Basic Actor Combatant Glossary 2012
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Novel Lunge Biomechanics in Modern Sabre Fencing
Available online at www.sciencedirect.com ScienceDirect Procedia Engineering 112 ( 2015 ) 473 – 478 7th Asia-Pacific Congress on Sports Technology, APCST 2015 Novel Lunge Biomechanics in Modern Sabre Fencing Kevin C. Moorea; Frances M. E. Chowb; John Y. H. Chowb a Re-embody,b 1300 Asia Standard Tower, 59-65 Queen’s Road Central Hong Kong SAR Sydney Sabre, Level 1, 112-116 Parramatta Road Stanmore NSW 2048, Australia Abstract Sabre is one of the three disciplines in the sport of fencing, characterised by the use of a lightweight cutting weapon to score hits on an opponent while maneuvering for position with rapid and dynamic footwork. One of the main techniques is the lunge: an explosive extension of the fencer’s body propelled by the non-dominant (ND) leg in which the dominant (D) leg is kicked forward. The lunge provides both power and range (up to 3m) to the fencer and helps accelerate the sword for a rapid strike. Classical fencing lunges differ in style but share a common mechanism: a forward leap originating in the ND leg that powers rotation in a highly mobile thoracic cage. A new generation of fencers has begun to deviate from the classical lunge mechanism in recent years with a ND leg adopting a rigid momentum-conserving structure. This constant ND knee extension yields a constant rotational acceleration of the pelvis toward the dominant side and emphases scapular rotation to transfer power to the sword arm compared to thoracic rotation in classical lunges. We hypothesized that the new lunge mechanism delivers greater power, efficiency, range, and acceleration than the classical lunge. -
PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m. -
Why YOU Should Be an English Major
Why YOU should be an English Major You’ll be able to communicate your ideas effectively. This is what employers want the most – people who can communicate clearly. Impress your employer with your ability to communicate, and you’ll get promoted. You’ll also sound smarter than everybody else. You’ll be able to learn new tasks and ideas. A liberal arts education teaches you how to learn, not how to do a specific job. Your employer will provide on-the-job training. Besides, the hot jobs of 20 years from now haven’t even been thought of yet; major in English, learn how to learn new job skills, and stay employed. You’ll be prepared for med school, law school, business school… Being an English major teaches you how to think critically. Graduate schools in every field are more interested in your ability to analyze situations and make connections between concepts than in your ability to memorize lists. You’ll get a good job. Major scientific, technological, industrial, and financial companies like to hire English majors. They want employees who can analyze problems, think up creative answers, and communicate those answers to coworkers. And an English degree teaches you to do all these things. You’ll earn lots of money. Well, maybe not as much as science graduates, but the 201 201 Payscale College Salary Report listed salaries for popular careers for English majors that ranged from $ to $ . 5- 6 40,000 76,000 You’ll move up the company ladder. Your English major taught you how to analyze problems, think creatively, synthesize intelligent solutions, and communicate those solutions to your bosses and coworkers. -
Hollywood Movie Stars California History Section Display
CALIFORNIA STATE LIBRARY NOVEMBER-DECEMBER 2016 HOLLYWOOD MOVIE STARS CALIFORNIA HISTORY SECTION DISPLAY VISIT OUR CURRENT DISPLAY: MINING IN CALIFORNIA California History Section 900 N Street Room 200 9:30-4 Monday-Friday INTRODUCTION California has been a moviemaking powerhouse for over a century now! Get star- struck, and relive the glory days of yesteryear’s actors through our carefully curated selection of images, ephemera and books. If you want more infor- mation about our movie history resources, you can find them in the fol- lowing places: California State Library Catalog: Subject Searches: Motion picture actors and actresses California motion picture* Hollywood history California Information File II: Subject Searches: Motion picture actors and actresses California Motion picture* Hollywood history California Information File (In-house use): Subject Searches: Moving Pictures Counties: Los Angeles: Hollywood Drama: Actor Names California Image File (In-house use): Subject searches: Portraits: Actor Names Motion Pictures Contacting us: Web-form: Ask us a Question Email: [email protected] Enjoy our display! VISUALS Hoover, Art Company. 192AD. [Lena Basquette] (7 Views). Silent Movie Scene. 192AD. Hartsook, Photo. 192AD. Mary Pickford. VISUALS Blake, Orville T. 1929. Grauamaus [Sic] Chinese, Hollywood, CA. Graphic. Arthur Wenzel at Theater in Oakland. 1916. Graphic. Hoover, Art Company. 192AD. [Alice Terry] (2 Views). A Cecil B. DeMille Production: Fredric March in “The Buccaneer.” 1937. Graphic. VISUALS Farrell Collection. 1916. Mary Pickford in Hulda from Holland. Graphic. T&D. N.D. [Actor]. Graphic. Dobbins Collection. N.D. [Actress]. Graphic. VISUALS Portraits. N.D. Graphic. [Actors]. 1916. Graphic. Garrick Theater (Philadelphia, Penn.). c1913. [Advertisement]. Philadelphia: Garrick Theater. -
In ACTING for FILM
Two-Year Degree Program ASSOCIATE OF FINE ARTS in ACTING FOR FILM AFA Acting students prepare to perform a scene in collaboration with Filmmaking students. 222 LOCATION LOS ANGELES, CALIFORNIA Location is subject to change. For start dates and tuition, please visit nyfa.edu 223 AFA Acting for Film OVERVIEW here are numerous elements and skills that go into making a critically acclaimed flm that viewers will appreciate. Yet an audience’s connection to an actor’s performance is often the most immediate and intimate relationship one makes with a movie. A good performance must appear efortless, yet still convey a rich tapestry of emotion and depth to create a T convincing character. Unlike acting in the theater, when performing on a flm or television set, an actor must contend with a far more chaotic environment where numerous crew members are running about, high wattage lights are aimed directly at the actor, and one is expected to give a believable and engaging performance take after take. Regardless of an actor’s inherent talent, he or she must learn how to efectively handle the countless variables at work on a flm or television production. The Associate of Fine Arts (AFA) Degree Program in Acting for Film provides students with the opportunity to exclusively focus on their professional and artistic development as actors. Over the course of the four- semester, two-year program, students gain a strong foundation in acting principles through such classes as Scene Study, Acting for Film, Voice and Movement, Improvisation, and Audition Technique. Please Note: curriculum and projects are subject to change and may vary depending on location. -
Downloaded and Shared for Private Use Only – Republication, in Part Or in Whole, in Print Or Online, Is Expressly Forbidden Without the Written Consent of the Author
The International Armizare Society Presents: Beginning Armizare An Introduction to Medieval Swordsmanship Gregory D. Mele © 2001 - 2016 Beginning Armizare: An Introduction to Medieval Swordsmanship Copyright Notice: © 2014 Gregory D. Mele, All Rights Reserved. This document may be downloaded and shared for private use only – republication, in part or in whole, in print or online, is expressly forbidden without the written consent of the author. ©2001-2016 Gregory D. Mele Page 2 Beginning Armizare: An Introduction to Medieval Swordsmanship TABLE OF CONTENTS Foreword 4 Introduction: The Medieval Art of Arms 5 I. Spada a Dui Mani: The Longsword 7 II. Stance and Footwork 9 III. Poste: The Guards of the Longsword 14 IV. Learning to Cut with the Longsword 17 V. Defending with the Fendente 23 VI. Complex Blade Actions 25 VII. Parrata e Risposta 25 Appendix A: Glossary 28 Appendix B: Bibliography 30 Appendix C: Armizare Introductory Class Lesson Plan 31 ©2001-2016 Gregory D. Mele Page 3 Beginning Armizare: An Introduction to Medieval Swordsmanship FOREWORD The following document was originally developed as a study guide and training companion for students in the popular "Taste of the Knightly Arts" course taught by the Chicago Swordplay Guild. It has been slightly revised, complete with the 12 class outline used in that course in order to assist new teachers, small study groups or independent students looking for a way to begin their study of armizare. Readers should note that by no means is this a complete curriculum. There is none of the detailed discussion of body mechanics, weight distribution or cutting mechanics that occurs during classroom instruction, nor an explanation of the number of paired exercises that are used to develop student's basic skills, outside of the paired techniques, or "set-plays," themselves. -
Duties of a Cinematographer in Creating a Film
Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 824-827 doi: 10.17265/2159-5836/2016.07.013 D DAVID PUBLISHING Duties of a Cinematographer in Creating a Film Ikboljon Melikuziev State Institute of Arts and Culture, Tashkent, Uzbekistan The present article deals with the duties, role and methodical peculiarities of a cinematographer in creating a feature film. The development of creating artistic works in the high creative level and its process is comparatively analyzed within the progress of the Uzbek cinematography. Keywords: cinematographer, film director, critic, image, lightness, recurs, production, picture, plastics, rhythm, composition, editing, scenario, method Introduction The art of cinematography has not been studied widely. It is very difficult to express the description of a film by words. One must see the picture and just for this case a cinematographer’s artistic activity of many years needs careful study. They say, it is not written much about a cameraman’s work yet. In our opinion, the essence of their creativity involves expressing the method, plastics and descriptive decision of a ready feature film. The film supposedly is connected only with the name of a director as a single filmmaker. While criticizing a film they usually speak just about a director and leading actors. You can hardly find anything about a cameraman’s work. Naturally, it is not enough. However, a cameraman’s work spent for artistic picture demands a serious analyses and careful study. Undoubtedly, the right stylistics, artistically completeness of the form which strengthens the effective power of a feature film and accepting the film by the audience depends on the cinematographer’s skills. -
Fencing Club By-Laws: Ranking System
Fencing Club By-Laws: Ranking System Ranks are marked by colored bands beneath the shoulder patch. Testing occurs on individual occasions as determined by the Head Instructor. Members wishing to test can do so only if the Head Instructor offers to perform the testing. If a member wishes for a testing, the candidate cannot bring the request to the Head Instructor's attention, but must instead convince a member in good standing of at least the rank he/she wishes to test for (and at least the 2nd rank) to act as a sponsor on his/her behalf. This sponsor is also responsible for making sure the candidate is adequately prepared for the rank testing. When the testing occurs, all actions requiring 2 people will be performed by the candidate and her/his sponsor. The Head Instructor (the tester) will direct the actions and observe so as to score the candidate. The candidate should not be penalized for mistakes made by the sponsor; instead, the Head Instructor should ask them to repeat the action. Each rank confers upon the fencer a set of permissions to accompany their new rank. First Rank – Yellow Band - Beginning Foil Requirements: A) Length of attendance: Minimum attendance time before testing: 15 practices, with discretion for those with previous experience B) Candidate should have participated in at least two assaults previously with instructors. The Testing: The purpose of the 1st rank testing is for the candidate to demonstrate the knowledge and ability needed to fence safely with the foil in a bout. A) Candidate must demonstrate the following skills/techniques: Notice, all techniques should be done from a proper guard, attacks should be done with a properly executed lunge, etc. -
The Most Common Mistakes Beginning Rapier Students Make - Their Consequences and How to Avoid Them
The Most Common Mistakes Beginning Rapier Students Make - Their Consequences and How to Avoid Them. by Tom Leoni ©2005 As with most demanding disciplines, fencing has its set of common beginners’ mistakes. Having practiced, taught and observed historical fencers of all levels for over a decade, I have compiled a list of the more obvious and recurring ones. Interestingly, these are mistakes that, if not cured early, crystallize into bad habits that are very hard to amend later on. These mistakes are in both understanding and performance - often in both at the same time (the former being a prerequisite for the latter). I have outlined each point so as to list the mistake, the negative consequences deriving from it and my recommendations on how to correct it. Although I have purposely confined this discussion to the rapier, please note that many of these mistakes/habits are applicable to other fencing disciplines. Also, please note that the actions and situations I describe imply a somewhat formalized training intent based on historical sources. Many who enjoy swords casually and do not have the opportunity to train more formally may not identify with these points. Mistake: Obsessing too much about ideal rapier length. Consequences: Illusion that technical or theoretical shortcomings are "the rapier’s fault," resulting in failure to address them. Correction: Get a well-balanced rapier that works for you and then give it no more thought. Masters such as Alfieri and Capoferro specify that a rapier should be proportionate to the height of the fencer - it should comfortably stand under the armpit. -
Introduction to Rapier
INTRODUCTION TO RAPIER Based on the teachings of Ridolfo Capo Ferro, in his treatise first published in 1610. A WORKBOOK By Nick Thomas Instructor and co-founder of the © 2016 Academy of Historical Fencing Version 1 Introduction The rapier is the iconic sword of the renaissance, but it is often misunderstood due to poor representation in popular culture. The reality of the rapier is that it was a brutal and efficient killer. So much so that in Britain it was often considered a bullies or murderers weapon. Because to use a rapier against a person is to attempt to kill them, and not just defend oneself. A result of the heavy emphasis on point work and the horrendous internal damage that such thrust work inflicts. Rapier teachings were first brought to Britain in the 1570’s, and soon became the dominant weapon for civilian wear. Of course many weapons that were not so different were also used in the military, featuring the same guards and slightly lighter and broader blades. The rapier was very commonly used with offhand weapons, and Capo Ferro covers a range of them. However for this work book, we will focus on single sword, which is the foundation of the system. This class is brought to you by the Academy of Historical Fencing (UK) www.historicalfencing.co.uk If you have any questions about the class or fencing practice in general, feel free to contact us – [email protected] Overview of the weapon The First thing to accept as someone who already studies one form or another of European swordsmanship, is that you should not treat the rapier as something alien to you. -
General Guidelines for Auditioning Check the Play's Rehearsal and Production Schedule
General Guidelines for Auditioning Check the play's rehearsal and production schedule Be quite certain you re available throughout. If you have conflicts, put them on your audition sheet. If you get cast, and then tell the director you have additional scheduling conflicts, you'll damage the production and--don't ignore this--give yourself a rotten reputation! Avoid looking for "your role" or casting yourself Instead, keep yourself open to any role. The Audition Don't worry about nerves Everyone gets nervous at auditions, even the old pros, and having a few butterflies can be a good thing. It is best to avoid worrying excessively about messing up or about what others auditioning might think of you. If you do happen to "mess up", don't get upset or walk off, just keep on going until you are finished. Dress comfortably Avoid costumes, but don't dress completely out of character either. Avoid big clunky shoes or jewelry that may impede your movement. Choose clothing that is simple, professional, and comfortable. Arrive early Get there well in advance so that you can check in and take time to warm up and fill out forms. Be professional in your attitude and actions Remember that your audition begins the moment you step into the theatre. Be confident, pleasant, respectful, and positive with everyone. NEVER apologize for your audition Unless you let us know it, we will assume that's exactly what you meant to do. Just in case we thought it was brilliant, don't telegraph that you think you blew it. -
The Neapolitan School of Fencing: Its Origins and Early Characteristics
Acta Periodica Duellatorum 9 DOI 10.1515/apd-2015-0012 The Neapolitan School of Fencing: Its Origins and Early Characteristics Charles Blair Abstract – The Neapolitan school of fencing, which received official sanction after the reunification of Italy in the nineteenth century, originated in the seventeenth century. It was originally best known as a system of sword and dagger fencing. It is documented as such in both Italian and Spanish sources during the reign of Carlos II and the War of the Spanish Succession (1665-1714). This article discusses the evidence from both sets of sources during this period, comparing and contrasting the Neapolitan approach to previous, contemporary and subsequent approaches in order to provide the necessary historical context for its origin and development. I. ORIGIN OF THE NEAPOLITAN SCHOOL The Neapolitan school of fencing begins with Giovan Battista (“Titta”) Marcelli, who died in 1685.1 He lived until he was past 90, so he cannot have been born later than 1595. Marcelli was from an old Roman family, but at some point he moved from Rome to Naples; we do not know when or why. We do know that he left a brother Lelio behind in Rome, and a son who published a treatise in 1686. Marcelli not only lived to an advanced age; we are told that even towards the end of his life he continued to give lessons and move like a man in the prime of life. Marcelli was known for a lightning-fast lunge: before one realized what was happening, one was hit; therefore, one could not craft a defence.