Жизнь - это апельсин
"Кориолан" в театре ДОНМАР. Учим хореографию.
Photo: Rich Hardcastle
www.telegraph.co.uk/men/the-filter/10583593/How...
How to choreograph a theatrical fight scene
читать дальшеRichard Ryan has worked for 20 years in theatre and film as a fight instructor and stunt coordinator. Currently working on the Donmar's production of Coriolanus, he tells Frances Wasem how to set up a theatrical sword fight
By Frances Wasem
1:13PM GMT 22 Jan 2014
I’ve worked for 20 years in theatre and film as a fight instructor and stunt coordinator, but I trained as an actor, so in many way, working in theatre always feels like coming home. My part in the production is to create an exciting fight, which has energy and pace, develops the characters and the plot – and to do it all safely.
The fight director is involved from the very beginning of a production. Wherever possible I like to sit in on rehearsals to get a better sense of the world the director is trying to create. For Coriolanus, Josie (Rourke, the director) outlined the contemporary feel of the play and talked about the Roman look. We had to merge those two elements in the fight scenes. The director will tell me if they envisage a more visceral, hard-hitting or a swashbuckling-style fight. We’ll also discuss any specific plot elements that they wish to include. In Coriolanus it was important to establish Coriolanus as a warrior and Tullus Aufidius as a worthy adversary.
Research is part of how a fight is put together. I might visit museums to look at how a warrior, at that time, would have fought and moved. For Coriolanus, I looked over illustrations of Roman tactics and battles and discussed with Lucy (Osborne, the costume designer) a need for a range of movements (so that skin doesn’t chafe). We make sure the metal of the stage armour is lighter than real armour and the sword blades are made of aluminum, not steel. They would still cause damage if they came into contact with the body, though. We were lucky that Lucy got us the boots early on in rehearsals, as their weight and grip changed the type of choreography.
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I also talk to the set designer and lighting technician. Principally, I need to ensure that the actors can move around the stage, can see each other’s movements, and that they won’t slip or fall. The actors need to be able see the swords as they fight. Losing sight of the blade in a beautiful sidelight is dangerous. I’ll ask for areas of the stage, which see heavy fighting, to be reinforced. The safety of the actors is crucial, everything from the type of floor to the consistency of stage blood is thought about (in case the actors slip). If a piece of furniture is going to be slammed into, then you reinforce that particular bit of the set, so no one is hurt.
One can talk a good fight, but it’s in the doing that all the work happens. After discussion with Josie and armed with an idea of costumes and weapons, the next step is to start choreographing - and to put the fight on its feet.
I sketch out on paper what I think the floor pattern of the fight will look like, but that’s just for myself. The fight is crafted in the rehearsal room, with and on the actors. The actors might be left or right handed or have an old injury that makes them hesitant. I base the fight on the story and what the actors can do. Their involvement is key. I need to create a fight scene that is exciting, but that’s also sustainable for the actors to perform eight times a week.
In rehearsals, safety is very important. I’m a fencing coach and black belt martial artist so I’m aware of potential injury. There are crash pads at the back of the room, for when an actor is thrown. I also have back pads, knee and elbow pads. In one fight both Hadley Fraser and Tom Hiddleston are thrown as they grapple and the crash mat was used as they learned and became familiar with the mechanics of the throw.
So that swords don’t actually hit the actors we use a technique called "off line". The sword basically makes contact with the area that an actor was previously in. The actors continually watch for spaces to move into. There’s a structure to a fight, which is like a dance; the moves are done over and over until they are second nature. In early rehearsals you see an actor counting out the moves (one, two, three…), but by the time the show opens, they’re invisible.
Ensuring that the actor is able to convey their character in a fight scene is fundamental to my brief. In Coriolanus I need to establish Coriolanus as a warrior and Tullus Aufidius as a worthy adversary. We also need to confirm Tom as a leader, which is achieved through a combination of what he does, the way others respond to him and using stagecraft to ensure he is in strongest position on stage.
In the action, similar principles apply. Tom (Coriolanus) has minimal, but definite movements, whereas junior warriors would quite simply move more. We’d contrast a confident stillness for Tom, with a more edgy, nervous physicality of a less experienced soldier. Tom and I tried to develop an icon fight style, reflective of his vision for Coriolanus. We settled on a signature low stance, from which he launches into explosive attacks.
The energy of a fight scene should build. You do this by creating the illusion that the fight is picking up pace. You start the fight with the actors doing bigger moves - and reduce them in size as the fight gets more intense. You also reduce the number of pauses in the action, as anger builds. It gives the illusion that the moves are faster and more violent, that tempers have frayed. But it’s an illusion; the reality is it’s very controlled.
I had the good fortune to teach Tom swordplay at Rada. Then, as now, he was diligent, enthusiastic and physically fit. He also contributed ideas – and did so on Coriolanus too. Tom and I had been debating whether to "play" an injury, after he was thrown. I wasn’t convinced it would work. So, in a run through of the fight - with the rest of the cast present, who hadn’t been privy to our conversation - Tom landed from the throw and faked the injury. It worked wonderfully and the rest of the cast liked it, so I conceded that Tom was right. Tom had a broad grin for the rest of the day.
Photo: Rich Hardcastle
www.telegraph.co.uk/men/the-filter/10583593/How...
How to choreograph a theatrical fight scene
читать дальшеRichard Ryan has worked for 20 years in theatre and film as a fight instructor and stunt coordinator. Currently working on the Donmar's production of Coriolanus, he tells Frances Wasem how to set up a theatrical sword fight
By Frances Wasem
1:13PM GMT 22 Jan 2014
I’ve worked for 20 years in theatre and film as a fight instructor and stunt coordinator, but I trained as an actor, so in many way, working in theatre always feels like coming home. My part in the production is to create an exciting fight, which has energy and pace, develops the characters and the plot – and to do it all safely.
The fight director is involved from the very beginning of a production. Wherever possible I like to sit in on rehearsals to get a better sense of the world the director is trying to create. For Coriolanus, Josie (Rourke, the director) outlined the contemporary feel of the play and talked about the Roman look. We had to merge those two elements in the fight scenes. The director will tell me if they envisage a more visceral, hard-hitting or a swashbuckling-style fight. We’ll also discuss any specific plot elements that they wish to include. In Coriolanus it was important to establish Coriolanus as a warrior and Tullus Aufidius as a worthy adversary.
Research is part of how a fight is put together. I might visit museums to look at how a warrior, at that time, would have fought and moved. For Coriolanus, I looked over illustrations of Roman tactics and battles and discussed with Lucy (Osborne, the costume designer) a need for a range of movements (so that skin doesn’t chafe). We make sure the metal of the stage armour is lighter than real armour and the sword blades are made of aluminum, not steel. They would still cause damage if they came into contact with the body, though. We were lucky that Lucy got us the boots early on in rehearsals, as their weight and grip changed the type of choreography.
Related Articles
I also talk to the set designer and lighting technician. Principally, I need to ensure that the actors can move around the stage, can see each other’s movements, and that they won’t slip or fall. The actors need to be able see the swords as they fight. Losing sight of the blade in a beautiful sidelight is dangerous. I’ll ask for areas of the stage, which see heavy fighting, to be reinforced. The safety of the actors is crucial, everything from the type of floor to the consistency of stage blood is thought about (in case the actors slip). If a piece of furniture is going to be slammed into, then you reinforce that particular bit of the set, so no one is hurt.
One can talk a good fight, but it’s in the doing that all the work happens. After discussion with Josie and armed with an idea of costumes and weapons, the next step is to start choreographing - and to put the fight on its feet.
I sketch out on paper what I think the floor pattern of the fight will look like, but that’s just for myself. The fight is crafted in the rehearsal room, with and on the actors. The actors might be left or right handed or have an old injury that makes them hesitant. I base the fight on the story and what the actors can do. Their involvement is key. I need to create a fight scene that is exciting, but that’s also sustainable for the actors to perform eight times a week.
In rehearsals, safety is very important. I’m a fencing coach and black belt martial artist so I’m aware of potential injury. There are crash pads at the back of the room, for when an actor is thrown. I also have back pads, knee and elbow pads. In one fight both Hadley Fraser and Tom Hiddleston are thrown as they grapple and the crash mat was used as they learned and became familiar with the mechanics of the throw.
So that swords don’t actually hit the actors we use a technique called "off line". The sword basically makes contact with the area that an actor was previously in. The actors continually watch for spaces to move into. There’s a structure to a fight, which is like a dance; the moves are done over and over until they are second nature. In early rehearsals you see an actor counting out the moves (one, two, three…), but by the time the show opens, they’re invisible.
Ensuring that the actor is able to convey their character in a fight scene is fundamental to my brief. In Coriolanus I need to establish Coriolanus as a warrior and Tullus Aufidius as a worthy adversary. We also need to confirm Tom as a leader, which is achieved through a combination of what he does, the way others respond to him and using stagecraft to ensure he is in strongest position on stage.
In the action, similar principles apply. Tom (Coriolanus) has minimal, but definite movements, whereas junior warriors would quite simply move more. We’d contrast a confident stillness for Tom, with a more edgy, nervous physicality of a less experienced soldier. Tom and I tried to develop an icon fight style, reflective of his vision for Coriolanus. We settled on a signature low stance, from which he launches into explosive attacks.
The energy of a fight scene should build. You do this by creating the illusion that the fight is picking up pace. You start the fight with the actors doing bigger moves - and reduce them in size as the fight gets more intense. You also reduce the number of pauses in the action, as anger builds. It gives the illusion that the moves are faster and more violent, that tempers have frayed. But it’s an illusion; the reality is it’s very controlled.
I had the good fortune to teach Tom swordplay at Rada. Then, as now, he was diligent, enthusiastic and physically fit. He also contributed ideas – and did so on Coriolanus too. Tom and I had been debating whether to "play" an injury, after he was thrown. I wasn’t convinced it would work. So, in a run through of the fight - with the rest of the cast present, who hadn’t been privy to our conversation - Tom landed from the throw and faked the injury. It worked wonderfully and the rest of the cast liked it, so I conceded that Tom was right. Tom had a broad grin for the rest of the day.
@темы: Том Хиддлстон, Шекспир
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23.01.2014 в 05:07-
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23.01.2014 в 09:14-
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23.01.2014 в 09:38-
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23.01.2014 в 09:39-
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23.01.2014 в 09:41-
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23.01.2014 в 12:06Финал я себе проспойлерила, поэтому была готова к нему. У меня только одна мысль была "Бедный Том! Как же его спина... каждый день вот так вот!" И это еще после того как в той самой сцене боя его кидают на пол через плечо.
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23.01.2014 в 13:24Их учат падать. Специальные упражнения на физический разогрев каждый день. А то такой "деревянный" будешь. Да и просто порвешь мышцы.
Меня радует, что они все там так ответственно подходят к постановкам, специально что-то осваивают, полируют каждое движение, доводя до состояния "второй кожи". Это Профессионализм с Большой буквы.
Бесконечное уважение. Низкий поклон.
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23.01.2014 в 13:26Да я понимаю. Но все равно выглядит это страшно )
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23.01.2014 в 13:27Еще бы!