The 5 Things You Should Do to Make Stage Combat Look Real
You dance like a knockout—but can you take a punch? Intense stage combat is a crucial element in many shows, from the sword fighting in Romeo & Juliet to the left hooks of the Broadway musical Rocky. But performing it well requires careful body awareness, trust and a full commitment to safety. Whether you're dancing a pivotal battle in a story ballet or intense partnering in a contemporary piece, these expert tips can help you make your fight scenes convincing, compelling and safe.
1. Master the Basics
When Luke Ingham was cast as Tybalt in San Francisco Ballet's Romeo & Juliet, he spent a full month practicing the basic body positions, footwork and momentum of fencing. "You need to be really grounded, you need to know where your feet are," Ingham says.
PC Erik Tomasson, Courtesy SFB
Only when he had the fundamentals down did he start learning the Act II sword-fight choreography. "Because of how long we spent perfecting everything, and how confident we became with the choreography, it allowed us to freely express our characters without being concerned about 'What am I doing now?' " says Ingham.
2. Get Up Close and Personal
Body combat, like the pushing, shoving, hair-pulling stepsisters in Cinderella, is safer and more believable when dancers are within half an arm's length of each other, rather than with arms straight and elbows locked out.
"You need to be as close to your partner as possible, so that you're able to nonverbally communicate what you need," explains Jared Kirby, a New York–based fight coordinator who has trained TV stunt people and Shakespearean actors, and recently helped choreographers Rick and Jeff Kuperman prepare for their production of The Count of Monte Cristo. "Then the victim's always in control. And the audience gets this amazing, visceral experience because the closer you are, the more realistic it looks," he says.
PC Absolutely Perilous
3. Know Your Target
Ingham spent hours rehearsing with former SFB principal Pascal Molat, who portrayed his opponent, Mercutio. "It's important to keep that continuity with the same partner," he says, so you can master the timing, momentum and position of every move. "Some people are short, some people are taller, and you need to have an accurate understanding of what point on the body you're aiming for." Stage-ready swords and knives are blunted and dulled, but they're not harmless, and accidentally getting hit "wasn't pleasant."
4. Fight Cooperatively
Even when characters are sworn enemies, the dancers portraying them need to be harmonious partners. "Fight work is 100 percent cooperative energy to show conflict," says Kirby. Remember that your most important job is protecting each other. "If you both embrace that, you'll work together to move the choreography to the next level," he says.
Comfort Fedoke and Mark Villaver, for example, were great partners but had not done a single lift together before they performed Talia Favia's physically and emotionally intense duet "Ending" last season on "So You Think You Can Dance." "She had never had to trust him in that way," says the contemporary choreographer. Favia encouraged them to talk about any fears, and to work out timing and transitions that felt best on their bodies. Confidence in your partnership "comes over time and practice, and being a good listener," she says.
Photo courtesy SYTYCD
5. Speak Up
If a choreographer or fight director asks you to do something that feels unsafe, say something. "It's a very unfortunate position, but it happens," says Favia, who never asks dancers to attempt dangerous tricks just for effect. "If it's choreographed correctly, the message will always be portrayed, even in a 'safe' version," she says.
If you can't resolve the situation in rehearsal, go to the director, studio owner or your union rep. "You have to trust your instincts and express yourself," Kirby says. "Respectful communication is key."
From the minute my journey as a dancer began at age 4, there were no other options of what I might do with my life.
Sure, I tried other "after-school activities." I tried desperately to master The Phantom of the Opera with my squeaky violin rental—a headache for my parents who paid for private Suzuki method lessons at our house. Constantly attempting famous show tunes on my violin, the effort was completely futile. I actually remember thinking, 'Surely this sheet music is wrong, this sounds nothing like the Phantom of the Opera.'
I even tried my hand at gymnastics. But when my mom's brilliant bribery of $100 for my first mastery of a kip or a back handspring didn't produce any results, we quickly threw in the towel.
When Miami City Ballet artistic director Lourdes Lopez was a principal dancer at New York City Ballet, she missed her opportunity to honor Jerome Robbins onstage. "Every time there was a celebration for Jerry, I was either injured or had just retired," says Lopez. "I was never able to publicly thank him onstage for all that he taught us and the beauty he left us."
But when Lopez was planning MCB's Jerome Robbins Celebration for the 100th anniversary of the legend's birth, she saw an opportunity. She asked the Robbins Trust to allow her to perform the Ringmaster in Robbins' Circus Polka, a role the choreographer originated himself.
Growing up in inner city Rochester, NY, Aesha Ash was just one of the neighborhood kids. She'd imagine people driving by, judging her by her black skin.
"They'd never know that I was dreaming of becoming a professional ballet dancer. No one would think, Some day she's going to make it into New York City Ballet," says Ash.
After an inspiring career at NYCB, Béjart's Ballet Lausanne and LINES, the January 2006 Dance Magazine cover star—one of our 25 to Watch that year—is no longer performing. But she's determined to use her dance background to change the stereotypes and misconceptions that people—including black people—have about women of color. "I want to show it's okay to embrace our softer side, and let the world know we're multidimensional," says Ash.
Aesha Ash in Richmond, CA. PC Renee Scott via swandreamsproject.org
In 2011, she launched the Swan Dreams Project to inspire kids in the community she grew up in. The original idea was to post images of herself in a tutu all over Rochester. "I remember growing up and in the bodega you'd see images of girls in bikinis on motorbikes," says Ash. "I wanted to replace those with photos that show women of color in a different light."
She knew the power imagery can have: She still remembers what it felt like as a student at the School of American Ballet to see a photo of black ballet dancer Andrea Long. "That image was everything on days when I was feeling disenchanted. I'd see that picture of her, and know that the struggles I was going through, she went through them, too."
Ash soon realized she didn't have the budget to fund her original plan ("I never realized how expensive a bus stop advertisement is!"). But she's made the images available through an online store, and often simply gives away prints at her own expense to schools and students in need of some inspiration.
Any proceeds she makes from the sales go directly to other organizations that are working to expand ballet in diverse communities. One large donation even led to a pointe shoe fund at dancer Robyn Gardenhire's City Ballet of Los Angeles school—and it helped one dancer who had quit ballet because of the expense come back to class.
Now a mother of two in San Jose, CA, Ash will also start teaching a free after-school ballet class at her daughter's public school next month. "I recently taught at Girls Inc. in Oakland, and one of the little black girls said, 'Are you the ballet teacher?' She just stood there, staring at me with her mouth open, like a unicorn had just walked into the room," Ash says. "You never know the impact you can have just by being a presence."
Ever find yourself lusting after that six o'clock penché, or a développé that will reach your nose? You're not alone. The eye is naturally drawn to the end points of a movement, and, in dance, that often translates to the highest extension.
But what if you're born without extreme, Instagram-worthy lines? It's a matter of developing a laser focus on alignment as well as strengthening and stretching with better body mechanics in mind.
From coast to coast, choreographers have spent the first year of Donald Trump's presidency responding to the impact of his election and what it means for them as artists.
New York City's Dante Brown used rubber Trump masks in his work Package (revamped), which examines the monstrosities of power.
A video titled "Dancers vs. Trump Quotes" went viral last summer, showing dancers taking Trump's "locker-room" talk to task.
Alexis Convento, lead curator of the New York City–based Current Sessions, dedicated a whole program to the concept of resistance, while educator and interdisciplinary artist Jill Sigman has initiated a workshop called "Body Politic, Somatic Selves," as a space for movement research around questions of support, activism and solidarity.
In San Francisco, choreographer Margaret Jenkins facilitated a panel of artists about the role of activism within their work.
When London-based perfume company The Beautiful Mind Series was looking for a collaborator for their next scent, they skipped the usual celebrity set and brought in prima ballerina Polina Semionova instead. "I was fascinated by what goes on in the mind of a great dancer," perfumer Geza Schoen said in a press release. Semionova's ballet-inspired scent, Precision & Grace, celebrates the intelligence and beauty behind her craft.
Courtesy of The Beautiful Mind Series
The ever-so-busy Kyle Abraham is back in New York City for a brief visit with his company Abraham.In.Motion as they prepare for an exciting spring season of new endeavors with some surprising guests. The company will be debuting a new program at The Joyce Theater on May 1, that will include two new pieces from Abraham, restaged works by Doug Varone and Bebe Miller, and a world premiere from Andrea Miller. Talk about an exciting line-up!
We caught up with Abraham during a recent rehearsal where he revealed what he is tired of hearing in the dance community.
Choreographer Tero Saarinen has a proclivity for the peculiar—and for epic orchestral music. That he should be commissioned by the Los Angeles Philharmonic to create a new dance work to accompany the U.S. premiere of Bernd Alois Zimmermann's Cello Concerto en forme de pas de trois only makes sense. Zimmermann's eerie, difficult-to-classify composition falls squarely in Saarinen's wheelhouse. Walt Disney Concert Hall, Jan. 19–21. laphil.com.
Two competition routines are equal in technical proficiency, artistry and choreography. One consists of all girls, the other includes a boy. Guess which takes home first prize?
If you guessed the one with the boy, you may be privy to an unspoken and much-debated phenomenon in the competition dance world: The Boy Factor. According to The Boy Factor, a competitive piece is more likely to win if there's a boy in it.
"If it's all technically equal and one group is all girls and the other group has a boy, the one with the boy will win," says Rysa Childress, owner of All Star Studios in Forest Hills, New York. "Boy soloists are sometimes scored higher than more technically proficient girls because if a boy has good stage presence, we let him slide," says an anonymous competition judge. "And most of the feedback will be for the boy."
I'll never forget something Roberto Bolle once told me when I was interviewing him about his workout regimen: Talking about how much he loved to swim, he said, "I would love to go in the Italian sea, but I am too well-known there to show up in my suit."
It always amused and kinda shocked me that a ballet dancer could reach that level of fame. But it's true: In his native Italy, Bolle is a bonafide celerity.