How NOT to use Firearms on Stage

Consider this a bit of a teaser trailer for the Firearms for Stage & Screen Workshop I’ll be announcing shortly:

Actor Shot in the Head.
(apparently their video embedding code doesn’t work with MySpace)

In the meantime, a reminder about upcoming Stage Combat classes:
Geoff Alm is running some renewals shortly- contact Heidi Wolf if you want to get in on that.  Also coming soon is a SingleSword (SAFD weapons category designating the swashbuckling 1940s Errol Flynn style) class that I’ll probably try to take, since that’s the last of the SAFD 8 categories that I still need to take.

I’ll be sending out info soon on the Film Fighting workshops I’m teaching this Spring, but in the meantime, here’s a reminder about the Balagan unarmed intensive:

WHAT: 4 week on-going class

WHEN: SUNDAYS, February 8 – March 1, 12-2pm
WHERE: Balagan Theatre, 1117 E. Pike St.
COST: $30/class or $80/all 4

TO REGISTER: contact Kevin Inouye at:
Class Maximum is 10 people so sign up now to reserve your spot!

“This is intended as a fourpart intensive, each day building upon the previous lessons.  Those withlittle to no experience with stage combat are more than welcome, butmust be present from the first class onwards.  Those already familiarwith the basic technical skills of stage combat are welcome to come forwhichever days most interest them, on a space-available basis.”

Day 1: Striking
A quick intro hits,kicks, slaps, reactions, blocks… unarmed blunt trauma, or the foiledintent to do so.  As this is a short time to cover a lot of ground, thefocus will be on the concepts behind the moves rather than trying tocover every conceivable technique.  Actors should be able to take theseprinciples and apply them to their own scenes down the road.  Learn howto throw a convincingly strong punch, and to fake the violent impact ofbody parts!

Day 2: Grappling and Falling
Wrestling,choking, shoving, falling, rolling, joint locks… this is wherelearning the mechanics of your own and your partner’s bodies is vital. Emphasis is on creating the safe illusion of force on one side and lackof control on the other, while maintaining both people’s balance andcontrol.  Getting to the ground safely is one of the most importantskills you can learn in stage combat, and here’s where we’ll learn avariety of ways to do that.  The techniques in this class are also keyto staging fights on a thrust stage or theater-in-the-round.

Day 3: Building the Fight on Your Stage

Buildingon the skills from days 1 and 2, we’ll start working on how these cometogether to create a staged fight, and how to safely and successfullypull it off on stage.  This includes such skills as awareness ofaudience sight-lines, fighting on and around a set, the introduction ofprops, staying aware of other actors and managing the timing of a groupfight.  Timing, rhythm, and spacing are key this day.

Day 4: Acting the Fight
Here’swhere we get to transcend mechanics and really get in to what makes afight a fight.  Bring on the context!  We’ll look at some fights withinknown scenes, try some improvisation exercises, some discussion andexploration of the psychology and physiology and martial concepts thatcan inform our choices as actors portraying a fight.  Here’s where youlearn how to make it good!

Kevin is sole proprietor of Fight Designer, LLC ( fights, instruction, and prop weaponry to the Seattle areaand beyond. He has been doing fights for both stage and screen for thelast decade, including choreography for Romeo & Juliet, Big Love, and Search & Destroywith Balagan in 2008.  His stage combat training has primarily beenwith the Society of American Fight Directors, but has also been heavilyinformed by his studies of both Asian and European martial arts, apsychology and research background, and additional stage combat andstunt training from the International Order of the Sword & Pen.


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