Acting Commons^™

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

The Games People Play: Rehearsal Games & Approaches For Fight Scenes, T. Fulton Burns

Theatre Faculty Research

There are as many approaches to the rehearsal period as there are directors, actors and acting texts combined. Rehearsals are the time that we all look forward to because we truly get to do what we do best in theatre, which is “play.” The games and approaches in this article are intended to spice up the life of your stage combat scene and enhance the time spent in rehearsal; following the initial time period of learning choreography and discovering initial acting choices. Many people see the rehearsal process as the time to work. I couldn’t agree more but, as stated …

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.

A Violent Character: Stage Combat Character Analysis, T. Fulton Burns

Theatre Faculty Research

It is so deceptively easy stating who your character is but it is over looked more often than you may think. A good character analysis is important in the actor/character relationship and here we will look at the key elements of character research and their specific relationships to the stage combatant.

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

The Cutting Edge

No abstract provided.

What A World – What A World: Scene/Script Analysis For Fight Plays, T. Fulton Burns

Theatre Faculty Research

“While perfection is a wonderful goal, there comes a point where you have to let your creation out into the world or it isn’t worth a tinkerer’s damn.” This is a fantastic quote by Twyla Tharp from her book The Creative Habit: Learn It and Use It For Life: A Practical Guide. So what does this have to do with you, the stage combatant? Well you are working hard but you are being told not to strive for perfection because perfection can never truly be achieved in the arts, so naturally itwarrants the question “then for what exactly do you …

The Cutting Edge, November/December 2008, Vol. 18 Issue 6, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

Fighting The Elements: Determining The Best Scenes For Skills Proficiency Tests, T. Fulton Burns

Theatre Faculty Research

In the last edition of The Cutting Edge I provided tips for locating fight-specific scenes. Now let’s narrow our search from the vast quantity of scenes to a playing field of only the best quality. For a Skills Proficiency Test (SPT), choreography comes first to ensure that the proper techniques are included within the fight. Following these lessons in technique and choreography, the scene selection process begins. In a traditional acting class, the scene selection occurs first and is followed by the explored action. So even though the cart may be before the horse, as it were, with an SPT, …

The Cutting Edge, September/October 2008, Vol. 18 Issue 5, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

...And Scene: A Guide To Locating Fight Scenes, T. Fulton Burns

Theatre Faculty Research

It is one of the most daunting tasks: trying to find a strong fight scene for a Skills Proficiency Test or even a class project. The truth of the matter is that your main focus is to pass your skills test while hopefully leaving an impression on your peers(especially the adjudicator!). Passing, and hopefully receiving an Examiner’s Award for Excellence, is the best result; or if you are at a National Stage Combat Workshop, you could possibly receive a Certificate for Best Actress or Actor. At the very heart of the issue, you need a scene that will work for …

The Cutting Edge, July/August 2008, Vol. 18 Issue 4, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Spring/Summer 2008, Vol. 31 Issue 1, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, May/June 2008, Vol. 18 Issue 3, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, March/April 2008, Vol. 18 Issue 2, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, January/February 2008, Vol. 18 Issue 1, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Fall/Winter 2008, Vol. 31 Issue 2, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, November/December 2007, Vol. 17 Issue 6, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, September/October 2007, Vol. 17 Issue 5, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, July/August 2007, Vol. 17 Issue 4, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Spring/Summer 2007, Vol. 30 Issue 1, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, May/June 2007, Vol. 17 Issue 3, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, March/April 2007, Vol. 17 Issue 2, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, January/February 2007, Vol. 17 Issue 1, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Fall/Winter 2007, Vol. 30 Issue 2, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, November/December 2006, Vol. 16 Issue 6, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.