Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors Fall 2015 The Fight Master, Fall 2015, Vol. 37 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 The FıghtMasterFall 2015 The Journal of the Society of American Fight Directors The Sixth Sense in Action The Language of Actions & Reactions The World Conference 2016 Inviting the combat testing giants to play A Deer Caught in Stage Fright Body alarm reaction and its effects on our stage combat students Engaging the Audience by Staying Engaged WWW.SAFD.ORG PRSRT STD US Postage PAID Bartlett, IL Permit No. 51 THE FIGHT MASTER SPRING 2012 | SAFD.ORG 1 FM_Fall2015_Cover 2.indd 1 9/15/15 7:40 PM 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 2015 | Vol 37, 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 = FeaturesThe 5 The Sixth Sense in Action Finding the intangible elements which separate out the great stage fghters is no FıghtMastereasy feat. In this article, Kevin Inouye examines proprioception and the concept of sentiment du fer, and the ways teachers can use them to groom students who can use props expressively through natural impulses. 10 The Language of Action and Reaction Changing language, especially codifed language, can be difcult. In a selection from his upcoming book, Robert Najarian examines the terminology surrounding the cue principle, in the pursuit to fnd beter language for technique that is more resonant with the feld of acting. 15 The 2016 Worlds Conference In 2013, Paul Gélineau announced the creation of a global workshop. In this follow up piece, he discusses the pitfalls, success, and current progress in geting the World’s Conference operational and underway. Standards 18 A Deer in Stage Fright Wen the body freezes in a moment of stress, it can be daunting to try and overcome 2 Editorially Speaking the physical markers. Eugene Solfanelli identifes the signals of a Body Alarm 3 Submission Guidelines Reaction, how they afect stage combat students, and what educators can do to help 3 Contributors students understand their physical reactions to stress. 4 Letter to the Editor 32 Governing Body 26 Fight Matters: A Noble Profession 32 Regional Representatives Part four of Joseph Travers’ editorial series takes a closer look at the “noble 33 Fight Masters profession” of teaching. Is it a moral calling, a career, or a meeting of both worlds? 33 Fight Directors How do practicality and passion fnd equal footing in the current market? 34 Certified Teachers 28 Eyes Open Wy do we close our eyes when we need them open to express our emotion? In this piece, Jamie Cheatham takes a look at the default “fght face” used in response to pain, and how actors and teachers can both work to overcome it. THE FIGHT MASTER FALL 2015 | 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 I hit myself in the face. It was unintentional—my hand was supposed to go to my chest to knap a face hit. Instead, on perhaps the tenth run of the morning, I FıghtMaster mixed up my mental commands and smartly rapped my own face. I recall look- Published bi-annually ing at my hand in surprise, as though I wasn’t quite sure what had happened. Copyright ©2015, SAFD Every stage combatant has had a moment such as this—a moment of miscom- EDITORIAL STAFF munication with the self. Each of us wants to be an excellent f ghter. Each of us Editor Jean A. Monfort wants to be a good (not necessarily nice) partner. Each of us wants to illustrate to [email protected] our peers our hard work and talent. But then each of us will eventually go up on Art Director a line, drop a weapon, or hit ourselves in the face. I’ve been told it’s how we deal Jonathan Wieder with these mistakes that truly illustrate our talent. [email protected] T ere are several references to Paddy Crean in the following pages, and the word (or Associate Editors sound) he used to describe the intangible presence of the swordf ghter, “Za!” Za suggests that Michael Mueller there is a meeting of physical and mental conditions that enable the stage combatant to tran- Advisor scend being a person with a weapon to a character in which the audience believes. But how Ian Rose does the beginner to our profession hope to achieve such an elusive goal? You will hopefully [email protected] f nd some answers in this issue of T e Fight Master . Several of the articles presented explore GOVERNING BODY the ways in which the body enhances or impedes the illusions we want to create on stage. Be President it our eyes, our feet, or our stature, physicality is key to selling a performance. W en the body J. David Brimmer creates a barrier to success, how can teachers encourage students to surmount it? [email protected] How does the classroom foster space for the f nding of Za? Vice President T is is a good time to congratulate all the newest Certif ed Teachers who completed their Chuck Coyl training at this year’s National Stage Combat Workshop (NSCW). Our craf will always need [email protected] the passion of new voices, and the community as a whole looks forward to what you will con- Secretary tribute in the coming seasons. Of course, I anticipate that when you’ve found something new Darrell Rushton [email protected] or interesting in your coursework, you’ll contribute to this publication so that the rest of us can share in your discovery. In mean time, make sure to visit the SAFD’s new and improved Treasurer Andrew Hayes website, and add your names to the directory so you can be discovered by students. [email protected] AAC/AC/Friend Rep. Be well. Fight well. Zev Steinberg [email protected] Certifi ed Teacher Rep. T. Fulton Burns Jean A. Monfort, Editor [email protected] [email protected] Fight Director Rep. Paul R. Dennhardt [email protected] Correction: In the Spring 2015 issue of this journal, Justin Krall’s name was improperly Fight Master Rep. printed. His proper middle name is Mitchell, not Michael. Ian Rose [email protected] ADVISORY BOARD Chairman Jef rey Koep, Ph.D. Board Members Geof rey 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 2015 | SAFD.ORG Editorial+Contribs.indd 2 9/16/15 8:45 AM Contributors SUBMISSION GUIDELINES Jamie Cheatham (FD/CT) is a professional fght director, actor, director, and Editorial and graphic content featured in Te Fight theatre educator. Afer 17 years of working professionally in New York City and 10 Master is the product of contributions from SAFD years of full time teaching at the University of Wisconsin-Parkside, Jamie is now the members of all levels as well as from the global head of acting at Marquete University, WI. He created the stage combat division at stage combat community. Participation is greatly the American Musical and Dramatic Academy, NY, where he taught for 11 years. encouraged and submissions are accepted on a roll- ing basis, with deadlines for the Fall and Spring edi- Within the SAFD, Jamie is a Certifed Teacher/Fight Director working regularly in his Midwest tions occurring on June 1 and December 1 respec- home. tively. For submissions by traditional mail, please Kevin Inouye (CT, Teatrical Firearms Instructor, and Rocky Mountain Regional send a shipping address request by email. Representative) is an Assistant Professor of Acting, Movement, & Stage Combat at Articles the University of Wyoming. He is a SAG-AFTRA performer, award-winning fght Submited material will be edited for clarity and choreographer, and author of Te Teatrical Firearms Handbook as well as several length with the assistance and approval of the au- previous articles for Te Fight Master. He also runs Fight Designer, LLC, providing thor. Articles should include a short biography 150 prop weapons rentals nationwide. words or less, as well as contact information. By sub- miting material to Te Fight Master, it is assumed the Paul Gelineau was granted membership to the Fight Directors Canada College of author agrees the following: Fight Masters in 2004. He currently serves as the Director of the Academy for Fight Directors Canada, and lives near Vancouver, British Columbia where he teaches and & All submissions are subject to editorial discretion directs.