Frequently Asked Questions
What do you need as a Performer? What do producers need when adding violence to a show?
Have a look below at our FAQs
Training
Who needs to train in Theatrical Combat? Any performers who wish to portray violence, either in a duel or other fight, on stage, screen, or live events
What is the difference between Stage and Screen Combat? Very little, in truth. Both require a performance for an audience. On stage, the Audience is present; on screen, it's the camera. The movements and techniques are by and large the same. Stage will require extra skills, such as producing the sounds of the fight in situ, (where on screen it can be recorded later), or the need to conduct a fight perfectly from start to finish (The camera can cut between phrases of action). On the other hand, Screen Combat will require nuances in opposition in some cases; smaller, more detailed elements due to the magnification and observation of the camera. Ultimately, Stage is the same as screen, but with extra steps. If you can perform stage, the transition is easier to screen, but it is a greater challenge to move from Screen to Stage. We believe "Stage" is a better and holistic foundation for understanding, and teach all elements. We therefore don't consider a separation of the two in general, and we call the skills "Theatrical" Combat.
You mention Stage Combat, do you prepare us for Screen too? We certainly do. Stage is the manner in which we teach our courses, but we pay attention to the requirements of screen too. You will be prepared for work in both fields.
Are you courses certified? and who by? Yes, they are certified by The examination board Actors Combat Theatrical Training.
What is ACTT? ACTT is the Actors Combat Theatrical Training examination and teacher training Board, of which Sword & Scoundrel and the team are affiliates and members. It is recognised by the Equity register of Fight Directors for application for membership, and therefore all of our performers qualifications and teachers by proxy are recognised by Equity.
Why do I need a qualifying course? The quality and safety of your work on these courses is assessed by an examiner, and in ACTT these are currently members of the Equity Register of Fight Directors, who between them have over 100 years of professional experience, training actors, working at Drama Schools, and Fight Directing for Theatre, TV, and Film. The Syllabus is structured to reflect the requirements of a performer, and creates a universal standard for every performer qualified with ACTT. Consequently, we are a recognised training provider, using qualified instructors, and our courses provide a tangible link to recognised qualification in the Theatrical Industry, both by Equity and Spotlight.
Can I register my Qualifications on Spotlight? Once you have successfully completed a course, that can be added to your spotlight profile under the Skills section.
Does it make me more employable? This will always be subject to the requirements of the Director and Casting Director. If they care about the quality of the work, yes! Your skills add value to a production, both in quality, expedience, and competence.
How long do my qualifications last? From your last course or workshop, your qualifications will last 5 years. If you do another course or workshop, that time will reset!
Will this allow me to fight direct? No, these are performance qualifications only. They do not prepare you for the skills and understanding required to Fight Direct. If you attempt to work as a fight director, ACTT is obliged to remove/revoke your qualifications.
Fight Directing
What is a Fight Director? A Fight Director is a professional, qualified practitioner, who plans, directs, choreographs, and rehearses an action sequence of violence, in order to satisfy and appropriately embellish the quality of story telling in a production in any Live or recorded media.
Why do I need a Fight Director? SAFETY. Any production needs to be safe. Real world violence causes chaos and injury. A Qualified Fight Director has the skill to represent it without occurrence of injury, or mitigating the risk where possible, via choreography, technique, use of equipment or PPE, risk assessment, and insurance. Qualified Fight Directors in the UK have been through teacher-training programmes, tutored in fight direction by experienced qualified mentors, and at the gold Standard, are members of the Equity Register of Fight Directors (In the UK). Your production will be signed off and responsibility held by the fight director through their work and records, and they hold the relevant insurance. They can see the pitfalls in a production and are instrumental in keeping cast and crew safe. At Sword and Scoundrel, our Fight Directing team are all Equity Registered Fight Directors, or qualified instructors currently in training to join the register. QUALITY. Fight Directors understand the nuance of story telling, and Martial accuracy. They also understand the requirements and abilities of performers, and work with them to produce the best work available. Shakespeare knew that the success of Hamlet, after hours of drama, that the success rested on the success of the final duel. Film derives the same product from it too. A fight director can help the director, and transform the fight into something within the director's vision, and add to their imagination with their unique insight.
Why do I need a trained Fight Performer? Again, safety and quality are the reasons here. A Trained Fight Performer understands the technique and language a Fight Director will use, and that speeds up the process, and allows for more creative work to be explored. They also understand the key safety points, and will be diligent in their ethic and attitude. If they have attained particularly high grades and levels, it is likely that the quality of their performance will be even better. This gives a production an opportunity for better and more imaginative work, room for more creativity, confidence that the production will be managed safely, and speed up the process, allowing the production crew, director, et al more time to focus on other things.
What is the relationship between Martial Arts, Fencing, and Theatrical Combat? - Martial Artists and fencers have a great foundation in the principles of fighting, and it's of great benefit to have a fight performer who also has skills in these areas. - However, Martial Artists and fencers are competitive, and their training is designed for one-sided efforts to win, and occasionally inflict minor injury even in a competitive environment. This means understanding of safety is not prioritised in the same method and manner, and dramatic understanding of choreography can be limited. - Our Fight Directors are Theatrically-trained professionals who understand drama, but also have a background in real-world martial arts too. First and foremost, they are trained to work on the basis of story-telling, utilising a mix of dramatic method and martial context. - Martial Artists and fencers, though understand the context of real-world scenarios, are not commonly as effective in providing safe and entertaining choreography, when not paired with any formal training in drama. - All three disciplines care greatly about physical fitness, cooperation, discipline, and training. - Ultimately, Martial Artists and fencers hide their intentions from their opponents, and Theatrical Combat needs to "Telegraph" techniques at the appropriate moment in order to let the audience in on the story.
How do you assure safety? Fight Directors utilise their knowledge of technique, experience in teaching, communication with the production's director, and their risk assessment documentation to create a safe environment for cast and crew on a production. It is also important that a Fight Director gets enough time in the rehearsal room or on set in order to safely complete the work, in order that they can be confident in letting the production move on safely.
How much time should I expect to set aside for Fight Direction and rehearsal? Though each production will work to its own criteria, a Fight Director will require generally a minimum of the following; Stage; - An initial call to teach cast, set choreography, and see it rehearsed. - A second call, to check the work from the cast, iron out areas and fine tune it. - A dress/tech call, in order to finalise the fight and check any last issues, perhaps around staging, costume etc. Screen; A rehearsal session/period in order to set and rehearse the fight before filming, if it is a longer, protracted, or technical fight. The day on set for filming, supervising and ironing out anything within performance and helping the DoP.