lence as a dramatic tool. They will
simply really push, pull, slap or fall
down. Not only is this dangerous
for the actor receiving that violence, it also does not help to tell
the story. Using violence as a dramatic tool is such a powerful aid
to enhance the story. The best directors/actors I have worked with
understand this and even find less
obvious opportunities in the script
which unlock an element of the
character that hasn’t been seen
before. I would tell any actor looking for advanced training in the
dramatic arts to ask the training
program about combat for stage
and screen. If they don’t offer it
then I recommend finding a program that does.
What’s the biggest issue you
find in teaching actors that are
new to combat or don’t think
they need to know stage combat? Common mistakes? One
of the most common mistakes is
confusing proximity with angulation. Most people who don’t know
stage combat think that you need
to be close to the person you’re
Jared teaching a swordfight in Hamlet
New Jersey Stage
December 2014
pg 116