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The following thesis draws from a recent production assignment at the Shakespeare Theatre Company in Washington, D.C., in which I acted as Associate Fight Director under Broadway Fight Director Rick Sordelet. We worked on three shows in all: William Shakespeare's Taming of the Shrew, and Christopher Marlowe's first play, Tamburlaine, and his last, Edward II. By analyzing and assessing the working methods utilized during this production process, I hope to elucidate the most effective elements, and finally synthesize the tenets of my own working method. Structurally, I will recount the experience chronologically, from preproduction to performance, treating the pros and cons in each section of production. As a movement designer, I am interested in choreographic methods that both draw organically from actor's impulses, and integrate acting choices immediately. Too often the acting work is left off until the end; the actors are expected to layer their choices onto a fight that was not choreographed with those choices in mind. Instead, I seek to articulate a working method that allows and guides actors towards physical engagement with specific objectives, and that enables actors to make active choices from the very beginning.

"Combat Dance" is an eclectic blend of combat and dance art forms combined and taught from the Fall 2001 to Spring 2003. As defined here, combat dance is a blend of techniques and principles gleaned from both unarmed and armed aspects of stage combat, martial arts (such as aikido and kung fu), modern dance and other expressive movements used to tell a story of conflict. Its primary purpose is to provide both actors and non-actors greater awareness and control of their bodies and to provide a range of creative avenues of expression. Combat dance gives the performers a unique and holistic set of exercises and skills that leave no part of the body, mind, or - even deeper - the spirit uninfluenced. The thesis begins with the vision and birth of the class, a description of the preparatory research, an analysis of the reasons for the class, and reflection, revelations, and realizations gained through teaching the class. The ultimate focus of this thesis is to aid anyone interested in any type of combat or dance-related movements: dancers, non-dancers, actors, non-actors, movement coaches, and even those in the fields of dance or drama therapy.

William Shakespeare and Sarah Kane are playwrights who for drastically different reasons have left indelible impacts upon the theatrical world. A key factor in each of their plays is the presentation of violence. Shakespeare uses violence for observable, orthodox reasons of driving the plot forward, while Kane uses it for sensory effect, social commentary, and for subverting traditional narrative expectations. This study examines how violence and fighting work as dramaturgical tools in these playwrights’ work, by individual examination, juxtaposition, and the use of other pieces of drama to inform these two differing schools of theatrical violence.

As falls and fall-related injuries are a major cause of injuries, the purpose of this study was to investigate whether, and to what extent, the stage combat fall technique training could reduce the impact forces of falls from standing. Twenty-six healthy young adults (14 males and 12 females) participated in our study, and were randomly assigned to either a training group or non-training (control) group. Both groups completed a pre-intervention and a post-intervention fall testing session, separated by two weeks, in which they performed naturalistic falls. The training group performed identical pre-intervention fall testing as the control group, and was then required to receive four 1-hour training sessions in the course of two weeks, led by a certified stage combat fall technique training instructor. The training group then completed a post-intervention fall testing session where they performed naturalistic falls and also falls using the fall technique they learned. Falls were induced in both forward and backward directions using a tether-release protocol. Differences between control and training groups at pre-training, and group differences in the change in dependent measures with training, were examined using Mann-Whitney U tests. The results showed that, following stage-combat fall training, the training group exhibited 32% and 35% reduction in median impact forces for forward and backward falls respectively, while the control group exhibited 5% and 2% reductions (p = 0.002 and <0.001). In addition, the training group showed shorter backward fall duration as well as longer impact time, larger impulse, and longer or larger center-of-pressure based measures for both directions of falling than the control group. However, training was not associated with reduced impact force during the naturalistic falls of the training group. To our knowledge, this was the first study to investigate the stage combat fall technique training and demonstrate its effectiveness as an intervention to reduce impact forces of falls, thereby exploring the potential to reduce the number of fall-related injuries. While these falls were induced from standing, whether these results would transfer to an unanticipated fall while walking due to a slip/trip remain to be explored. / Master of Science / As falls and fall-related injuries are a major cause of injuries, the purpose of this study was to investigate whether, and to what extent, the stage combat fall technique training could reduce the impact forces of falls from standing. Twenty-six healthy young adults (14 males and 12 females) participated in our study, and were randomly assigned to either a training group or non-training (control) group. Both groups completed a pre-intervention and a post-intervention fall testing session, separated by two weeks, in which they performed naturalistic falls. The training group was required to receive four 1-hour training sessions in the two-week intervention period, led by a certified stage combat fall technique training instructor. The training group then completed a post-intervention fall testing session where they performed naturalistic falls and also falls using the fall technique they learned. The results showed that, following stage-combat fall training, the training group exhibited nearly a 1/3rd reduction in impact forces for both forward and backward falls, while the control group only exhibited 5% and 2% reductions respectively. Our analysis also showed that the training group achieved this reduction in impact force by increasing the impact time and spreading out their bodies more, to distribute the impact over a larger area. To our knowledge, this was the first study to investigate the stage combat fall technique training and demonstrate its effectiveness as an intervention to reduce impact forces of falls, thereby exploring the potential to reduce the number of fall-related injuries.

As an Actor Combatant with the Society of American Fight Directors, theatrical violence is something that has always captivated me. When a female combat instructor once told me that even though I throw a great punch I will never be able to use it because women are always on the receiving end of violence in theatre, I wondered if this was truly the case. After a thorough exploration of several works with theatrical violence, I am glad to say that it is not the case. When most scholars examine violence in theatre, the focus is either male-centric or specifically on domestic violence situations involving a male abusing a female. I will examine theatrical violence through a new lens that has yet to be thoroughly critically explored: violence where the female is the aggressor. Through selected works of three American minority female playwrights: Suzan-Lori Parks' In the Blood, Maria Irene Fornes' Conduct of Life, and Young Jean Lee's Songs of the Dragons Flying to Heaven, I will analyze the female-enacted violence that occurs within these plays using feminist theories and psychology to examine how it happens, why it happens, who the victims are, and what these acts of violence say about minority American women in society today. I will explore the stage directions and dialogue surrounding the violence and analyzing the use or absence of weaponry, the breakdown or build-up of language prior to and after the violent action, and whether or not the violent action occurs before or after a violent action is committed against the female. For comparison, I will also analyze work by an American male playwright with violence in the same way: Tracy Letts' August: Osage County.