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The Cutting Edge, November/December 2009, Vol. 20 Issue 6, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

Dueling With Spt Questions: Members Of The College Of Fight Masters Share Their Ideas For Skills Proficiency Tests, T. Fulton Burns

Theatre Faculty Research

As the rehearsal process grows closer and closer to the Skills Proficiency Test (SPT) common questions arise regarding what is needed in order to pass. Many of these questions involve the same basic idea – “What are the Fight Masters looking for so that I can pass the test?”, but the most important question that is asked is – “Do you think I will pass?”

The Cutting Edge, September/October 2009, Vol. 20 Issue 5, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, July/August 2009, Vol. 20 Issue 4, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, May/June 2009, Vol. 20 Issue 3, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

I Can’T – I Have Rehearsal: Rehearsal Guidelines And Techniques With Fight Scene Work, T. Fulton Burns

Theatre Faculty Research

The rehearsal process often contains excitement, uncertainty, and, at times, stress for all involved. It is at this stage of the process where the culmination of skills acquired (research, character study, and embodying choreography) all come together. The following guidelines and techniques are aimed toward helping the actor address and conquer both acting and fight needs during the rehearsal process

Beating The Punches: Scene And Fight Break Down Techniques, T. Fulton Burns

Theatre Faculty Research

As a fight choreographer it is my responsibility to sit down with the director and discover her/his vision for the production. Similarly, actors need to serve the script and work with the choreographer in connecting the action to the playwright’s words. Each preceding article, relating to the exploration of the skills proficiency tests (SPTs), has offered tools for connecting the scripts, stories, and characters with the language of the choreography. We are now ready to move deeper into directly linking fight choreography with the script and vice versa.

Some actors see pre-planning objectives for a scene and rehearsal as an …

The Cutting Edge, March/April 2009, Vol. 20 Issue 2, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, January/February 2009, Vol. 20 Issue 1, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.