www.intermissionmagazine.ca: We sat down with Rapier Wit founder Daniel Levinson and fight instructor Casey Hudecki to learn the secrets, skills, and thrills of the art of stage combat. One of Canada’s leading fight choreographers and stage combat instructors, Daniel has produced, directed, and taught across Canada, working with the Stratford Festival, Theatre Passe Muraille, Tarragon Theatre, Canadian Stage, Shakespeare in the Rough, and Second City.
7 comments:
I never considered stage combat to have as much intent as it actually does. I’m far from an expert but I got to learn the basics from a stage combat class I took about a year ago. The class was mostly straightforward, we only got to learn movements themselves on a surface level. For that reason, I was always under the assumption fight sequences were something you put together, rehearsed, and moved on from. The article talked of a combat sequence as a high-intensity moment with a climax and a resolution. On closer examination I have come to agree that it is telling of several elements of both stories and characters, earning its spot as something that cannot be ignored or neglected when choreographing a show. Notably, I really liked how they talked of weapons as an extension of oneself; much like a prop or a costume would be part of a certain character, the way they fight or move adds to that.
It was interesting to hear from a choreographer what the intentions are within a fight. Safety being number one of course. I’ve often wondered about how effective stage combat is in this era of movies and TV where fancy cutting can be used to give the impression of more fighting that one could achieve on a stage. Additionally, the falls from great heights and exploding cars are also difficult to have on a live stage. Presumably this fact makes it harder for audiences to really believe that they are actually witnessing a brawl (even if one on a stage is closer to realistic.) The choreographer, Levisnson, says that it’s all about telling a story and it must be a fascinating challenge to make one's character come out in the middle of a brawl when there’s so much else going on that is important to pay attention to. Acting and beating the heck out of someone (or getting the heck beaten out of you) must be hard.
I have always found stage combat interesting but never thought of it as an art. The way Levinson and Hudecki talk about fighting makes it feel like watching Syrio teach Arya water dancing in the first season of Game of Thrones. It's loving, calm, artistic, with a focus on balance, pressure, and deliberate movement. To them, it's just another method of storytelling. One thing that really struck me was the idea that the combat isn't a journey if it starts and ends in the same place. I'm curious whether they mean that in a physical sense of utilizing the space or if they mean it in a more abstract way. Is the journey the path their feet tread or where their mind goes in the fight? The ups and downs and back and forth of winning and losing, fear and confidence, anger and focus? It's astounding that combat choreographers have to think about the minutiae of the routine. The space, movements, ability of the actor, expected ability of the character, the time period, tools at hand, all go into creating a dynamic and more importantly believable and effective piece.
This article reminded me of when I was in my high-school. I was walking the street, and there was a group of people at the plaza who were promoting their upcoming performance. I was actually very disappointed while watching them, as even though their actions were very eye-catching and dramatic, they were not paying attention to any of the details. I was a fencer in my high school, and the performers were using the wrong weapon for the rule they had. They were not even holding the weapon in a correct way. Although it might be less apparent, I think the stunt actions (combat choreography) are indeed something that also needs similar amount of research and background knowledge with costumes or props, not to break the audiences’ concentration. I also thought it was interesting that how much focus that the actors had to pay in order to get the flow; it helped me realize that not a single part of the theatrical performance can be done without an effort and the concentration.
Stage combat has always been this mystical and fascinating topic for me. Despite not being a performer, I have always been enamoured with sword combat, especially when it comes to the stage. The wide array of emotions and plot beats that can be supplied by a good, well-rehearsed fight scene are truly amazing. A character's emotions are laid out on the floor for all to see. The strength and speed behind each strike can convey their desperation, passion, vitality. The elegance of their footwork can give the viewers a sense of comfortability with combat, the idea that the character is a veteran of violence. I also am amazed by how difficult it truly is. As mentioned in the article, you have to balance the accuracy and fluidity of the scene with safety, as a true unplanned injury is not only dangerous for the actors and actresses involved but also is the number one way to tear the audience out of the action. It's a fascinating aspect of production, and one that I hope to learn more about.
There is something about a fight scene in a show that can be so tasteful, and I admire those who are able to choreograph and pull off something that impressive. Like the article said, a fight scene can convey so much about a character or the plot without even needing words at times. I really enjoy subtle storytelling like that, or when aspects of a show are left up to interpretation. I usually appreciate a piece a lot more if I can think about it for a long time afterward and still come up with new ideas long after I have seen a piece. My favorite shows often leave me thinking about them for hours because of subtle storytelling. It really makes me feel engaged as an audience member, and like I have achieved something for these subtle realizations. For this reason, I have a deep respect for these choreographers and the way they can convey so much through action and expression without words.
I am so interested in stage combat. In high school my stage combat unit was interrupted by the ‘extra long spring break’ of 2020. But the bit that we did learn was so much fun and I so wish we had been able to finish our unit. I would actually really love to take a stage combat class one day. I adore the concept of precision that allows such acts of violence to actually be done safely while maintaining a convincing appearance. I did find it really interesting how different the process is for actors. So often emotion leads to action, but with stage combat the focus must first be on technique and safety before emotion and the acting can be added in. One of my favorite fight scenes on screen has got to be the duel on the cliffs of insanity from The Princess Bride. Its one of the scenes that continues to reignite my interest in stage combat and I hope one day I’ll be able to appreciate it even more after learning all the hard work it must have taken.
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