texas State University – Michael Rau – Toby Minor AS YOU LIKE IT Fight Captain Unarmed, Wrestling Texas State University Shakespeare Ensemble – Nick Lawson TRAINING Bachelor of Fine Arts, Performance and Production, Performance Emphasis, Minor in Musical Theatre Texas State University (2015 – 2019) Texas State University Unarmed Stage Combat Class – Taught by Toby Minor (Fall 2017 and Spring 2019) Texas State University Single Sword Stage Combat Class – Taught by Toby Minor (Spring 2018) Texas State University Stick Stage Combat Class (Quarterstaff, Irish Shillelagh, Arnis) – Taught by Toby Minor (Fall 2018) Intimacy Directors International Actor/Director Workshop - sponsored by Violent Crown, led by Adam Noble (January 2019) Videos of Riley’s work can be viewed at rileywesson.com/fightchoreography . -
By Peter Dell ' O Rto and S Ean Punch
BY P ETER D ELL’ORTO AND S EAN P UNCH Written by PETER DELL’ORTO and SEAN PUNCH Additional Material by VOLKER BACH and C.J. CARELLA Edited by SEAN PUNCH Cover Art by BOB STEVLIC Illustrated by ABRAR AJMAL and BOB STEVLIC ISBN 978-1-55634-762-7 1 2 3 4 5 6 7 8 9 10 STEVE JACKSON GAMES Committed Attack . 99 Defensive Attack. 100 Evaluate . 100 Feint . 100 ONTENTS Ready . 101 C Who Draws First?. 103 Move . 105 Realism Level . 29 INTRODUCTION . 4 Move and Attack . 107 Beginning Students as PCs. 30 Publication History . 4 Wait . 108 About the Authors . 4 CHARACTER TEMPLATES . 31 ADDITIONAL COMBAT OPTIONS . 109 Del Duque (350 points) . 33 Melee Attack Options . 109 1. HISTORY . 5 Frauds . 35 A Matter of Inches . 110 Adrian Froste (200 points) . 37 TIMELINE . 6 Untrained Fighters . 113 Kai Lian (250 points) . 39 ASIA . 8 Close-Combat Options. 114 China . 8 ADVANTAGES, DISADVANTAGES, Teeth. 115 Xia . 8 AND SKILLS . 42 Grab and Smash! . 118 Monks and Martial Arts . 9 Advantages . 42 Ranged Attack Options . 119 India . 10 Desirable Advantages . 43 Rapid Fire with Thrown Weapons. 120 Northern vs. Southern Kung Fu . 10 Chi Powers for Martial Artists . 46 Active Defense Options . 121 Religion, Philosophy, and Fists . 11 Perks . 49 Harsh Realism for Indonesian Archipelago. 12 Disadvantages. 53 Unarmed Fighters . 124 Japan . 12 Common Disadvantages. 53 CINEMATIC COMBAT . 125 Ryu . 12 Skills . 54 Multiple Attacks . 126 Ninja: Legend vs. History . 13 Combat Skills . 55 Chambara Fighting . 128 Korea. 14 Wildcard Skills for Styles . 60 Mind Games . 130 Other Nations. -
Health and Martial Arts in Interdisciplinary Approach
ISNN 2450-2650 Archives of Budo Conference Proceedings Health and Martial Arts in Interdisciplinary Approach 1st World Congress September 17-19, 2015 Czestochowa, Poland Archives of Budo Archives od Budo together with the Jan Długosz University in Częstochowa organized the 1st World Congress on Health and Martial Arts in Interdisciplinary Approach under the patronage of Lech Wałęsa, the Nobel Peace Prize laureate. proceedings.archbudo.com Archives of Budu Conference Proceedings, 2015 Warsaw, POLAND Editor: Roman M Kalina Managing Editor: Bartłomiej J Barczyński Publisher & Editorial Office: Archives of Budo Aleje Jerozolimskie 87 02-001 Warsaw POLAND Mobile: +48 609 708 909 E-Mail: [email protected] Copyright Notice 2015 Archives of Budo and the Authors This publication contributes to the Open Access movement by offering free access to its articles distributed under the terms of the Creative Commons Attribution-Non- Commercial 4.0 International (http://creativecommons.org/licenses/by-nc/4.0), which permits use, distribution, and reproduction in any medium, provided the original work is properly cited, the use is non-commercial and is otherwise in compliance with the license. The copyright is shared by authors and Archives of Budo to control over the integrity of their work and the right to be properly acknowledged and cited. ISSN 2450-2650 Health and Martial Arts in Interdisciplinary Approach 1st World Congress • September 17-19, 2015 • Czestochowa, Poland Scientific Committee Prof. Roman Maciej KALINA Head of Scientific Committee University of Physical Education and Sports, Gdańsk, Poland Prof. Sergey ASHKINAZI, Lesgaft University of Physical Education, St. Petersburg, Russia Prof. Józef BERGIER, Pope John Paul II State School of Higher Education in Biała Podlaska, Poland Prof. -
PANEL SCHEDULE Last Updated 03/05/2020 @ 4:30PM Schedule Is Subject to Change Without Notice
PANEL SCHEDULE Last updated 03/05/2020 @ 4:30PM Schedule is subject to change without notice. For the most up-to-date info during the con, get the FREE Indiana Comic Convention app! FRIDAY CONVENTION HOURS: 12:00 PM - Midnight BOX OFFICE 11:00 AM - Midnight // Hall F Get your Indiana Comic Convention credentials here! Bring a printed or digital copy of your purchase confirmation, or buy them right here with cash or credit! EXHIBITOR HALL 12:00 PM - 7:00 PM // Hall H Comic books, graphic novels, toys, magazines, cards, artwork, games, apparel, cosplay, guest artists and celebrity guests-- they can all be found in the exhibitor hall! It's truly the hub for nerdy commerce. STAR SIGNING AND PHOTO OPS 12:00 PM - 7:00 PM // Hall I Want to meet your favorite celebrity? Head over to Star Signing to meet media guests from all of your favorite fandoms! Autograph and photo-op sales are cash only, so be sure to visit an ATM first. SILENT AUCTION 12:00 PM - 7:00 PM // Retail Booth Bid to take home one-of-a-kind Indiana Comic Convention celebrity banners! Winners will be announced at 3pm on Sunday, and items must be picked up before 5pm. EXTREME ARCHERY 12:00 PM - Midnight // Rm. 106 Experience the thrill of Extreme Archery by Archery Tag! This team activity is for all skill levels and is extremely safe. BOARD GAME HAVEN 12:00 PM - 10:00 PM // Rm. 106 Wind down and play free board games, courtesy of Good Games Indianapolis! Sign up via http://GoodGamesIndy.eventbrite.com for the following events: ● 4:00 PM - 7:00PM ○ D&D5e - Valley of the Gilded Tower ○ Starfinder - Rude Awakening ○ D&D5e - The Ghoul's Notes 1 THE GRID: E-GAMING 12:00 PM - Midnight // Rm. -
Combat Dance:A Creatively Holistic Approach to Movement Performance Art
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2003 COMBAT DANCE:A CREATIVELY HOLISTIC APPROACH TO MOVEMENT PERFORMANCE ART Raymont Lee Anderson Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/879 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. School of the Arts, Department of Theatre Virginia Commonwealth University This is to certify that the thesis prepared by Raymont Lee Anderson entitled “COMBAT DANCE: A CREATIVELY HOLISTIC APPROACH TO MOVEMENT PERFORMANCE ART” has been approved by his committee as satisfactory completion of the thesis requirement for the degree of Master of Fine Arts. ______________________________________________________________________ Dr. Noreen Barnes-McLain, Theatre, School of the Arts ______________________________________________________________________ Professor Marvin L. Sims, Theatre, School of the Arts ______________________________________________________________________ Dr. Aaron Anderson, Theatre, School of the Arts ______________________________________________________________________ David S. Leong, Chair, Department of Theatre, School of the Arts ______________________________________________________________________ -
B. Slade Billew
B. Slade Billew Assistant Professor of Acting & Movement School of Theatre Stephen F. Austin State University PO Box 6090, SFA Station Nacogdoches, TX 75962 [email protected] Education Doctor of Philosophy in Theatre. Bowling Green State University. 2016. Dissertation: Holding on to the Basics: Using Sports Psychology to Increase Skill Retention in the Introduction to Acting Classroom. Major Advisor: Dr. Jonathan Chambers Performance Studies Certificate. Bowling Green State University. 2015 Master of Fine Arts in Theatre Pedagogy. Virginia Commonwealth University. 2008 Major Concentration in Directing/Acting Minor Concentration in Movement/Voice and Speech Thesis: Flow-acting: modern sports science and the preparation of actors. Major Advisor: Dr. Noreen Barnes Bachelor of Arts in Theatre. The College of William and Mary. 1996 Teaching Areas of Specialization My teaching focuses on acting, directing, and movement. I have strong focus in actor autonomy and safe stage intimacy practices. I am especially versed in contemporary methods of devised and physical theatre in addition to stage combat. Additionally, I have a strong interest in contemporary theory, performance history, Asian theatre, and technical theatre specifically lighting design. Research Areas of Specialization My research revolves around the pedagogy of acting. I am engaged with questions of the interface between science and performance. My areas of focus within this realm are sports psychology, stress psychophysiology, and cognitive science. I am also engaged in the study of contemplative practices in relation to movement training. I am interested in blends of contemporary and traditional Asian theatre practice, the performance of identity in martial arts and combat sports, and movement as a form of knowledge making. -
1001 Years of Missing Martial Arts
1001 Years of Missing Martial Arts IMPORTANT NOTICE: Author: Master Mohammed Khamouch Chief Editor: Prof. Mohamed El-Gomati All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Deputy Editor: Prof. Mohammed Abattouy accessing these web pages, you agree that you may only download the content for your own personal non-commercial Associate Editor: Dr. Salim Ayduz use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or Release Date: April 2007 change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Publication ID: 683 Limited. Material may not be copied, reproduced, republished, Copyright: © FSTC Limited, 2007 downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. Readers should always verify information with the appropriate references before relying on it. -
The Fight Master, Spring/Summer 2003, Vol. 26 Issue 1
Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors Summer 2003 The Fight Master, Spring/Summer 2003, Vol. 26 Issue 1 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/fight Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons MMARTIALARTIALAARTSRTS ONON TTOUROUR BBARAR FFIGHTSIGHTS In Voice of the Dragon, Miao Hin (Philip Silvera, left) battles with his nemesis Red Phoenix Manchu Warrior (Bilqis Benu). Martial arts choreography and photo provided by Jose Manuel Figueroa. The 24th Annual Society of American Fight Directors National Stage Combat Workshops July 7-25, 2003 SAFD and University of Nevada-Las Vegas College of Fine Arts, Department of Theatre ForFor moremore information:information: LindaLinda McCollumMcCollum atat (702)(702) 895-3662895-3662 oror www.safd.orgwww.safd.org www.safd.org Actor/Combatant Workshop (ACW) Train in the foundation skills of stage combat. World-class industry professionals teach tech- niques in Rapier and Dagger, Unarmed and Broadsword. Additionally, participants will receive an introduction to Quarterstaff, film fighting, and other weapon styles. Participants may opt to take an adjudicated Skills Proficiency Test at the end of the workshop. Intermediate Actor/Combatant Workshop (IACW) Move past the basics in this exciting workshop. Study many weapon styles and other issues of fight performance for stage and film. Build onto your existing knowledge of stage combat under the tutelage of a wide array of world-class industry professionals. Participants may opt to take a combination of adjudicated Skills Proficiency Tests or Renewal Tests in up to six weapon forms at the workshop. -
Silambam Fencing”
Tamil Nadu Physical Education and Sports University Chennai – 600 006. Name of the Course : Diploma in “SILAMBAM FENCING” Educational Qualification : 12th Standard Stream : Distance Education Duration : Six Months Tamil Nadu Physical Education and Sports University Chennai – 600 006. Diploma in “SILAMBAM FENCING” DISTANCE EDUCATION SYLLABUS Paper Code Name of the Subject Total DCISF101 Fundamentals and Methods of Silambam 100 Fencing Practices DCISF102 Anatomy and Physiology 100 DCISF103 Practical I - on Silambam Fencing 100 DCYP104 Practical II – on Silambam Fencing 100 TOTAL 400 Tamil Nadu Physical Education and Sports University Chennai – 600 006. Diploma in “SILAMBAM FENCING” DISTANCE EDUCATION SYLLABUS Paper Name of the Paper Internal External Total No. Marks I. Fundamentals and Methods of 25 75 100 Silambam Fencing II. Anatomy and Physiology 25 75 100 Practical I. Practical – I 25 75 100 II. Practical – II 25 75 100 TOTAL 100 300 400 PAPER I : Fundamentals and Methods of Silambam Fencing Practices Unit I Definition : Silambam – Etymology – Silambam Fencing – Martial Art – Duel – Combat – Need – Scope – Philosophy – Silambalogy Unit II Misconception – Conversion of Silambam Fencing as a Combative Martial Sport since 1940 AD – “Quarter Staff” of England Akin to Silambam Fencing – Benefits of Silambam Fencing. Unit III Aims and Objectives as per the charter of the International Silambam Fencing Association founded on the 14th December 1975 – Benefits:- As 22 Doctors in Physical Education in India and USA. Unit IV Origin and Development -
Misunderstood Mr. Burr: His Duel with Hamilton Clarence J
Notre Dame Law Review Volume 2 | Issue 2 Article 2 12-1-1926 Misunderstood Mr. Burr: His Duel with Hamilton Clarence J. Ruddy Follow this and additional works at: http://scholarship.law.nd.edu/ndlr Part of the Law Commons Recommended Citation Clarence J. Ruddy, Misunderstood Mr. Burr: His Duel with Hamilton, 2 Notre Dame L. Rev. 50 (1926). Available at: http://scholarship.law.nd.edu/ndlr/vol2/iss2/2 This Article is brought to you for free and open access by NDLScholarship. It has been accepted for inclusion in Notre Dame Law Review by an authorized administrator of NDLScholarship. For more information, please contact [email protected]. CURIOSITIES OF THE LAW THE MISUNDERSTOOD MR. BURR: HIS DUEL WITH HAMILTON Fifty years ago anyone attempting to defend Aaron Burr of criminality in his duel with Alexander Hamilton would have aroused immediate and vicious antagonism. It was a settled convicton of all men that Burr was a dastardly murderer, and that his part in the lamentable affair with Hamilton was one of the most atrocious crimes ever committed in this country. People profoundly believed that Burr was thoroughly bad-as Benedict Arnold was bad-and anyone who tried to change that belief was himself either an igno- ramus or a perjurer of truth. Few, of course, gave reasons why Burr was wrong and Hamilton right, but reasons were not necessary. The truth was so evident that it needed no philosophic demonstra- tion. Of late, however, people seem less disposed to condemn a man to eternal ignominy upon the doubtful evidence of legend, and pre- fer to study for themselves the reliable documents of our early na- tional life, so that they may decide with a greater probability of being correct, whether Burr really was so base as he has been de- picted.