New York-based Rick Sordelet seems to be the most prolific fight director in America right now. The certification of Fight Director is a lot easier to attain in the U.S. than in Canada, so most of those certified aren’t really worth a damn. Rick is the opposite end of that spectrum: he has an excellent philosophy which he puts into practice getting phenomenal results in a huge number of productions every year.

Rick Sordelet is not only an excellent fight choreographer, he’s incredibly articulate. In this video, he says it better than most:
Sordelet Fight Director Video

Rick is in the news right now for his Romeo & Juliet, which he directed and fight directed in Philadelphia. Here’s a snippet from the Philadelphia Inquirer:

‘Romeo & Juliet,’ splendidly staged
The sexy, passionate Romeo and Juliet that opened last weekend at the Pennsylvania Shakespeare Festival is just what R&J should be: a mix of potent chemistry between the two teens that rips through a starry-eyed first half and a star-crossed second.

It’s directed with a command of both the characters and the language by Rick Sordelet, who also happens to be the busiest fight choreographer on Broadway; this season, he’s directed the brawling in the revival of Fences and the new musical The Addams Family. Sordelet also provides a historic link to this production: He did the fight scenes for Romeo and Juliet at the Pennsylvania Shakespeare Festival, on the campus of DeSales University near Quakertown, in 1992 – its inaugural season.

This time, he does double duty as director and fight director, and expect to see lavish swordplay, at one point with a Tybalt (Mike Rossmy) who brandishes a weapon in each hand as the characters swoop through Steve TenEyck’s simple but evocative set.
‘Romeo & Juliet,’ splendidly staged | Philadelphia Inquirer | 07/27/2010

We’ve got to get this guy into Fight Directors Canada. I think an invitation to teach at next year’s Nationals would be an excellent opportunity to share expertise.

Click image for larger view

Visit May Stage Combat Course for more info.

Just a quick note that the next FDC Basic Certification course that was scheduled for this week has been delayed until 17 May, 2010.

For full details, check this out: May Stage Combat Course

Sorry for any inconvenience… actually, it should be a convenience, because now you have time to sign up and get these essential actor’s skills.

After our hugely successful first stage combat course in which all students passed their examination with Fight Master J-P Fournier, Academie Duello is doing it again – right away. The next 10-week stage combat certification course will begin on 12 April 17 May!

First Class: Monday, 12 April 2010 17 May, 2010
Time: 8 pm – 10 pm
Duration: 17 May – 24 July (10 weeks)
Place: Academie Duello, 412 W. Hastings, Vancouver, BC

Mondays: Basic Quarterstaff

Staff training gives the student coordination using both hands on a weapon that uses a lot of space. Circular and linear attacks combine with different ways of handling the staff make the weapon challenging and versatile. Eastern and Western martial arts incorporated various kinds of staves and spears, so this discipline is important in many contexts.

Wednesdays: Basic Unarmed

Throwing a good punch is a tiny part of unarmed fighting, even without considering martial arts styling. The most common need for the stage are slaps and falls. We cover many techniques of attacks, defenses, hair pulls, chokes, and all the violence that looks untrained and brutal.

Saturdays: Basic Sword

Learn the fundamentals of sword for the stage and screen. The Fight Directors Canada basic level of sword is practiced with sabre-hilted epees, in order to be adaptable to many international and historical sword systems, with the utmost concern for the safety of performers and the excitement of the action. From swashbuckling cutlass to Persian short sword, the FDC system is a universal foundation that is essential for the actor or stunt-person.

Fridays: Extra Practice (optional)

Starting mid-way through the course, students will have the opportunity to come in on Fridays for additional time to rehearse their scenes. This is supervised time, but will not contain additional tutoring or instruction.

Fight Directors Canada Certification

Fight Directors Canada is internationally recognized quality, and the only stage combat training officially recognized by the Canadian Actors Equity Association. Learn the foundations:

• Unarmed combat
• Quarterstaff
• Sword

It’s not just weapons, FDC emphasizes:

• Safety: You need to move with high speed and intensity, without risking any kind of injury.
• Storytelling: It’s not a game, it’s part of the play/movie… learn to incorporate combat into a scene.
• Style: Techniques change based on history and geography. Learn a versatile system.

Note that FDC Certification at the Basic Actor-Combatant level requires 60 hours of training, a written exam and the evaluation of an FDC Fight Master.

What’s Included?

• 10 weeks of instruction and practice.
• Over 60 hours of training
• The FDC glossary
• Written exam
• Practical exam with Fight Master J-P Fournier
• Membership in FDC until September 2011

Exam Details

There are two parts to the final examination: a written test and a practical test.
Written test:

• 90 minutes
• Demonstrate knowledge of terminology
• Show understanding of principles of all 3 weapons and theatrical concerns

Practical Exam:
Performance of one scene for each weapon (3 scenes). Each scene will have:

• About 2-3 minutes total length
• Text from a published play
• Different partners
• Demonstration of acting and stage combat skills
• Safety for the performers and the audience
• No need for costumes or other staging

Cost

$1,000 for the course, including materials and testing mentioned above.

Can I Do One Weapon?

If, for whatever reason, you can’t take the whole course, or you’re not interested in certification with FDC, there are a couple of options:

1. You may take any one class (Sword Saturday, Quarterstaff Monday or Unarmed Wednesday) for $300.
2. You may certify in one weapon (Sword, Quarterstaff or Unarmed) for an additional $100.

Note that if you certify in one weapon, you will not receive a certificate to that effect. FDC only certifies actor-combatants who complete the level. In order to complete your official certification, you’ll have to pass the other weapons within 12 months. If you choose to take the class but not do the certification test, you may not list FDC certification on your resume. Most students will be certifying and need partners to fight with them on test day. If choose not to certify from the start, we will try to avoid those partnering issues and you will not be obligated to come to the test day.

Sign Up ASAP

Call Academie Duello 604-568-9907 for information or to sign-up for any of our programs or Drop by 412 W. Hastings in Vancouver, BC. Space is limited to 8 students!

Two events are happening at Academie Duello next weekend. If you haven’t seen the size, decor and amenities at the school’s new location at 412 W. Hastings, you must attend. And if you know what a great facility it is, you’ll discover the new museum, and see some exciting performances.

Saturday 7:30pm: An Evening of Chivalry

6 February, 2010 7:30-11:30 pm
$25 tickets (free drink)

Explore and Experience

• Swordplay performances
• Door Prizes
• Edibles and Potables
• Live Music

The Grand Opening

Celebrate the opening of the Arms and Armour Museum.

Sunday 10am: Open House

7 February, 2010 10am-4pm

• Rapier, Longsword, Sword and Shield Demos
• Tours of our History of Arms Interactive Museum
• Tournaments at Arms
• Demonstrations of Falconry
• Stage Combat Performances
• Free Swordplay Lessons

More

Click over to LearnSwordPlay.com or call 604.568.9907

Back by popular demand, I will be teaching another one-day workshop in Bartitsu. This time, it will be a more condensed 4 hours (2pm-6pm), and more physical.

Workshop January 23

Learn the fighting style of Sherlock Holmes in this unique one-day workshop at Academie Duello.

England in the 19th century was replete with instructors in martial arts from the world over. E.W. Barton-Wright had returned from Japan and opened a school to teach the English gentleman how to defend himself against ruffians using only the most effective techniques whether unarmed or carrying the accessory of the time: the walking-stick.

The Bartitsu system worked so well that Sir Arthur Conan-Doyle wrote that Sherlock Holmes used it to defeat Moriarty.

Learn:

• English boxing, French kickboxing and the English interpretation of Judo
• Stick fighting and self-defense with an umbrella
• Modern urban self-defense evolved from the principles of Bartitsu

Whether your interest is in history or practical self-defense, this workshop will give you the skills and knowledge of 19th century fighting.

Only $60 (15% discount for members)

Register Now: Call 604.568.9907 or Drop by Academie Duello

412 W. Hastings St.

Check out the new trailer for the upcoming documentary:
embedded by Embedded Video

YouTube link: Bartitsu - the Lost Martial Art of Sherlock Holmes

The long-awaited announcement of the first Basic Actor-Combatant Certification course at Academie Duello.

First Class: Monday, 18 January 2010
Time: 8 pm – 10 pm
Duration: 18 January – 26 March (10 weeks)
Place: Academie Duello, 412 W. Hastings, Vancouver, BC

Mondays: Basic Sword

Learn the fundamentals of sword for the stage and screen. The Fight Directors Canada basic level of sword is practiced with sabre-hilted epees, in order to be adaptable to many international and historical sword systems, with the utmost concern for the safety of performers and the excitement of the action. From swashbuckling cutlass to Persian short sword, the FDC system is a universal foundation that is essential for the actor or stunt-person.

Wednesdays: Basic Quarterstaff

Staff training gives the student coordination using both hands on a weapon that uses a lot of space. Circular and linear attacks combine with different ways of handling the staff make the weapon challenging and versatile. Eastern and Western martial arts incorporated various kinds of staves and spears, so this discipline is important in many contexts.

Fridays: Basic Unarmed

Throwing a good punch is a tiny part of unarmed fighting, even without considering martial arts styling. The most common need for the stage are slaps and falls. We cover many techniques of attacks, defenses, hair pulls, chokes, and all the violence that looks untrained and brutal.

Saturdays: Extra Practice (optional)

Starting mid-way through the course, students will have the opportunity to come in on Saturdays for additional time to rehearse their scenes. This is supervised time, but will not contain additional tutoring or instruction.

Fight Directors Canada Certification

Fight Directors Canada is internationally recognized quality, and the only stage combat training officially recognized by the Canadian Actors Equity Association. Learn the foundations:

• Unarmed combat
• Quarterstaff
• Sword

It’s not just weapons, FDC emphasizes:

• Safety: You need to move with high speed and intensity, without risking any kind of injury.
• Storytelling: It’s not a game, it’s part of the play/movie… learn to incorporate combat into a scene.
• Style: Techniques change based on history and geography. Learn a versatile system.

Note that FDC Certification at the Basic Actor-Combatant level requires 60 hours of training, a written exam and the evaluation of an FDC Fight Master.

What’s Included?

• 10 weeks of instruction and practice.
• Over 60 hours of training
• The FDC glossary
• Written exam
• Practical exam with Fight Master J-P Fournier
• Membership in FDC until September 2011

Exam Details

There are two parts to the final examination: a written test and a practical test.
Written test:

• 90 minutes
• Demonstrate knowledge of terminology
• Show understanding of principles of all 3 weapons and theatrical concerns

Practical Exam:
Performance of one scene for each weapon (3 scenes). Each scene will have:

• About 2-3 minutes total length
• Text from a published play
• Different partners
• Demonstration of acting and stage combat skills
• Safety for the performers and the audience
• No need for costumes or other staging

Cost

$1,000 for the course, including materials and testing mentioned above.

Can I Not Do The Whole Thing?

If, for whatever reason, you can’t take the whole course, or you’re not interested in certification with FDC, there are a couple of options:

1. You may take any one class (Sword Monday, Quarterstaff Wednesday or Unarmed Friday) for $300.
2. You may certify in one weapon (Sword, Quarterstaff or Unarmed) for an additional $100.

Note that if you certify in one weapon, you will not receive a certificate to that effect. FDC only certifies actor-combatants who complete the level. In order to complete your official certification, you’ll have to pass the other weapons within 12 months. If you choose to take the class but not do the certification test, you may not list FDC certification on your resume. Most students will be certifying and need partners to fight with them on test day. If choose not to certify from the start, we will try to avoid those partnering issues and you will not be obligated to come to the test day.

Sign Up ASAP

Call Academie Duello 604-568-9907 for information or to sign-up for any of our programs or Drop by 412 W. Hastings in Vancouver, BC. Space is limited to 8 students!

Good climaxes like this one from Rob Roy are not only exciting fights that are well performed, but also reflect the themes and actions in the rest of the story:
embedded by Embedded Video

YouTube link: Rob Roy

What is the climax of a play or movie?

It’s the point where the tension gets so high that something snaps. Psychological tension is released by physical action. It’s usually either a fight or a kiss. In a romance, the two lovers are kept apart by their own misunderstandings or by forces outside their control until they overcome the odds, and embrace. In most other forms of drama, the climax is an explosive fight. Even in romances, there are often fights along the way as mini-climaxes or complications to the plot.

Characters talk and tension builds up, they form goals, and they meet obstacles. Eventually, things get physical. In order to achieve, they have to overcome their greatest obstacle. That obstacle is the villain, and vanquishing the villain is usually done in combat.

High Stakes

Remember that the play is the most important time in your character’s life. The climax is the single most important moment within that story, and is usually a life-or-death struggle.

The question for actors, directors, and anyone in the process is this: If the climax of your production is a fight, and that is the most important part of your show, wouldn’t you want to devote more time, energy and resources to that moment than to any other?

Or think about the opposite question: Is the fight in your play a disappointment?

Beyond Genre

Maybe you have a kitchen-sink drama, and the climactic violence is a single slap. The slap is the culmination of frustrations of both characters. It is the physical release of every emotional step before it. It is the turning point and the instant when words fail. That slap has to be perfectly executed, because if it looks fake it has ruined your show.

Maybe you’re doing Hamlet. You have four hours of internal conflict and interpersonal drama that culminates in a duel between Hamlet and Laertes. In that scene, everyone important dies. Earlier, we had the death of Polonius, but that merely heightened the tension. We had Ophelia going mad and we hear that she drowned herself. Important events, but we are still waiting for the moment when Hamlet will avenge his father. We can’t bear him to choose “not to be” and give up. In the critical fight at the end, Hamlet overcomes. Although he dies, he takes all the evildoers with him.

The fight is 5 minutes compared to the rest of the play’s 240 minutes. Does that determine its importance? No way. The fight and the deaths in the final act have to be planned from the first rehearsal, with plenty of time to choreograph and perfect the moves. Otherwise the audience will feel cheated of those arduous 240 minutes if you don’t give them a spectacular final fight.

Proportion

I’d go so far as to say that the longer the build-up — the more time is spent on talking and non-fighting — the more time must be spent rehearsing the fight scene. If you have a 5-minute skit, spend a few minutes on the fight. If you have a 60-minute Fringe show, devote a few hours with a fight choreographer to getting the violence right. If you’re doing a full-length play, spend one out of every 4 hours of rehearsal on stage combat. And if you’re doing a fight-heavy show, consider that maybe that’s what the audience came to see, and spend more time on fights than you do on acting.

I’m not exaggerating or thinking only of a fight director’s ideal world… think about The Three Muskateers. People go to that play to see the swordfights. People bring their kids because they know it will be exciting because of the action and the fights. And if that’s the major draw, then make it the majority of the rehearsal time.

Reality Check

Directors: give yourself a reality check. Your mind is full of each character’s motivations, the set construction, the symbolism of your chosen props, and all kinds of details. Take a step back and just focus on the climax of your story. If it’s a fight, will it be a fizzle? If so, all your other work will be for nothing.

I just read that Bridgeman Savate teaches not only the traditional stick and cane as part of their curriculum, but they also teach chair. So I got curious, and did a little YouTubing.

Here’s a vintage karate demonstration:
embedded by Embedded Video

YouTube link: Kobayashi Chair Defence

And here’s a jujitsu one:
embedded by Embedded Video

YouTube link: Chair Self Defence

Not to be outdone, the ninjas of To Shin Do show chair techniques at 1:15 of this video:
embedded by Embedded Video

YouTube link: To-Shin Do Wall and Chair Defences

What I find interesting is the Bridgeman Savate actually have a method to hold the chair and use it as a weapon, as opposed to the foregoing videos which show defenses from a seated position.

With your right hand, grasp the right side of the back of the chair just above the seat. Whilst lifting the chair grasp the right forward leg with your left hand. From this position snap the chair up to assume on-guard facing your assailant. This is done by stepping forward with your left foot so your feet are about shoulder width apart with knees flexed. The tip of the left forward leg of the chair is the thrusting point and plays a critical part in aligning the chair.

This is an excellent topic for exploration of the Advanced Actor-Combatant in their Found Weapon portion of FDC certification. A chair is completely unlike other weapons, and offers many possibilities. An umbrella can be used like a sword and a ladder like a staff, but a chair is a three-dimensional volume with legs pointing out one end, and really takes some time to figure out. I’m looking forward to trying some experiments for myself (since flying to Australia for a chair workshop is a little extravagant).

embedded by Embedded Video

YouTube link: Dark Knight Fight Scene

“You actually want an element of disorientation—that’s what makes it exciting,” Murch says of his approach to splicing together a fight. “So you put the focus of interest somewhere else, jarringly, and you cut at unexpected moments. You make a tossed salad of it, you abuse the audience’s attention.”
Dark Knight, Christopher Nolan, and the rise of the choppy fight scene. – By Dennis Lim – Slate Magazine

Thanks to Bonzuko for bringing this to my attention.

In this great assemblage of film fights, we see the changes in fight scene choreography and shooting style over time. I had a great time seeing these classics again, and appreciating them afresh for the commentary in the sidebar. Novices and old-hands at fight direction will enjoy this examination of pivotal scenes.

Like evolution, it may look like a progression toward something better and more perfect. In reality, it is like real evolution: an expression of the best fit to the environment… in this case it’s the cultural environment that the film fits itself to. Style is not something linked to a particular year or a particular country, even though critics would have you think it is when they talk about “German Post-War Cinema”. The directors who make work of value use style to enhance their story and express their film’s goals. So the style changes are not a ladder or even a meandering road, but a choice made for each movie as it is planned, shot and edited – subject to the knowledge and technology of the time, of course.

Many of the examples given are iconic movies that are not typical of their era anyway, and in most cases are completely unique examples of the art. In that way, it is even more difficult to see general trends in movie-making and cinematography and generalize an “evolution”. On the other hand, why watch all the mediocre fight scenes of every year just to see what all the sheep are doing?

I’d rather watch great fight scenes like the ones in this list (some clips have been removed, so you’ll have to look them elsewhere).