Part 1 of a 3-part series which defines and asserts the necessity of Fight Dramaturgy. It seeks to justify a historical approach to staging combat in Shakespeare’s Romeo and Juliet and traces the development of personal armed defense as taught by Elizabethan Masters to the modern era of representational violence in the Theatre
Do you really need to hire a Fight Director? After all, we’ve seen Braveheart, Gladiator, and Troy, so can’t you just fake it? Besides, you’re pretty sure that they’re expensive and it would take time away from the “real” rehearsals, right? Here are ten things your production team may want to consider before taking action.
We are all actors. Each and every one of us. The only real difference between professional actors and the rest of the world is that the pros are paid – typically. That’s it. Seriously. If you doubt this, I would like to introduce you to my 3-year old son.
We live in an angry world. From terrorist attacks to political protests, our daily headlines are smattered with stories of human atrocities that instill both fear and anger. War, economic uncertainty, social unrest, persecution and human suffering have become all-too-familiar concepts in our modern world.