• Stage Fight01

STAGE FIGHT

Hear about stage fight


Stage Fight/ Stunt

Sikkerhed – Samarbejde – kampteknik – mime – dynamisk udtryk - skuespil

A combination of martial arts, acting, mime and fight technique, modern or historical, with or without weapons in hand. It must be able to express the dynamic movement desired by the director in order to tell the story.

Although stunt and staged combat are similar, the main difference is:

Stuntwork: Dangerous and/or spectacular action combination for theater, TV or film. Stuntperformers either replace actors or do their own stunt scene.

Stage fight: Physical conflict for theater, TV or film, with or without weapons . Usually performed by the actual actor(s) involved in the scene.

For Action Performances: Click on Lectures or Acting.

Motioncapture

At bruge infrarød kameraer sammen med computere for at fange en persons bevægelser

Used in conjunction with computers to create character movement for computer games, films and cartoons. I did the movements of most female roles plus movements of some of the male characters for the computer games Hitman 2 and 3 and Freedom Fighters for IO Interactive, as well as Age of Conan for Funcom.

Age of Conan
Hitman

Instructing/Workshops

For any form of workshop we start with a warm up which includes stretching and strengthening exercises as well as exercises and games for body awareness and basic techniques in stage fighting. The participants then learn different fight techniques ending with creating a fight scene and performing these scenes for each other as a “work in progress”.

Alle workshops starter med opvarmning, der inkluderer strække- og styrkeøvelser såvel som forskellige lege, der alle fokuserer på kropsopmærksomhed og grundteknikker i stagefight. Derefter arbejder deltagerne med flere kampteknikker og ender med at sammensætte en kampscene. Sluttelig optræder man og ens partner(e) med kampscenen. Størrelsen af holdet på en workshop kan varierer fra 2 til flere hundrede. Workshoppens længde kan varierer fra 1½ timer til flere uger.

The class size can be from two to one hundred or more. It just depends on how many teachers and assistants are needed and the size of the space. The duration of a workshop can be from 1 ½ hours to several weeks. Normally a weekend workshop is 10 - 12 hours and includes training with several weapons. The basic weapons to choose from are:

1. Unarmed, including rolls and falls (ubevæbnet med rullefald og fald teknik), basic stunts.
2. Rapier (kårde)
3. Rapier and dagger (kårde og daggert)
4. Broadsword (bredsværd, middelalder, viking, osv.)
5. Sword and shield (sværd og skjold)
6. Quarterstaff/ spear (stokkekamp/ spyd)
7. Knife/medieval dagger (kniv/ middelalder daggert)
8. Smallsword (hofkårde - barok)
9. “Found weapons” is an expression used for anything not normally considered a weapon yet is used aggressively as a weapon in an action/fight scene. We explore the possibilities for the use of found weapons in the framework of safety and fun.

Ting og sager som man kan “finde”, der hvor man er bruges som våben. Vi leger med de muligheder, der er i hver ting. Det er kreativt og sjovt, og hvert par sammensætter selv en kamp.

Types of workshops

Introductory, polteraben, child-parent, weekend, fencing or unarmed, team building

“Make your partner look good”: you are only as good as your partner(s).

“Show and go”: make a preparatory movement so your partner(s) knows when to react.

“Remember who you are fighting for”: your audience is more important than you and your ideas are.

Schools/institutions: In conjunction with theme projects, for ex., medieval/renaissance market, sports day, anti-racism, violence awareness, theatre/film projects, and so on.

Skoler/ institutioner: I forbindelse med emneuger omhandlende f.eks. middelalder/renæssance, markeder, sports- og idrætsdage, anti-racisme eller opmærksomhed omkring vold (se lecture/ demo), projekter omkring teater og film, osv.

Choreography/fight direction

Fight choreography is storytelling. I respect and take into consideration the actors’ level of competence, the director’s ideas and the story to be conveyed. A fight director is important not only as a third eye, but, also to make sure the action is expressed in a sincere way, true to the style of the play/film and above all: SAFELY. Even the simplest forms (for ex. slap) of physical conflict benefit from a fight director.

Kampkoreografi er historiefortælling, og som koreograf respekterer jeg og tage hensyn til skuespillerens niveau (det kamp- og teknikmæssige), instruktørens ideer og selve historiens forløb. Selv de mest enkelte fysiske handlinger (som f.eks. en lussing) er værd at have en koreograf til at kigge på.

Referencer

- Det Kongelige Teater
- Folketeatret
- Aalborg Teater
- Odense Teater
- London Toast Theatre
- Rakvere Teater Estonia
- Månen Teater Lund
- Øster Gasværk Teater
- Ballerup Ungdomsskole
- DR Sommer Slotskoncerter
- Undergrunden and Jysk Opera
- Bornholms Middelaldercenter
- Tøjhusmuseet and Orlogsmuseet
- DR
- Nordisk Film
- Kronborg Castle
- Statens Scenekunstskole / Danish National School of Performing Arts
- Opera Akademi

  • 1e
  • 3e
  • 4e
  • IMG 7555b
  • Bornholm1 Med
  • Bornholm2 Med
  • Burn1 Med
  • Burn2 Med
  • Fight 11
  • Fight 12
  • Fight10 Med
  • Fight13
  • Fight14
  • Fight15
  • Fight16
  • Fight1 Med
  • Fight3 Med
  • Fight5 Med
  • Fight8 Med
  • Fight9 Med
  • Fire Med
  • For3
  • Gospeljoy1 Med
  • Horse Armor2 Med
  • Horse Armor Med
  • Masker2 Med
  • Medieval1 Med
  • Mocap1 Med
  • Mocap2 Med
  • Mocap3 Med
  • Model1 Med (1)
  • Motion Cap 1 Kopier
  • Motion Cap 2 Kopier
  • Weapon1 Med
  • Weapon2 Med
  • Weapon3 Med
  • Weapon4 Med
  • Weapon5 Med
  • Weapon6 Med
  • Weapon7 Med
  • Weapon9 Med
  • Weapons10
  • Weapons11
  • Weapons12
  • Weapons13
  • Wire2
  • Wire3
  • Wire4
  • Wire5