Stage combat
Stage combat, fight craft or fight choreography is a specialised technique in theatre designed to create the illusion of physical combat without causing harm to the performers. It is employed in live stage plays as well as operatic and ballet productions. With the advent of cinema and television the term has widened to also include the choreography of filmed fighting sequences, as opposed to the earlier live performances on stage. It is closely related to the practice of stunts and is a common field of study for actors. Actors famous for their stage fighting skills frequently have backgrounds in dance, gymnastics or martial arts training.
History
Ancient
The history of stage fighting and mock combat can be traced to antiquity, with Aristotle quoted as noting that tragedy is conflict between people or indeed it may be traced to the origins of the human species and primate display behaviour. Display of martial aptitude is a natural occurrence in warrior societies, and ritualized forms of mock combat often evolve into war dances. Whether it is the struggle between the men and women of Aristophanes' Lysistrata in Ancient Greece or Ancient Egypt where Herodotus in his Histories talks about a religious festival in which they beat each other with staves but no one dies, staged combat has always existed. As it doesn't make sense to sacrifice citizens in rituals, many ancient civilizations turned to symbolic gestures of combat through dancing or bringing a weapon to someone's throat or neck without actually touching them to symbolize death or an act of violence.Post-classical
Fights staged for entertainment may also be in earnest for the combatants, as was the case with the Roman gladiators, and any public duel, such as the judicial duel of the European Middle Ages. The medieval tournament and joust are a classical examples of competitive ritualised mock combat. The joust from the time of Maximilian I developed into a sport with enormous cost involved for each knight and correspondingly high prestige attached, comparable to contemporary Formula One races, while at the same time minimizing the danger of injury with highly specialized equipment.In the Late Middle Ages, staged fencing bouts, with or without choreography, became popular with fencing schools. Some German fechtbuch have sections dedicated to flamboyant techniques to be employed in such Klopffechten, which would be impractical in serious combat, and the Late Medieval German masters distinguish mock fights and real combat.
The history of European theatrical combat has its roots in medieval theatre, and becomes tangible in Elizabethan drama. Richard Tarlton, who was a member of both William Shakespeare's acting company and of the London Masters of Defence weapons guild, was among the first fight directors in the modern sense. Sword duels depicted in plays showed how popular the pastime was in actual life. Before 1615 in England, many plays featured duels and the duels were regarded as highlights of the show. As opposed to after 1615, when dueling was publicly condemned by King James and the duels were used as a last resort in regard to the plot.
Modern
During the late 17th and early 18th centuries, stylized stage combat has been a staple feature of traditional performing arts for centuries, such as in Japanese Kabuki theater, Chinese Beijing Opera and Indian theater.Fencing masters in Europe began to research and experiment with historical fencing techniques, with weapons such as the two-handed sword, rapier and smallsword, and to instruct actors in their use. Notable amongst these were George Dubois, a Parisian fight director and martial artist who created performance fencing styles based on gladiatorial combat as well as Renaissance rapier and dagger fencing. Egerton Castle and Captain Alfred Hutton of London were also involved both in reviving antique fencing systems and in teaching these styles to actors.
During the late 19th and early 20th centuries, scenes of swordplay in touring theatrical productions throughout Europe, the British Commonwealth and the United States were typically created by combining several widely known, generic routines known as "standard combats", identified by names such as the "Round Eights" and the "Glasgow Tens".
Cinematic fencing has its roots in the 1920s, with the movies of Douglas Fairbanks. One of the more celebrated fight directors who emerged in this time was Paddy Crean who revolutionized stage combat, specifically sword play, for the silver screen and theater. Paddy created the flamboyant style of sword play that can be seen in Errol Flynn movies, among others. He promoted the use of safety above all things and then focused on story of the fight. B. H. Barry and J. Allen Suddeth, students of Paddy Crean, are two fight masters who have continued developing Paddy's legacy. Barry helped found the Society of British Fight Directors, later to become the British Academy of Dramatic Combat and then came to the United States to give fight direction a more specific shape. J. Allen Suddeth founded the National Fight Directors Training Program in the United States and wrote the book "Fight Direction for the Theater". Martial arts movies emerge as a distinct genre from the 1940s, popularized by Bruce Lee and Sonny Chiba from the 1960s.
Starting in the mid-1960s, John Waller, a pioneer in the English historical European martial arts revival, was a fight director for stage and screen, and later a teacher of stage combat at London drama schools, with an emphasis on historical realism. Informal guilds of fight choreographers began to take shape in the 1970s with the establishment of The Society of British Fight Directors, 1969 to 1996. Training was established in the United States with the formation of the in 1977.
Following this, further academies and associations worldwide have been established to uphold the craft, training and quality of work in the art-form of stage combat nationally and internationally, including: The British Academy Of Stage & Screen Combat and in 1993; the in 1994; the and the New Zealand Stage Combat Society in 1995; the British Academy of Dramatic Combat in 1996; in 1997; in 1999; in 2004; and the in 2010; in 2015. As of 2005, East 15 Acting School, London offered a B.A. Degree in Acting & Stage Combat. Many of the societies offer certification programs for different weapons, which is used as an indicator about how much training an actor has had. During the early part of the Covid 19 Pandemic, several organizations made strides in distance/virtual training, including international virtual workshops.
Techniques
Stage combat training includes unarmed combat skills such as illusory slaps, punches, kicks, throwing and holding techniques; theatrical adaptations of various forms of fencing such as rapier and dagger, smallsword and broadsword, as well as the use of other weapons, notably the quarterstaff and knives; and more specialized skills such as professional wrestling and different styles of martial arts. However, stage combat can include any form of choreographed violence and the options are limited only by safety concerns, and the ability of the participants involved. As a note, most of these techniques are drawn from actual fighting techniques, but modified to be safer for actors. For example, although there are a number of ways of creating the safe illusion of a slap to the face, none of these involve making actual contact with the victim's face.The overriding concern is for the safety of the actors and audience. This requirement has led to the adaptation of many standard martial arts and fencing skills specifically for performance. For example, many basic sword attacks and parries must be modified to ensure that the actors do not bring the points of their weapons past their partner's face or otherwise inadvertently risk the other actor's health and well-being. Attacking actions in stage combat are extended past the performance partner's body, or aimed short of their apparent targets. Likewise, whereas their characters may be engaged in vicious unarmed combat, the actors must operate at a high level of complicity and communication to ensure a safe, exciting fight scene. In many forms of stage combat, distance is a key factor in technique. Many attacks are performed 'out of distance' so that there is no possible chance of one performer accidentally striking the other. Considerable professional judgement is called upon to determine what technical level may be appropriate for a given performer, taking into account allotted rehearsal time, and the expectations of the director.
Another important element of stage combat is sound. Sound increases the believability of an action for the audience. There are two kinds of sounds that can be made. One is vocal reactions. By adding a gasp, groan, or grunt when struck, the combatants make the moves come to life. The other kind of sound is a knap or a percussive sound made by hitting a resonant part of the body. This is timed to the moment an impact would happen and is staged so it is hidden from the audience. This allows the audience to believe that an actual blow or slap has landed because they hear a corresponding sound and see a reaction.
The combat phase of a play rehearsal is referred to as a fight rehearsal. Choreography is typically learned step by step, and practiced at first very slowly before increasing to a speed that is both dramatically convincing and safe for the performers and their audience. Even stage combat is risky, and it is preferable for actors to have as much training and experience as possible. A "fight call" or a brief rehearsal before the show is performed each time, set aside for the actors to "mark" through the fight to increase their muscle memory. A show which involves fight choreography will typically be trained and supervised by a professional fight choreographer and may also include a fight captain, who runs fight calls and ensures that actors are remaining safe throughout the duration of the show.
The fighting styles in movies set in the Medieval or Renaissance periods may be unrealistic and historically inaccurate. Most fight choreographers use a mix between Asian martial arts and sports fencing to re-enact fight scenes. This is generally due to the look of the fighting asked for by the director. If the director wants the story to flow a certain way, then the fight director will choreograph the fights to fit that style and tell the story.