Choreographing Stage Combat in Theater

Theater is art. Every piece of theater is artistic in nature, from the writing, directing, choreography, stage movement, acting, emoting, and interaction. While not always true, what most people like to see in theater in realism. They want to believe that it is not only possible, but actually happening. Making a play real is an art in itself and many situations lend difficulty to the realism of the production. One of the most difficult things to make real is conflict. Verbal conflict can be done through practice and inflection, but what about physical conflict? Therein lies one of the most difficult aspects of a realistic play.

Experience and time have given several methods to make a physical conflict believable. Whether it be a slap, a punch, a brawl, weapons, or thrown objects, there is a way to make each one real. Extremists and many method actors have often proposed that the best way to deal with a slap or a punch is to actually go through with it. It doesn't get more real than that. On the other side of the argument, it said that trickery can be used, if adequately choreographed, to achieve an effect that is "better" than real, in that it can be delivered to the audience with more force and effect. Ideally, there should be a happy medium.

When staging a slap, it must be remembered that half the effect is the sound, or in stage terms the "knap." This can be done offstage with sound effects, but the best knap is from an actual slap. Eileen Duggan, in her article "Leaving Nothing To Chance" utilizes the advice of Michael Monsey, a St. Louis actor and choreographer of some distinction. A sound-effect knap must be timed just perfectly and is hard to pull off. An actual slap can accomplish the scene much better. By using a cupped hand, the impact of the slap is lessened while providing a greater audible result. The biggest thing to remember, is to practice. Any type of physical confrontation or combat must be practiced ten times more than regular dialogue or monologue to get it just right and for the actors to get to know one another.

A punch is much different than a slap. The sound of the punch must be produced independently of the actual strike for obvious reasons of injury. The knap of punch can be made offstage, but again timing is essential. The better way is for either the thrower or receiver of the punch to produce the sound by hitting the thigh or another part of the body in conjunction with the punch and concealing it on the side facing the back of the stage. Difficulty arises here if performing a play "in the round" where the audience is on all sides of the actors.

The physical aspect of the punch can be done one of two ways. The punch can be "pulled," which is a real punch but with no or minimal real damage to the recipient. This is usually the more realistic. The other method is through illusion, by taking a full swing and using only two dimensions to miss the target while making it look like a connect. If not done properly, the miss will be too obvious or just the opposite, the miss may actually connect and cause real injury to the actor.

Rehearsal and practice is key. Each actor and each strike must be practiced independently of each other over and over. Once the form is down pat, it can then be meshed together, however, you want to remember that each strike should be done without any other action. For instance, in a brawl, there will be defining moments, a punch to the face, a strike with a chair, a bottle over the head, etc. The rest of the actors must be in struggle with no action or in recovery from previous actions to make each strike distinct and memorable.

Another thing to think about is speed. Real fights are fast and messy. Staged fights are slow and deliberate. In the Wikipedia article on "Stage Combat" it is suggested that fights always be "in control" and with a certain amount of noticeable acting. The reason for this is to keep the audience "in" the play. If violence is too real then the audience will stop thinking about the character and start worrying about the actor and if the violence is out of control, the audience may begin to think about their own personal safety.

There is a fine line that must be measured between true realism and "real enough" to keep the audience in a state of suspension of disbelief. In staged combat and physical confrontation, the age old adage must be relied on-practice makes perfect.