Thesis (Ph. D.)--University of Adelaide, 1988. / Typescript. Errata slip inserted. Includes bibliographical references (leaves 360-385).

The study of stage combat is designed to fabricate the illusion of physical combat without causing harm to the performers. Most research in this field does not take into account the characterization of the actor during the training of a fight scene. An actor primarily learns the stunt choreography of the scene and often times the subtleties of the character is often forgotten. Scenes that involve physical contact are an essential aspect of the dramatic action. My aim is to eventually devise a process that will consistently create fight scenes that maintain the integrity of the fight director‘s work as well as the mastery of the actor‘s character composition. I am aware this is an ambitious project therefore will I approach this endeavor in two stages. This document will cover the first stage of this project: the investigation of the current process of several professionals who have varying experiences with fight choreography. I will propose and explore the significance of a series of questions a director, actor and fight choreographer should answer before embarking upon a fight sequence successfully. Questions such as: How important is the stunt physiologically and psychologically on the character? Does gender play a role in a fight sequence? Do size, age, and race play a role on character choice in a sequence? Why did the character choose that weapon? Where did that character learn to fight and why in that style?

Typescript. Errata slip inserted. Bibliography: leaves 360-385.

Typescript / Errata slip inserted / Bibliography: leaves 360-385 / viii, 385 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, 1988