Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors Fall 2018 The Fight Master, Fall 2018, Vol. 40 Issue 2 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 • • I • ••• • • • •••••• • •• •• •• •• •• •• •• The •• •• • • • • •• •• • ~ ••• Fall 2018 I The Journal of the Society of American FightII Directors • FıghtMaster• I • ii .!. · ·•,1' l .... J~ Physical Dialogue through Martial Arts Tai Chi R&D Ethical Professionalism in the Stage WWW.SAFD.ORG ' /Fj PRSRT STD •US Postage PAID Combat Community Bartlett, IL Permit No. 51 ~'~l· ,\! ,,' · 1 <, EIUDIDI~ ... ..._ • •• • • ¥)- ~ ~- ~- . ... .I ~- ..It Must be Earned The Fight Training that CouldTHE FIGHT MASTER SPRING 2012 | SAFD.ORG 1 MACE was created out of the need to have one place where people could study physical movement in all its forms. We are continually progressing toward that goal by offering more workshops and classes each year in more movement styles. We bring in some of the best instructors in their fields of expertise because students deserve nothing less. If you want to be the best, you need to train with the best. While we cater to performing artists, our workshops and classes are for everyone. All shapes, all sizes, all backgrounds. MACE feels everyone can Movement for EveryBody benefit from movement training. After all, everyone moves. www.macetraining.org MACE is a 501c3 not-for-profit organization whose purpose is to provide education and training that specializes around physical movement in the performing arts. B THE FIGHT MASTER FALL 2014 | SAFD.ORG The Fall 2018 | Vol 40, Number 2 Visit the website for The Society of American Fight Directors at www.safd.org. FıghtMasterThe Journal of the Society of American Fight Directors FightMasterThe Journal of the Society of American Fight Directors = Features 4 Alexander Technique in the Stage Combat Classroom Is there a more mindful way to swing a sword? Melissa Freilich examines the ways in which Alexander Technique canThe be incorporated into the Stage Combat classroom, focusing on recalibrating basic movements to rediscover paths to engaging the whole body. 8 Hey Team, Attention Please! The language we use is important in creating FıghtMastera vibrant and open stage combat classroom. In this article, Jaq Seifert proposes simple language changes to achieve an inclusive environment. 10 Physical Dialogue through Martial Arts William Trevino offers a step-by- step explanation of how to perform the acting exercise, Physical Dialogue through Martial Arts. It is an original exercise based on the author’s experience in karate- style martial arts, but simple enough to be adapted by stage combat instructors of other fighting styles. 15 Ethical Professionalism in the Stage Combat Community A stage combatant needs to balance risk, partnerships, and professionalism in their work. Dave Milo examines the ethical responsibilities of a professional stage combatant and discusses possible solutions to unsafe situations. 17 Tai Chi R&D Tai Chi is more than a “slow” martial art. In this piece, Stewart Hawley presents a Rapier and Dagger choreography pattern that builds flexibility, strength, and intention, all while incorporating the basic tenants of his Tai Chi school. 24 Fight Matters: The Assist In this version of Fight Matters, Joseph Travers Standards examines the role of the classroom assistant, offering advice on the best way to find, utilize, and build this essential relationship. 2 Editorially Speaking 3 Submission Guidelines 26 It Must be Earned In this article, Stephen Louis describes in detail the pedagogy 3 Contributors used to teach theory and practice of Musical Theatre performance, namely how to 36 Governing Body effectively transition from speech to song in a way that serves the narrative. 36 Regional Representatives 37 Fight Masters 30 The Fight Training that Could When health, weather, and semester scheduling 37 Fight Directors all collide over a production, how does a teacher keep their combat rehearsal on 38 Certified Teachers track? Laura Rikard offers her own perspective on keeping an academic rehearsal pattern in the face of multiple setbacks. THE FIGHT MASTER SPRING 2018 | SAFD.ORG 1 The FıghtMasterThe Journal of the Society of American Fight Directors Editorially Speaking FightMasterThe Journal of the Society of American Fight Directors The Have you ever wound up somewhere and not known how you got there? I have. Maybe I pull out my phone while I’m walking, or I simply zone out listening FıghtMaster to the radio and suddenly I am somewhere else. How did I get there? I cannot Published bi-annually remember the last few minutes, cannot tell you how many buildings I passed or Copyright ©2018, SAFD people I saw. This doesn’t work well with stage combat. Zoning out in choreog- EDITORIAL STAFF raphy makes for sloppy work and accidents. The underlying factor is repetition. Editor Jean A. Monfort I forget the nuances of my road because I drive it every day. I lose my targets [email protected] because I’ve run the fight a dozen times. Art Director Mindfulness becomes key to creating meaningful action. With that in mind, Jonathan Wieder this issue is about thought in action. The articles selected are a little more cerebral, focusing [email protected] on how we think about our movement and our actions. Many of the articles within ask you Associate Editors to examine how you get from point A to point B. What are the various options for achieving Michael Mueller your goals? How do your actions in and out of a rehearsal impact your fellow performers? It is Advisor my hope that you take a moment to reflect after reading and reexamine your processes. Ian Rose I have had the privilege of being the Editor-in-Chief for The Fight Masterfor four years. [email protected] When I started in 2014, I was apprehensive about taking the position. I was still very much GOVERNING BODY an apprentice in the community. Fortunately for me, that same community contributed President educational and entertaining pieces time and time again, making my job relatively easy as I Scot Mann continued to follow my stage combat path. I am very grateful to the Governing Board and to [email protected] the fight community in general for being supportive of the magazine and of me. Vice President I will be starting a new and exciting career, one that sadly makes participating in the fight Matthew Ellis community more challenging. It would be irresponsible to keep helming the publication if [email protected] I am not keeping up on its trends and practices. To that end, this issue of The Fight Master is Secretary my last as Editor. The lessons I have learned in working with the SAFD are ones I will carry Christopher Elst [email protected] with me for the rest of my life. I have no doubt that you, the members of the SAFD, will rally round my successor and help them take the magazine to new heights. It is my sincerest wish Treasurer Adam Noble that you continue to enjoy all that this magazine has to offer—theory, practice, history, and [email protected] humor. AAC/AC/Friend Rep. Katherine Coyl Be well, fight well! [email protected] Certified Teacher Rep. T. Fulton Burns [email protected] Fight Director Rep. Mike Mahaffey [email protected] Fight Master Rep. Jean A. Monfort, Editor Ian Rose [email protected] [email protected] ADVISORY BOARD Chairman Jeffrey Koep, Ph.D. Board Members Geoffrey Kent, Robert L. Hobbs, Lisa M.K. Jones, Kim Zimmer HONORARY MEMBERS Rod Colbin, Anthony De Longis, Richard Gradkowski, Dale Kirby 2 THE FIGHT MASTER FALL 2018 | SAFD.ORG Contributors SUBMISSION GUIDELINES Melissa Freilich (AAC) is a director, fight choreographer and teacher located in Editorial and graphic content featured in The Fight Richmond VA. She is currently pursuing her MFA in Performance Pedagogy at Master is the product of contributions from SAFD Virginia Commonwealth University. She is a certified Alexander Technique teacher members of all levels as well as from the global (AmSAT), having trained under Jane Heirich in Ann Arbor MI. Her BA is in stage combat community. Participation is greatly Theatre and Classics from Washington University in St. Louis, Missouri. She is an encouraged and submissions are accepted on a roll- advanced actor combatant with the Society of American Fight Directors and an Associate Instructor ing basis, with deadlines for the Fall and Spring edi- tions occurring on June 1 and December 1 respec- in Dueling Arts International. tively. For submissions by traditional mail, please Stewart Hawley (CT) is a Certified Teacher with the Society of American Fight send a shipping address request by email. Directors. He works at Reinhardt University as an Assistant Professor of Theatre. Articles Submitted material will be edited for clarity and length with the assistance and approval of the au- thor. Articles should include a short biography 150 words or less, as well as contact information. By sub- Stephen Louis (AAC) is an Acting – Musical Theatre student at the Royal Central mitting material toThe Fight Master, it is assumed the School of Speech and Drama in London originally from Houston, Texas. He is also a author agrees the following: nerdfighter, avid meditator, and mental health advocate. • All submissions are subject to editorial discretion • All work submitted is assumed to be the original work of the author, and The Fight Master will not Dave Milo is an actor, educator, and certified actor combatant in the SAFD. As well as assume any of the author’s copyright liabilities being a teacher of English and theater in the New York City public school system, he and publication rights.