Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors Spring 2012 The Fight Master, Spring 2012, Vol. 34 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 The FıghtMasterSpring 2012 The Journal of the Society of American Fight Directors Archery in Theatre Ruth Cooper-Brown The True History of the Broadsword Allen Johnson SWORDS IN ARMOR Robin Hood Got It Wrong Hugh T. Knight, Jr. East vs. West Chuck Johnson How Muscle Memory Works Greg Poljasick Protecting Yourself as a Fight Choreographer WWW.SAFD.ORG Darrell Rushton PRSRT STD US Postage PAID Bartlett, IL A Review of Swords Permit No. 51 and Swordsmen Linda Carlyle McCollum the fight master spring 2012 | safd.org 1 MACE (Movement and Combat Education) is a not-for-profit organization whose purpose is to provide education and training that specializes around physical movement in the performing arts. By focusing on meeting the current needs and trends of the industry while maintaining and emphasizing time proven techniques and methodologies, we will help foster performers who are more knowledgeable and better prepared “Movement for EveryBody” to safely handle the physical demands placed on the human body. The Eighteenth Annual The Winter Wonderland Workshop is the largest Staged Violence training event in the world. We bring students and instructors from across the globe together to share in the most visceral style of acting possible: The performance of Staged Violence. Whether you have never picked up a sword or you have been training for years, the Winter Wonderland January 2013 Workshop offers an incredibly wide Pheasant Run Resort • St. Charles, Illinois variety of classes to fit all skill levels. facebook.com/MACEnfp www.macetraining.org 2 the fight master spring 2012 | safd.org MACE (Movement and Combat Education) is a not-for-profit organization whose purpose is to provide education and The Spring 2012 | Vol 34, Number 1 training that specializes around physical movement in the performing arts. By focusing on meeting the current needs and FıghtMasterThe Journal of the Society of American Fight Directors trends of the industry while maintaining and emphasizing time proven techniques and methodologies, we will help foster performers who are more knowledgeable and better prepared “Movement for EveryBody” to safely handle the physical demands placed on the human body. The Eighteenth Annual The Winter Wonderland Workshop is the largest Staged Violence training FightMasterThe Journal of the Society of American Fight Directors event in the world. We bring students Features and instructors from across the 6 archery in theatre How can this be done? Is it safe? Is it effective? ruth Cooper-Brown shares her globe together to share in the most experience using archery on the stage in Great Britain and how this seemingly visceral style of acting possible: The impossible task has lead to great inspiration. 8 theThe true history of the Broadsword performance of Staged Violence. We brandish the word broadsword around quite liberally within the stage combat community, but is it historically correct, and does it matter? Uncover the historical Whether you have never picked up a FıghtMastertruths with allen Johnson about this foundational weapon. sword or you have been training for 14 swords in armor hugh t. Knight Jr. provided valuable information about broadsword usage in the last years, the Winter Wonderland issue and he is back to further the exploration into the realm of the sword’s function January 2013 Workshop offers an incredibly wide with full armor. This is practical information with theatrical possibilities. 20 east vs. West Pheasant Run Resort • St. Charles, Illinois variety of classes to fit all skill levels. Living in the western hemisphere, our theatrical combat often reflects our western ideas of weaponry, combat, and work ethic. We appreciate eastern forms, but the understanding of the differences is often left to experience.Chuck Johnson imparts his first hand experience balancing these two worlds in the film industries of America Standards and Asia, offering insight that is not often shared. 4 Editorially Speaking 24 how muscle memory Works 5 Submission Guidelines Art and science are not always closely associated with one another, however 5 Contributors greg Poljacik’s interest in both has illuminated some scientific research that 31 Put To The Test directly applies to the art of stage combat. 35 Governing Body 36 Regional Representatives 26 Protecting Yourself as a fight Choreographer 36 Fight Masters Legal issues can always threaten fight choreographers, but this subject is often 37 Fight Directors neglected out of ignorance, fear, or simple disinterest. Through his experience, 38 Certified Teachers Darrell rushton, brings light to this topic with regard to weaponry. 28 review of Swords and Swordsmen On The Cover Past Editor-in-Chief, Linda C. mcCullom gives her take on the pros and cons of a new Photo by Mike Tsang. facebook.com/MACEnfp book focusing on the history and use of a primary stage combat weapon; the sword. 30 Cold hard Plastic Visit the website for The society Dexter fidler provides a first hand account of Victory Fencing Gear’s latest of american fight directors training weapon. at www.safd.org. www.macetraining.org the fight master spring 2012 | safd.org 3 The FıghtMasterThe Journal of the Society of American Fight Directors Editorially Speaking FightMasterThe Journal of the Society of American Fight Directors The Th e media has highlighted 2012: it’s an election year, a disaster fi lm, and an ominous date on the Mayan calendar. Wh ile we will experience certain rare FıghtMaster astronomical events and the Mayan calendar will conclude, our ability to use published bi-annually this year to build toward an ever-changing world remains constant. If anything, Copyright ©2012, safd this increased awareness of the importance for change and adaptability can be eDitoriaL staff editor an unlikely benefi t from all the media hype. ForTh e Fight Master, we are viewing Michael Mueller 2012 as a year with huge potential for growth, and one in which large amounts [email protected] of eff ort need to be made to prepare the way for the future of this publication. art Director Internally, we are continuing to clarify procedural policy and push for ex- Jonathan Wieder panding our readership. We also have experienced some personnel shift s that I would like [email protected] to detail for you. Nigel Delahoy, our invaluable Art Director over the past two years, has associate editors decided to move on to other endeavors worthy of his many talents. Nigel helped to elevate Casey kaleba this publication’s format tremendously over the past two years and will be greatly missed. T. fulton burns Fortunately, aft er months of interviews and negotiations, I have the great privilege to intro- Consultants duce our new Art Director, Jonathan Wieder. His professional background with a variety of John Tovar [email protected] national and international publications will be a great asset to this publication’s continued growth. His fi ne work is already evident throughout this current issue. advisor drew fracher Additionally, our wonderful Associate Editor, Sarah Beckerman, has had to take a leave [email protected] of absence. We are sorry to see her go and will miss her keen att ention to detail, but we are in great hope that she will be able to return soon. Once again, however, fortune has smiled goVerning BoDY President on us and I am happy to welcome Casey Kaleba to the editorial staff . His work within the Chuck Coyl professional theatre community, various stage combat organizations, and the halls of [email protected] academia will undoubtedly serve to improve the level of quality we off er to the larger stage Vice President combat community. John Tovar Finally, this issue highlights the eff orts we are making to encourage more perspectives [email protected] from stage combat practitioners around the country and worldwide. Th e Society of Ameri- secretary can Fight Directors was started in close collaboration with our English comrades-in-arms, h. russ brown and today maintains strong ties with international theatrical and stage combat communi- [email protected] ties. Th eFight Master seeks to be one more forum to exchange ideas, share opportunities, treasurer and strengthen the art form. Th rough increasing our readership and tapping into the wealth Lee soroko [email protected] of information being generated globally, we are continuing to make progress in broadening awareness and collaboration among the many facets of stage combatants. aaC/aC/friend rep. Mike speck In the coming months, additional steps are planned to continue increasing our global [email protected] impact and national value. One of these goals is to begin more frequent communication Certifi ed teacher rep. from Th e Fight Master to you through Th e Cutt ing Edge, so look for additional correspondence dC Wright from me beginning in the July/August issue. Increased interaction and collaboration with [email protected] the members of the Society of American Fight Directors and other combat organizations is fight Director rep. the key toward increasing Th e Fight Master’s impact on the larger theatrical community. Th is geoff rey kent includes you as readers of this publication. [email protected] Please continue to spread the word about the value of this publication and let me know fight master rep. what you want to see. As we continue to build, it is vital that we hear from you about the issues richard ryan [email protected] that matt er to you most.