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logues and research on ancient swords and daggers; but on February 10, they had to make do with these 36” substitutes. By the end of the session, the fighters had mastered five “cuts,” two “thrusts,” and, yes, “a kill.”
Would-be actors, denimdressed knights and fearless ladies poured into the auditorium. Approximately 40 students, all ages (10 and above), males and females, students and adults alike, took up their swords.
Some, with interests akin to the Elizabethan time period were looking for ways to learn more about combat so that they could report back to their Madrigal groups and Renaissance Faire friends. This class would give them moves that could be done without causing bodily harm. The young actors came because they knew that the auditions would require that they demonstrate their combat skills. And many, especially the young men came because sword fighting is “just neat.”
Brad began with the most important basic fact. Stage combat is “an illusion” not a way to hack away at your buddies with impunity. He always tells an anecdote about a famous English actor, when he was shown the performance space exclaims, “AWH.” His comment was always interpreted as admiration for the space. When another actor asked what he really meant, he replied: “Accident Waiting to Happen.” This reinforced what I had told the actors again and again. Theatre is a very dangerous profession. Not only are you laying your personality bare to an audience, but you are putting yourself in physical danger. As actors enter that necessary state of “being in the moment,” going to the place and time of the play, removing themselves from the real world around them, they must also be totally concentrated and aware of the dangers on stage.
A slanted stage, a curtain
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