Stage Combat

In the fall of 2001, I was approached to write an article about stage combat. I was honored and surprised. Despite my years of training, I never considered myself an expert. This is my first attempt at an article on stage combat. I could go on and on, but I chose this topic to open with and if asked again, I will pick other topics regarding stage combat.

During the Renaissance, men settled their disputes, upheld their honor and defended their property through fighting. If they had no weapons available, they used their fists. The Neanderthals would use their hands, use bone or wood to make weapons eventually it would progress to swords and then to guns and other weapons of further destruction.

Our faire, unlike the Renaissance, performers will often create an illusion of violence called stage combat. This art form has many different categories: unarmed, single rapier, rapier and dagger, rapier and buckler, quarterstaff, small sword, found and miscellaneous weapons to name a few.

These performers that are called stage combatant or actor combatants consist of men and women working together to create a scene, carefully choreographing a piece that will sell the scene (this is often done by someone other than the performers), rehearse to a believable and/or realistic speed and finally perform. Scenes can be utilized to increase the drama, tighten the tension or to make the audience laugh.

These scenes can be performed on stage, on film or in the round, but the method is very different for each of these arenas of performance. On film, unlike the other two venues, the actors do not need to make their sound effects. These sound effects including "knapping" and other audible effects. Knapping is used to make the sound effect of a punch, it is often a cupped hand clapping against another region of the body (i.e. stomach, thigh, chest, etc.) This sound effect is prominent on stage and in the round (arena). On stage, the performers can hide aspects of the violence more readily than on film. Backs can be turned to better hide or mask the violence.

Out at the faire, the arena or theater in the round is the most difficult avenue to perform in. Each section of the fight needs to be evaluated. Is there too much space between the actors? Will the audience stop to watch the fight? Will they believe the fight/conflict? Keep in mind that some people do have a natural talent in stage combat, but these people are rare, most need to continually work on the craft perfecting it over the years. Some take classes locally, while others will go out and learn from many different instructors.

If this is a form that interests you and are interested in taking classes, please contact me off of the list at anjilak@yahoo.com