Stage combat

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Stage combat 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 or martial arts training.


Ancient history

The history of stage fighting and mock combat can be traced to antiquity, with Aristotle quoted as noting that tragedy is conflict between people[1] 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[2]. 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 history

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 ("combat manuals", literally 'fight' or 'fence book') have sections dedicated to flamboyant techniques to be employed in such Klopffechten ("knockabout fighting"), which would be impractical in serious combat, and the Late Medieval German masters distinguish mock fights (fechten zu schimpf, 'rant fighting') and real combat (fechten zu ernst, 'earnest fighting').

The history of European theatrical combat has its roots in medieval theatre, and becomes tangible in Elizabethan drama. Richard Tarleton, 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.[citation needed]

Modern History

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 (as tachimawari "fighting scenes"), 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.[3]

During the late 19th and early 20th centuries, scenes of swordplay in touring theatrical productions throughout Europe, the British Commonwealth and the USA 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.[4] 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 and then came to the United States to give fight direction a more specific shape.[5] J. Allen Suddeth founded the National Fight Directors Training Program in the United States and wrote the book "Fight Direction for the Theater" (1996).[6] Martial arts movies emerge as a distinct genre from the 1940s, popularized by Bruce Lee and Sonny Chiba from the 1960s.

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 Society of American Fight Directors 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 (BASSC) and Fight Directors Canada (FDC) in 1993; the Society of Australian Fight Directors Inc. (SAFDi) in 1994; the Nordic Stage Fight Society (NSFS) and the New Zealand Stage Combat Society in 1995; the British Academy of Dramatic Combat (BADC) in 1996; Art of Combat in 1997; Stage Combat Deutschland in 2004; and the Australian Stage Combat Association (ASCA) in 2010; The British Guild of Stage Combat in 2015. As of 2005, East 15 Acting School, London offered a B.A. (Hons) Degree in Acting & Stage Combat.


Diagram of a sword and it's parts.
The parts of a sword.

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 (which is obviously something that could really be done in combat), none of these involve making actual contact with the victim's face.

The over-riding 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 trying to violently twist each other's limbs, slap, or punch, or grapple, and engaging in vicious unarmed combat, the actors must operate at a high level of complicity and communication to ensure a safe, exciting fight scene. 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.

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 period may be unrealistic and historically inaccurate. Most fight choreographers use a mix between Asian martial arts and sports fencing to re-enact fight scenes.[7]

Realism in fight choreography

Fight choreography can vary widely from true realism to outright fantasy depending upon the requirements of a particular production. One of the biggest reasons that theatrical fight directors often do not aim for strict realism is that the live audience could not easily follow the 'story' of the action if bodies and blades were moving in the ways trained fighters would move them. For example, a production of Cyrano de Bergerac (play), by Edmond Rostand, using 17th-Century rapiers, might show Cyrano making lots of circular cut attacks. But a more efficient, practical attack would be taking a quicker, more direct line to the opponent's body. But the fight director knows that the audience couldn't follow the action as well if the attacks were faster (the audience might hardly be able to see the thin blades whip through the air), so most fight choreographers would make choices to help the audience follow the story. Of course, this is dependent on the production, the director and other stylistic choices.

One school of fight choreographer thought says that an unusual aspect of live stage combat, such as in a play, is that audiences will react negatively to even simulated violence if they fear the actors are being harmed: for example, if an actor is really slapped in the face, the audience will stop thinking about the character and, instead, worry about the performer. Audiences may also fear for their own safety if large combat scenes seem to be out of control. Therefore, stage combat is not simply a safety technique but is also important for an audience to maintain uninterrupted suspension of disbelief.

Types of choreographed fights

In theater

Having its roots in Medieval theatre, stage combat enters classical theatre choreography with Elizabethan drama (Shakespeare's simple and oft seen stage direction, they fight).

Classical stageplays with fight scenes:

On film

Cinema inherited the concept of choreographed fights directly from the theatrical fight. Douglas Fairbanks in 1920 was the first film director to ask a fencing master to assist the production of a fencing scene in cinema.[8] A second wave of swashbuckling films was triggered with Errol Flynn from 1935. Renewed interest in swashbuckling films arose in the 1970s, in the wake of The Three Musketeers (1973). Directors at this stage aimed for a certain amount of historical accuracy, although, as the 2007 Encyclopædia Britannica puts it, "movie fencing remains a poor representation of actual fencing technique". The Star Wars films, the fights for which are choreographed by Bob Anderson & Peter Diamond (Episodes IV, V & VI) and Nick Gillard (Episodes I, II & III), tend to portray its lightsaber combat using swordsmanship techniques drawn from existing martial arts, but performed with fantasy weapons such as lightsabers or the Force, whereas the action featured in The Lord of the Rings also choreographed by Bob Anderson employed fantasy weapons and fighting styles, designed by Tony Wolf.

During the 1970s and 1980s, Sonny Chiba, Bruce Lee and Jackie Chan, who are famous for both choreographing and acting in martial arts action films, were influential in the development of stage combat on film. Hong Kong-based fight choreographer Yuen Woo-ping is known for his work on Crouching Tiger, Hidden Dragon and the Matrix trilogy, in which the often unrealistic fighting techniques are complemented by directorial techniques such as bullet time. Ching Siu-tung is particularly noted in the field of Hong Kong action cinema for his use of graceful wire fu techniques. By contrast, films such as The Duellists, fight directed by William Hobbs, Once Were Warriors, fight directed by Robert Bruce and Troy & Ironclad, fight directed by Richard Ryan are widely famed for including gritty, realistic combat scenes. Ryan is also known for his creativity in devising styles such as Batman's in The Dark Knight, Sherlock Holmes 'prevision' style in Guy Ritchie's two Sherlock Holmes movies.

Combat reenactment

Combat reenactment is a side of historical reenactment which aims to depict events of battle, normally a specific engagement in history, but also unscripted battles where the 'winner' is not predetermined.

See also


  1. ^ Aristotle. Poetics. pp. Chpt. 6, Sect. II. Line 16-20.
  2. ^ Herodotus. Histories. Book II. pp. Line 63.
  3. ^ Wolf, Tony. (2009) "A Terrific Combat!!! Theatrical Duels, Brawls and Battles, 1800-1920"[/]
  4. ^ mayafair (2008-03-08), The Fight Master: A Documentary about Paddy Crean, retrieved 2018-11-17
  5. ^ "". Retrieved 2018-11-17. External link in |title= (help)
  6. ^ Suddeth, J. Allen. "". Retrieved 2018-11-17. External link in |title= (help)
  7. ^ "Archived copy" (PDF). Archived from the original (PDF) on 2012-10-17. Retrieved 2013-01-21.
  8. ^ 2007 Britannica, s.v. fencing.

Further reading

  • William Hobbs, Fight Direction for Stage and Screen, Heinemann (1995), ISBN 978-0-435-08680-0.
  • Jenn Boughn, Stage Combat: Fisticuffs, Stunts, and Swordplay for Theater and Film, Allworth Press (2006), ISBN 1-58115-461-5.
  • Keith Ducklin and John Waller, A Manual for Actors and Directors, Applause Books (2001), ISBN 1-55783-459-8.
  • Dale Anthony Girard, Actors on Guard: A Practical Guide for the Use of the Rapier and Dagger for Stage and Screen, Theatre Arts Book (1996), ISBN 0-87830-057-0.
  • Michael Kirkland, Stage Combat Resource Materials: A Selected and Annotated Bibliography, Praeger Publishers (2006), ISBN 0-313-30710-5.
  • Richard Lane, Swashbuckling: A Step-by-Step Guide to the Art of Stage Combat and Theatrical Swordplay, Limelight Editions (2004), ISBN 0-87910-091-5.
  • Meron Langsner, 'Theatre Hoplology: Simulations and Representations of Violence on the Stage' in 'Text & Presentation 2006' edited by Stratos E. Constantinidis',McFarland (2007), ISBN 0-7864-3077-X, 9780786430772.
  • Meron Langsner, 'Why Everyone Should Study Stage Combat', HowlRound,
  • J. D. Martinez, The Swords of Shakespeare: An Illustrated Guide to Stage Combat Choreography in the Plays of Shakespeare, McFarland & Company (1996), ISBN 0-89950-959-2.
  • J. Allen Suddeth, Fight Directing for the Theatre, Heinemann Drama (1996), ISBN 0-435-08674-X.
  • Richard Pallaziol, The Textbook of Theatrical Combat[1], Weapons of Choice (2009),, ISBN 978-1-934703-82-3.
  • Jonathan Howell, "Stage Fighting, a Practical Guide", Crowood Press (2008), ISBN 978 1 84797 046 6
  • F. Braun McAsh, "Fight Choreography, a Practical Guide", Crowood Press (2010) ISBN 978-1-84797-2231
  • Basic Stage Combat DVD, Educational Video Network (2004).
  • Traditioneller Schaukampf für Anfänger nach Dreynschlag, Agilitas TV (2007).
  • B H Barry. "Fights for Everyone" 2013
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