Fun Fact Friday

Here is a fact to end out the year on:

There were 55,432 Simple Battery offenses in Chicago this past year.

Simple battery may include any form of non-consensual harmful or insulting contact, regardless of the injury caused. Criminal battery requires an intent to inflict an injury on another, as distinguished from a tortious battery. (from good ole Wikipedia http://en.wikipedia.org/wiki/Battery_%28crime%29)

Of course, this is spread out over the entirety of Chicago with the most being 3,702 in one neighborhood. Why spread this seemingly dark info on this day of Joy and New Year's Eveness? In no way is this intended to be a downer fact. It is just a fact that highlights the amount of times people actually fight (and it gets reported...) Considering we are a population of 2,896,016 (just blindly trusting the internet on that one!) 55,432 is not great but it could be worse. Looking at the stats from the 70's to mid 90's it sure was a lot worse than it is now!

Basically, while violence is not pretty nor something we should welcome, it is a part of our lives and our responsibly displaying it on stage will help find solutions to the problem. Theater has the power to change societies. As fight choreographers, actor combatants and stunt people, we share that power and have a real ability to make a difference with our work if we do it honestly and fully.

So take that huge lemon of a number and make some violent lemonade!

Greg

Think Tank Thursday: Cause and Effect

In the course of a stage fight we are often pretty good at the "cause" part.

Intentions for the violence are flushed out and meshed with the previous scene which influence which types of physical movements are to be used. All of this serves to develop the story of the fight which is intended to progress the overall story of the play.

What we don't have a good handle on is the "effect" of the violence.

What does the victims body go through after taking such abuse? How does the aggressor feel physically and mentally? What are the echo effects through the rest of the play when one character has to kill another? How does the play change with violence? And many other effect based things.

The answers to these questions add layers and depth to the story that was created and to the characters involved. Without them the story survives and still serves its purpose but it is not as rich as it could be. We see it often in movies or on stage: a character walks away unfazed after killing someone or witnessing die, people get up suddenly healed from pommeling, the lingering jumpiness after being attacked is nonexistent. While those types of things aren't crucial to the plot, they add a vivid color of reality to the rest of the play, a reality that serves to call back the violence and further entrench it into the overall story.

Every act of violence has consequences that echo throughout a person's life. It effects their future goals, behaviors, and is even passed on to family members and children.

Adding the "effects" will go a long way towards justifying the fight on stage.

Greg

Text Tuesday: On Killing

The Psychological Cost of Learning to Kill in War and Society
By Lt. Col. Dave Grossman

This book will not only give you great insight into how the military prepares soldiers to psychologically be ready to kill, it will get you lots of wonderful looks on the train!

On Killing is a very easy and fascinating read. Grossman manages to be neutral on the subject of turning human beings into killers, as he delves into the processes that the military uses to break our natural aversions to doing so. Even though there is a lot of factual data and information throughout, it never feels as though you are reading a dry technical analysis or report.

For a choreographer, director, and actor (and anyone just wanting to understand a slice of what soldiers go through) this book is a must read. You will learn the different affects that distance, culture, weapon, training, scenario, and much more, have on the actual act of killing. He also includes what happens to the killer (unlike 99% of movies, they don't just walk away unfazed unless they are sociopaths) and the process of dying/coping with death.

Knowing these differences will greatly serve whatever play you are in that requires a death or someone taking someone else's life. That one crucial moment has enough material and substance for an entire play in itself. Grossman does an amazing job bringing the reader far enough past the surface of what it is to kill that we are able to leave transformed.

Greg

Shout Out Saturday

Here’s another cop-out post due to the whole Christmas thing.

I’m currently sitting in the dining room/kitchen of my mother’s child-hood home in Niagara Falls, NY, simultaneously watching the snow come down and Christmas dinner being prepped. I’m always amused by the juxtaposition between the peaceful flurries blowing around and the frantic scramble of holiday shopping, cooking, cleaning and traveling.

Anyhoodle, this is a shout-out to friends and family all over. I wish you a happy holiday season (belated if yours has already passed) and safe travels.

---------------------------------------------------------------------------------------------------------------------

Additionally, we will be adding a (Fight) Scene Saturday where we discuss the SPT worthiness of a given scene. If there are any scenes you would like to see discussed, please leave a comment or message us.

---------------------------------------------------------------------------------------------------------------------

OH! ALSO! Winter Wonderland Workshop is filling up fast, so if you want to attend, you best get registered now!

Tiny out

Shout Out Saturday.......Monday

Aaaaaannnnnd I'm back!

My first shout out goes to William-Sonoma for their sweet-ass Star Wars cookie cutters.

------------------------------------------------------------------------------------------------------------

Here's a reason to stay up until 2 a.m.: We're expecting a full lunar eclipse around 1:40 a.m. Tuesday.

------------------------------------------------------------------------------------------------------------

The first of its kind: a stage combat workshop with a class track focused on STAGE MANAGEMENT. Check it out!

www.winterwonderlandworkshop.com/registration/stage_manager_track.php

RELATED

If you haven’t registered for Winter Wonderland Workshop, you should do that right now. Not later, now. I will even provide a link for you because I am that nice.

www.winterwonderlandworkshop.com

DOUBLE RELATED

The aforementioned Star Wars cookies will be available at Wonderland’s merchandise night, so come find the Fight Jam Chicago table

------------------------------------------------------------------------------------------------------------

Japanese Martial Arts Demos at New Years Celebration

The Chicago Aikido Club will be performing a demonstration with the Tohkon Judo Academy during the annual Kagami Biraki Japanese New Year’s Festivities at the Japanese American Service Committee on Saturday, January 8.

Events also include performances of traditional Japanese drumming, the making of traditional New Year’s rice cakes and a Shinto Purification ceremony. Details at http://www.jasc-chicago.org/SpecialEvents.html.

------------------------------------------------------------------------------------------------------------

AUDITION!

The Alchemist by Ben Jonson

Nothing Special Productions

WE ARE SEEKING: 8 men and 4 women, all shapes, sizes, ages and types who are good with language, physical comedy and can bring a number of different characters to life. Jonson's characters are broadly sketched (and yet at the same time very specific), so actors who make bold choices can step to the front of the line.

Auditions will be held Wednesday and Thursday, January 5th and 6th from 7pm-11pm at TRACE Bar in Wrigleyville. ...No monologues will be necessary. Please come prepared to read sides from the show.

Email director Jack Dugan Carpenter at nspauditions@gmail.com with your headshot/resume to schedule and receive sides for your audition. They are asking that actors make themselves available for both evenings of the auditions, if at all possible. Please let them know right away if you have a conflict.

--Tiny

Martial Arts/Movie Monday: The Forbidden Kingdom (2008)

I only recently had the opportunity to watch "The Forbidden Kingdom," the 2008 movie that featuring the dream team-up for many kung-fu movie fans: Jackie Chan and Jet Li.

I must admit that I had very mixed feelings about this production from the outset, which is one reason I didn't plunk down any money to catch it in the theaters. On one hand, in addition to Chan and Li appearing onscreen for the first time, the film's other pluses included fight choreography by the legendary Yuen Woo-Ping ("The Matrix," "Crouching Tiger, Hidden Dragon"), cinematography by Peter Pau ("The Killer," "Crouching Tiger, Hidden Dragon") and authentic Chinese locales. The negatives: this being an American movie and not a Chinese one. Although I've been generally entertained by the Hollywood films Chan and Li have made (including the "Rush Hour" films), like many Hong Kong films fans I also find them very disappointing. For some reason, Hollywood has insisted on watering down the very qualities that made Chan and Li such legends in the first place: Chan's extreme stunts and slapstick comedy, Li's extreme wirework and violent intensity. Not to mention the fact that I always feel that American writers and directors simply have no idea how to handle either star, often unintentionally placing them in situations that make them appear unnecessarily foolish or clueless. Personally, Chan's best U.S. film to date is "Shanghai Knights" (2003) which is the only Stateside film I think featured the sort of extended fight sequences, stunts and slapstick that made Chan famous (Plus Owen Wilson makes a fantastic comic foil), while Jet Li's is probably a toss-up between "The One" (2001) and "Unleashed" (2005) which had great fight scenes, but were still saddled with some awkward dialogue for Li and strained drama.

The other trepidation I had about "The Forbidden Kingdom" was the ages of the stars. Though still in great shape, Chan was already way into his 50s and Li in his 40s when the film was made. Chan had already slowed down considerably even in his Hong Kong films, and Jet Li had even talked about retiring from kung-fu films altogether. Teaming them up, I thought, would have been great in 1991, at the height of their careers and physical abilities, but now might feel like watching old rockers struggling to complete a set.

That all being said, "Kingdom" turned out to be much, much more enjoyable than I ever could have expected. The plot is nothing special: an American teenager (Michael Angarano) with a love of kung-fu movies but with a tendency to get picked upon is (apparently) transported back through time with a magical Chinese staff that must be returned to it's rightful owner. In a sort of kung-fu "Wizard of Oz," he ends up teaming up with a drunken immortal (Chan) and a silent monk (Li), as well as a female warrior named Golden Sparrow (Yifei Liu). Their main enemy is the Jade Warlord (Collin Chou) who wants the staff for his own purposes. In their quest to restore the staff, the teenager masters kung-fu, earns the respect of Chan and Li (who act as his teachers) and even encounter the Monkey King (Li also) of legend.

What surprised me about "Kingdom" is that the film is clearly made by people who are die-hard kung-fu fans. The opening titles are a terrific mash-up of classic kung-fu movie posters from the 60s-70s featuring everyone from Chan to Bruce Lee (of course). The characters chosen for Chan and Li are absolutely perfect: Chan playing a variation of the drunken kung-fu master from his own "Drunken Master" films and Li playing his umpteenth version of the stoic monk/master teacher that he perfected in period films like "Once Upon a Time in China" (1991).

The side characters too are a real delight if you're a fan. The Golden Sparrow is a play on the female warrior Golden Swallow from the classic kung-fu films "Come Drink with Me" (1966) and "Golden Swallow" (1968). In fact, the character even utters the line 'Come drink with me' at a critical plot point. The Jade Warlord is supported by a white-haired witch (Bingbing Li) who can use her magical hair as a weapon, clearly based on the title character from the classic film "The Bride with White Hair" (1993).

And the see that all fans really want to see? The famed Jet Li versus Jackie Chan fight. Well, it's definitely not as dynamic as it might have been when they were both in their physical prime. Plus, I always find it odd watching Jackie Chan employing wire-work, since his films always emphasized real stunts, while it was Li's films that often bordered on the supernatural. But it does deliver the goods, plus makes for a great showcase/tribute to both stars' contributions to the martial arts film genre.

"The Forbidden Kingdom" might not be classic, but it delivers the goods, and wouldn't make a bad bookend for Chan and Li's long careers.

The Forbidden Kingdom trailer: http://www.youtube.com/watch?v=e66Og0lOCcE
Jackie Chan versus Jet Li fight: http://www.youtube.com/watch?v=gcPJ5qSnrEI
White Haired Witch fight: http://www.youtube.com/watch?v=2obZpdkneSk&feature=fvw

And as a bonus, some of the movies that inspired "The Forbidden Kingdom"
Jackie Chan in "Drunken Master II": http://www.youtube.com/watch?v=3vhhvCEfmxw
Jet Li in "Shaolin Temple": http://www.youtube.com/watch?v=cReBHSmWAmo
"The Bride with White Hair" trailer: http://www.youtube.com/watch?v=zfeSngO2s7I

Fun Fact Friday

Not all knife fights involve two people with a knife.

In fact, most knife fights have only one person with a knife. For stage, both people having a weapon adds tension and makes things interesting. In reality, someone who knows how to use a knife knows that it is extremely rare to escape without getting seriously cut, even if they win.

Sometimes you will see an unarmed vs. knife fight onstage, often with the hero overcoming the armed villain, which is also quite unrealistic. You usually don't get a chance to defend yourself. The attacker will want to stab and kill you before you are aware you are in danger. If you know what's coming then the attacker now has a change of being harmed, which is the last thing they want. Even then, knife beats flesh every time (and forget trying to impaled your free hand on the knife to take it away!)

Two people with knives is just another way we bend reality to tell a good story. Two people with knives are often more interesting than one guy falling down bleeding (often, but not always...)

Greg

Think Tank Thursday: Misconceptions of Violence

A large majority of audience have ideas of what violence should look like based on what they have seen in movies or on television. Not many have been in a real fight, at least as an adult over something more important than a toy (although that toy probably meant everything back then...)

This presents a challenge as a choreographer and fighter.

There are many reasons why we don't produce "real" fights onstage or in film. Most important is safety, but beyond that real fights are pretty quick and often brutal. We are working to tell a story and progress a play. Often the play will move on with little effect from the violence. In reality, a violent encounter can, and often does, alter the course of your life.

If things look too real it also makes the audience uncomfortable. We like to watch real fights as long as we believe the danger is not life threatening, sometimes we even instigate and root it on. The moment it turns serious and someone is in real danger of injury or death, we try in stop things or turn away. In most situations onstage the stakes are way too high for someone to not realistically get hurt. We tone it back, however, to keep the audience engaged (and because the playwright gave the characters a monologue after the fight.)

So how do we make the fights more "realistic" without disturbing the audience and derailing the story?

I think that allowing the effects of the violence to seep into and color the rest of the play is one way. It is a question that can help stage violence keep pace with film and the audiences need for more, faster, better. If we give them something with more meaning, depth, and purpose they will be satiated far longer.

Something to think about...

Greg

Is this sword safe to use on stage? - Weapons Wednesday

A very important question for any actor or fight director picking up a sword that does not belong to them. Often you will walk into a show and be using some old theatre's stock of weapons. Sometimes they are nice. Sometimes they are rented just for this show and are in great condition.

Sometimes they are old stock for which the theatre spent as little mo

ney as they could, and left sitting in storage

for months or years.

How do you know if the weapon you are handed is safe to use? Well here are the 3 most important things to look for:

1- Is it sharp?

2- How is the tang?

3- How is the Pummel?

IS IT SHARP?

Stage combat weapons should ALWAYS be dulled. Both along the edges and at the tip. Anyone can figure that much out. HOWEVER, after a lot of use and banging swords together, nicks and burrs will begin to develop on the blade. Run your hand along the length of the blade on all sides. If there are any sharp burrs or nicks on it, have it dulled back down before using the sword. You can get any scene shop, sword maker, or good fight director to do that for you.

HOW IS THE TANG?

The tang is the part of the

blade that is under the handle. The part is most often threaded so that you can screw on the pummel (the ball type device at the end of the sword). There are two ways to create the tang. Either the tang is carved out of the same piece of steel or aluminum that is the blade, or it is soldered together. To check the tang, unscrew the pummel and pull off the handle and guards.

One solid piece = SAFE

Soldered together = NOT SAFE (the soldering spot is a point of failure)

Notice that you can see a clear place the the separate round part has been inserted into the flat part. This is a cheeper and easier way to make the sword, but is not strong enough for stage use. In fact you can often pull the pieces apart with your bare hands.

HOW IS THE PUMMEL

The pummel is the ball at the end of the handle at the bottom of the sword. It screws on to the tang and holds all the other parts in place. The pummel also helps to counterbalance the weight of the blade. The strength of the pummel is determined by how far into the pummel the tang goes. Meaning if the tang screws into the pummel for about a centimeter, it doesn't take much to snap it right off. If the tang screws a full 2 inches, or all the way through the pummel, then in can withhold a lot of beating and still hang on tight. A GOOD RULE OF THUMB IS THAT IT SHOLD GO AT LEAST HALF WAY INTO THE LENGTH OF THE PUMMEL. Why is this important? The pummel holds everything together. If the pummel were to fall off in a fight, and you were to then swing the sword, the blade would slip right out of the handle and become a flying weapon. (Not so good)

There are lots of other factors that make for better and safer weapons, but these three are the most important. Other factors can what the blade is made of (forged steel vs cast etc.), balance, the age of the weapon, any rust or poor care, or overall age of the weapon.

If the blade is dull, the tang is strong, and the pummel is on securely, then chances are it is safe to use on stage.

With that in mind, have fun slingin your steel with confidence!

-Zev

Text Tuesday

Knives, Knife Fighting, and Related Hassles - How to survive a Real knife fight.
- Marc "animal" Macyoung.

Paired with the picture of him with a mullet and "Shit Happens" t-shirt, I knew it would at least be an interesting read.

Marc writes how, I imagine, he speaks. There isn't much of a care for formality or politeness. The language is raw, funny, and personal. There are a lot of books on martial arts and fighting and many fall into a dry, lecture like style which can be hard to read.

Besides the gritty writing, Marc gets to the point. The ideas presented are not made complicated by over writing. This is largely due to the fact that he does not waste time berating other styles or ideas. Nor does he spend time trying to convince you his way is best. He presents different knife grips, stances, defenses, and scenarios with their plusses and minuses and shares which is his favorite. Doing so allows the reader to come to their own conclusions instead of having notions rammed down their throat (just read a book that did just that. Couldn't finish it...still bitter).

My favorite aspect of the book is that a majority of it talks about NOT getting into a knife fight. No one, who knows what they are talking about, advocates being in a fight with a knife. Avoiding that escalation may be worth more than learning fancy tricks or techniques.

The book is also realistic with the after effect of a knife fight. Someone is going to get seriously hurt or dead, you can't just walk away from that. Police will want to question you and the intensity of the event will burn in your memory.

All in all, his honest, humorous, vulgar approach to the subject make this book an entertaining and highly valuable read.

Greg

Martial Arts/Movie Monday: "Ninjas . . . damn"

"Ninjas . . . damn"

So utters a (slumming?) Geoffrey Rush in the trailers from the recently released "The Warriors Way." In case you don't know what I'm talking about, check out the trailer here: http://www.iamrogue.com/thewarriorsway/fullsite/.

From all reports "Way" is unlikely to be making any waves in the history of cinema (it has a 33% "rotten" rating on Rotten Tomatoes and ranked #9 its opening weekend). However, it does seem to be part of a relatively recent resurgence in ninjas at American multiplexes. Last year, Korean pop-star Rain made his film debut in the big-budget "Ninja Assassin" produced by the Wachowski's of "The Matrix" fame. Those 80s sensations the Teenage Mutant Ninja Turtles reappeared on the big screen in 2007's all-CGI "TMNT" and are being prepped for future film and television properties. 2005's megahit "Batman Begins" even rebooted Batman's origins with specific depictions of him receiving ninja training (certainly implied in other versions). The upcoming X-Men spinoff "The Wolverine" starring Hugh Jackman and directed by Darren Aronofsky ("The Wrestler," "Black Swan") is to be based on the 80s comic book arc featuring the titular mutant's days living in Japan and running afoul of both ninja and yakuza.

Ninja never seem to grow old or entirely out of fashion. Maybe it's those mysterious black-on-black outfits, or their ability to swiftly disappear and reappear like ghosts in the movies. Maybe it's because, despite the comic bookishness of their many cellulooid appearance, they were REAL Sure, they probably could fight hovering in mid-air or do some of the more outlandish tricks filmmakers have them doing, but at one time these daring spies/assassins really were roaming the countryside of feudal Japan, using their specialized martial arts techniques and their oh-so-cool weaponry. James Bond was never real, and it's unlikely his real-life counterparts had gadgets as cool as he did. Batman does not exist. You can't find any historical counterparts to orcs, elves, goblins or the Riders of Rohan, but there were definitely ninjas.

A couple of years ago, I wrote a short article on ninjas for the program book of the Japanese festival at which I volunteer every year (The Ginza Holiday Festival at the Midwest Buddhist Temple in Chicago, held every August). In my research, I discovered a couple of interesting things. First off, is that that cool black outfit we have come to know and love is largely an invention of Japanese legend, perpetuated in theater and later in comic books and films. Certainly, ninja did sometimes don darker clothing for black ops-type work, but they did not necessarily possess the set uniform familiar to us. In fact, most of the time, in their roles as spies and/or assassins, ninjas simply dressed as ordinary people. Sometimes they appeared as samurai, othertimes as beggars, monks or traveling priests (whatever was most convenient).

The word "ninja" and its related term "shinobi" actually don't translate into anything as romantic as "dark assassin" or "mysterious warrior." They both actually derive from the verb "to endure," illustrating their capacity for patience and stealth (Interesting to note that the word "samurai" means comes from "to serve").

Ninja, for reasons I am not entirely sure of, became very popular during the 1980s. I swear, there wasn't a kid who didn't know about them in one form or another. Part of the wave started with a 1981 B-movie called "Enter the Ninja" (actually an Italian production) about an American vet who uses ninja skills learned in Japan to help defend a friend from criminals. It's a fairly awful film, with ludicrously clunky fight sequences. But it helped popularize ninjas and brought to the screen Japanese martial arts star Sho Kosugi as the film's villain.
Enter the Ninja trailer: http://www.youtube.com/watch?v=3TWn5tPZ0MM

A whole spate of B-grade Ninja flicks followed throughout the 80s (with Kosugi popping up in more than a few of them). These included the "American Ninja" films starring Michael Dudikoff (spare yourself, don't watch them). Kosugi even appeared as the reoccurring villain in a 1984 NBC TV series called "The Master" with Lee Van Cleef (one of the stars of the 60s spaghetti Westerns with Clint Eastwood).
The Master opening titles: http://www.youtube.com/watch?v=qV5sUH259bA

Course, no one can forget the original Teenage Mutant Ninja Turtles animated series that debuted in 1987. The characters and storylines from the original indie comic by creators Eastman and Laird were toned down considerably to meet family-friendly standards, and with massive promotion with toy tie-ins, it was a pop culture juggernaut that kept on moving.

Interestingly, when the Turtles lept to the big-screen, they were co-produced by Raymond Chow and Golden Harvest, the legendary Hong Kong film producer and studio that launched the likes of Bruce Lee and Jackie Chan to stardom. Surprisingly, the films turned out to be pretty entertaining (for kids and martial arts aficionados alike) thanks to some solid choreography and unbelievable Turtle puppets and suits courtesy of Jim Henson's creature effects shop.
1990s TMNT Movie fight scene: http://www.youtube.com/watch?v=JiBSrocGagM&feature=related

Personally, if I had to name a favorite ninja movie, I'd have to go back a number of years before the craze ever hit the US. All the way back to the Sean Connery James Bond film "You Only Live Twice" (1967). It's not a ninja film actually, but James Bond receives both training and able assistance from the Japanese intelligence service, which provide him an entire army of ninja agents to assist him against the bad guys. Sure, the film is a bit creaky in parts (and if you watch it, you'll see exactly where Michael Meyers got the idea for Doctor Evil in the "Austin Powers" movies), but if you don't get excited at the sight of hundreds of ninjas repelling from a ceiling into an enemy's secret volcano headquarters, you don't belong here.
"You Only Live Twice" fight scene: http://www.youtube.com/watch?v=pIj0Qq0c14o

Fun Fact Friday

It's another fact/theory mashup!

Fact:
Neurons that fire together wire together.
When a strong emotional memory is formed all of the sensory input from that particular point in time is bonded together. When one connection is triggered the rest are lit up like a phone tree (do those even exist anymore?). A sound can trigger the memory which triggers the facial and body expressions, internal body reactions, and emotions associated with the memory/event.

Theory Mashup:
Stanislavsky sense memory exercises utilize this aspect of neuron behavior.

When you recall the memory in the exercise at some point you hit the emotional trigger. A sight in your minds eye, a description of a sound (which the brain still partially interprets as actually hearing) or smell, or any other button, cascades down the chain firing up the memory.
The reactions produced engage the whole face and body. These reactions are clearly interpreted by observers and felt (mirror neurons). This is the same for an audience and using the technique in a play.

The downside is that when the memory is recalled it gets mixed with the present and its effect gets weaker. The more you use the same memory the less of a reaction it will produce.
Fortunately, the unconscious mind doesn't care whether the event was reap or not. If you create a detailed enough event from info in the script you can produce a similar emotional reaction. The more detailed, the richer it will be.

Basically, whatever floats your boat technique wise will be effective if it is trusted and specific. The brain is an amazing tool and it will help us do whatever we ask of it.

Greg

Think Tank Thursday

Combat vs. Fighting

Everyone knows the difference on some level. We have all seen two people scuffle over something simple. Sometimes there are shoves, slaps, even punches, kicks and tackling. There is certainly a lot of noise.

That situation is a fight.

At the end of it people may be bruised, broken, and a little bloody but they will heal and may even share a beer and a laugh afterwards.

Combat is when one or both people are in danger of getting seriously injured or killed. Combat can start right at the beginning of an altercation or be the result of someone upping the ante during a fight. A clear sign of combat is that people watching are terrified. Bystanders usually try and break up fights at the point they are about to escalate, otherwise they just let the fight wind down on its own. When combat breaks into the equation it is downright stupid to try and get in the middle, everyone is in danger at that point.

Most plays deal with combat. The stakes are set to be life or death. The movements for life and death combat are different than for a fight. The intensity is through the roof, the strikes are meant to maim or kill, the movements are quick and energized.

In a fight, the strikes are meant to hurt but not kill. There may be moves that knock the other person out or pound on them a bit but the intention is to dominate/win or teach a lesson, etc.

It is important to differentiate what situation you have in the play. Knowing whether its a fight or combat will help establish the intentions, intensity, movements, vocals, and story.

Greg

Movie/Martial Arts Monday: Maai

Those who know me know I've been studying the Japanese martial art of Aikido since 1993. The art incorporates both unarmed and armed work derived from older Japanese forms.

In any case, one of the most important concepts in Aikido is maai. Maai can interpreted many ways. What I want to bring up is the idea of "negative space." In Japanese arts (martial and otherwise) what is not there is as important as what is. Think of Japanese calligraphy (assuming you've seen some) with its few simple black strokes against a stark white background. To the Eastern eye, all that emptiness is not emptiness at all. It has a weight and meaning that deserves attention and contemplation.

In Japanese martial arts, this translates into controlling the empty space between combatants; studying the dead space when no action is taking place. It's not just a matter of waiting, or "psyching out" the opponent.

Unfortunately, this starts getting into quasi-spiritual, zen-like discussions that a short blog entry can hardly answer (and even then, I don't know if I could offer a definitive explanation). In terms of fighting for performance, maai can serve to build up tension and ratchet up the scales of a fight scene. Think of it as the "fight before the fight," like meaning conveyed through pauses in dialogue or short breathes instead of words.

Of course, as they say, it's better to show than tell. So take a look at this illustrative climactic dual from master director Akira Kurosawa's film 1962 film "Yojimbo". Be very, very patient and don't blink.
http://www.youtube.com/watch?v=NYbi7gKKvOo

Fun Fact Friday

Actually a fun theory about Meisner repetition based on fact.

The fact:
If you repeat a piece of information at least three times it generally starts to be accepted by your brain as truth.

Theory:
The repetition exercise primes you to start hearing truths and react to them on stage. The unconscious mind doesn't care where the information is coming from. It notices that the processing areas for hearing are being activated repeatedly with the same neurons and it starts to assume that the input causing these reactions is important. When you think about information that is "true" you will most often think of it as being more important that information that is "false." 

Your conscious mind kicks in when your brain starts laying down patterns and committing the repetitive information to memory. Your brain works like a muscle, when an area is stimulated often enough the brain fortifies that area to make the information flow more efficiently. When you work out consistently your body restructures the muscle groups being used to bring more blood flow and oxygen to those areas. 

Basically, the repetition exercise hammers information into you. Once the information is accepted as "true" the mind starts processing what it means in context with all other "truths." This is where the exercise starts to get colorful and the participants notice themselves changing the tone of voice or rate of speech. 

Just because it may be a "trick" for you mind doesn't diminish the exercise's usefulness. The more "true" you think something is as an actor, the more you will react and express. This allows the audience to gain more from your performance. The exercise also conditions you to trust your partner. The repetition also works for the source of the information. If someone continues to provide you with information that you deem "true" then you will start to think of them as being "trustworthy." Being able to automatically trust whatever you partner says on stage allows for quicker and deeper "in the moment" reactions to what is happening. 

If you aren't a Meisner fan don't worry, Stanislavsky's stuff works too just from a different angle, but I will get to that another time. 

Remember, its just a theory. Until you hear it a few more times...

Greg

Think Tank Thursday

Mind Over Body.

The body is an extremely loyal and obedient tool of the mind. Whatever you think or imagine, the body does its best to fulfill. It has no other choice. The individual muscles, organs, bones, etc don't have the capacity to think. They can only move when told to do so.

Many imagine this to only involve physical movement. It applies, however, to the body's ability to communicate your thoughts.

The human face is the most expressive area of the body. Besides the basic functions of sensory input, the face is built for the purpose of expression. Expressions are created by muscle movements motivated in the mind by thought. The same type of thought that motivates the leg or arm to move.

It is because we execute physical commands so often that we take for granted how abstract the origin of the movement is. All impulses and commands are thoughts, compiled in ways we still don't understand, from electrical synapses.

What does this mean? It means that onstage your body and face will express what you are thinking. It has no other choice. It's been trained to obey all commands without question. The body doesn't know the difference between real and fantasy and it doesn't care. If you worry about what you look like onstage your face and body will display that worry. If you fear looking silly your body will interpret the image you fear as a command to adopt that posture or look.

You can override your face but it takes the conscious command to not display your thoughts (which ironically displays to everyone that you are closing yourself off). When you stop up your facial expressions your body usually compensates by displaying tension in various areas.

We take a lot of pride in being able to create and use language, which we should because of how amazing and complex language is. Despite this complexity, verbal communication is not the whole story. Most communication is interpreted through context, body language, and facial expression. To be able to communicate effectively each need clear and specific motivations.

The point of it all is to be specific in your thoughts and choices and trust that it is coming across. The more specific the thought is the more muscle groups are activated and the richer the expression becomes both in face and in the body. The audience is watching closely and they are very receptive to every posture, movement and/or expression; their brains are mimicking your actions and eliciting a physiological response (see "mirror neurons" in an earlier post).

Stop trying so much and just do!

Greg