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The Development and Organization of Stage Combat in Canada By Battles Staged By…: The Development and Organization of Stage Combat in Canada by Nicholas J Harrison A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2012 © Nicholas J Harrison, 2012 Abstract This dissertation investigates and traces the history and development of stage combat within Canada. The inclusion of the fight director within the Canadian Theatre Agreement in 2002 recognized fight directors as professional theatre artists. However, the first recorded professional fight director in Canada was Douglas Campbell at the Stratford Festival in 1953. The fight director has been part of a long theatrical tradition that demands attention to both artistic interpretation of dramatic texts as well as practical skill sets. To date there has not been a thorough investigation of the history of the fight director. Chapter One defines the role and function of the fight director and introduces the people interviewed as part of my research. Chapter Two explores the origins of modern stage combat. Chapter Three concerns the roles that Douglas Campbell and Patrick Crean played in the establishment of professional stage combat through their experience and involvement with the Stratford Festival. Chapters Four and Five explore the emergence of the two major fight associations in Canada and the training syllabi they created to properly train actor combatants. Chapter Six focuses on the role of the fight director as artist, dramaturg, instructor and choreographer through a series of interviews with fight directors John Stead, J.P. Fournier, John Nelles, Daniel Levinson, James Binkley, Steve Wilsher and F. Braun McAsh, and focuses on their experiences in staging fights for various Canadian productions of Hamlet. Chapter Seven explains the varying methods of fight notation instrumental in archiving a fight director’s work for reference. Chapter Eight summarizes the role and function of the fight director in modern Canadian theatre. These elements are placed in context through personal interviews, newspaper articles, existing scholarship on stage combat and fencing as well as current training methodologies used by Fight Directors Canada. ii Preface Interviews for this dissertation were conducted either through telephone or in person, prior to which each interviewee was sent permission forms as well as a set list of questions approved by the University of British Columbia’s Behavioral Review Ethics Board (BREB). UBC BREB number issued was H09-01606. Interviews were recorded for reference in the writing of this work and used in accordance with the policies outlined by BREB. Every fight director who responded to the request for interviews was included in the study. There were no exclusions. iii Table of Contents Abstract ......................................................................................................................... ii Preface ......................................................................................................................... iii Table of Contents ........................................................................................................ iv List of Figures .............................................................................................................. v Acknowledgements .................................................................................................... vi Dedication .................................................................................................................. vii I Introduction ....................................................................................................... 1 2 Fighting Back the Years: A Brief History of Stage Combat ......................... 13 3 Battles Staged By: The Influence of Douglas Campbell and Patrick Crean ............................................................................................................... 58 4 The Fine Print: The Acceptance of Fight Directors as Professional Artists in Canada ............................................................................................ 89 5 The Need for ¾ Speed: Establishing a Fight Syllabus in Canada ........... 111 6 To Fight or Not to Fight: Contextualizing Hamlet’s Duel from a Canadian Fight Director’s Perspective ...................................................... 137 7 Hitting all the Right Notes: Exploring Four Methods of Fight Notation ......................................................................................................... 168 8 Conclusions .................................................................................................. 199 Bibliography ............................................................................................................ 208 Appendices ............................................................................................................... 222 Appendix A: Terminology ........................................................................................... 222 Appendix B: List of Interview Questions ..................................................................... 232 iv List of Figures Figure 1 Robert Goodier and Alec Guinness in Richard III 1953 ..................... 59 Figure 2 The Musketeer Drill ............................................................................... 81 Figure 3 Notation: Moving from One Area to Another ................................... 170 Figure 4 Notation: Quarter Turn to the Right .................................................. 170 Figure 5 Notation: Aggressive Guard .............................................................. 171 Figure 6 Notation: Defensive Guard ................................................................. 171 Figure 7 Notation: Neutral Stance .................................................................... 171 Figure 8 Notation: Moving Forward One Step ................................................. 171 Figure 9 Notation: Stepping Backward One Step ........................................... 172 Figure 10 Notation: Moving Forward to Aggressive Guard ............................. 172 Figure 11 Notation: Moving Backward to Defensive Guard ............................. 172 Figure 12 Notation: Moving Forward to Neutral Position ................................ 173 Figure 13 Notation: Displacement Right to Neutral Position ........................... 173 Figure 14 Notation: Displacement Left to Defensive Guard ............................ 173 Figure 15 Notation: Ducking in Aggressive Guard ........................................... 173 Figure 16 Notation: Cut with Sword ................................................................... 174 Figure 17 Notation: Thrust with Sword .............................................................. 174 Figure 18 Notation: Target Areas of the Body .................................................. 175 Figure 19 Notation: Cutting with the Sword to the Head ................................. 176 Figure 20 Notation: Thrusting to the Left Chest ............................................... 176 Figure 21 Notation: Punching the Left Side of the Head .................................. 176 Figure 22 Notation: Punching the Right Side of the Head ............................... 177 Figure 23 Notation: Right Hand Parry ................................................................ 177 Figure 24 Notation: Left Hand Parry .................................................................. 177 Figure 25 Notation: Simultaneous Movement ................................................... 178 Figure 26 Notation: Example of a Brief Fight .................................................... 179 Figure 27 Notation: William Hobbs’s Codex ..................................................... 181 Figure 28 Notation: An Exchange Using Hobbs’s Codex ................................ 182 Figure 29 Notation: Simplified Fight Notation ................................................... 183 Figure 30 Notation: John Stead’s Hamlet 2000 ................................................. 184 v Acknowledgements I would like to take the opportunity to offer my gratitude to the faculty and staff at UBC, who have encouraged me to carry on despite the odds. I especially want to thank Dr. Jerry Wasserman for his continued support and belief in me through these past few years. I would also like to thank my committee: Dr. Kirsty Johnston, Stephen Heatley, and Dr. Wasserman for their continued support during my time at the University. The staff at the Stratford Archives, including Dr. Francesca Marini, Elizabeth Knazook and her team assisted me greatly with my numerous queries and requests. Special thanks must go to my family Rebecca, Benjamin and Olivia who continued to support me throughout this endeavor. I would also like to thank my parents whose financial and moral support over the years has been the most wonderful support a son could have. vi Dedication To my family vii 1 Introduction A few years ago I received a telephone call from an actor who was playing the title role in a production of Hamlet at Presentation House in North Vancouver. He thought he had hired a fight director for the play. Unfortunately for him, the fight director had very little formal training, nor was he affiliated with any professional stage combat association. During an unfortunate fight rehearsal, the ‘fight director’ attempted to demonstrate an elbow to the stomach
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