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| Specifically plotted movement with a definite beginning, middle and end. b.) Written notation of dance, dramatic movement and stage combat. |
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| Fight sequences that allow for an artistic mix of both the eastern and western styles of fight choreography. These fights generally take place in the modern age or carry the style of the mixed mediums into the period in which they are set. Both skilled and unskilled combatants can execute contemporary style fights. Fights between unskilled combatants tend to lean more toward the western choreographic style while those of skilled combatants generally exhibit choreographic similarities to that of the eastern style. |
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| are generally executed by skilled practitioners, who, in a dramatic context, perform an artistic exhibition of skill in one or more martial discipline. The choreography is a definite succession or arrangement of practical techniques in a fast and fluid phrase of movement punctuated with moments of apparently hard physical contact. |
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| Enviromental Choreography |
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| A fight sequence that shaped by, and specific to, the enviroment in which they are set; and which could not be executed outside said location. |
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| A fight sequence that contains one or more actions and/or techniques that are imaginativly invented, as opposed to being real or factual fight moves, and although they may be “real” to the world in which the fight is set, are not believed possible in the world of the audience. |
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| Any form of shorthand notation used to mark the choreography of the fight. At present there is no universal form of notation. Each choreographer develops a system of notation based on what they were originally taught and what they have developed throughout their caree |
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| An aim or purpose that a character plans to carry out. |
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| In the moment character rationale for actions that produce both positive and negative results. |
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| Living in the present from one beat to the next |
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| The skeleton framework on which the actual choreography of a fight is placed. The principal concepts, moments and pieces of business which are essential to telling the story and eventually shape the choreography. b.) The basis for development of the story line and physical dialogue. The central concern or intent behind the action of the piece. |
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Term
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Definition
| The skeleton framework on which the actual choreography of a fight is placed. The principal concepts, moments and pieces of business which are essential to telling the story and eventually shape the choreography. b.) The basis for development of the story line and physical dialogue. The central concern or intent behind the action of the piece. |
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| The barriers that prevent your character from doing what s/he wants to do. |
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| A fight sequence that take place in a open area that, for the most part, accomidates the action without hinderance or obstruction. |
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| The thoughts and feelings of the characters when manifested in a physical rather than verbal form. Applied to character specific choreography that is grounded in the circumstances of the play. |
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| The process of expressing, not explaining the actions of the character. The clear, accurate and engaging delivery of the thoughts, emotions and intentions of a character without verbal support. |
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| A detailed style of writing down choreography in longhand, with the specifics of the fight set on paper in basic sentence and paragraph form. |
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| A fight sequence which actions and/or techniques are based in reality, and are believed possible in the world of the audience. |
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| A style of writing down choreography in shorthand, where the page of paper divided in half, each half representing a combatant, with arrows used to indicate the aggressor and the basic line of energy or conflict in the routine. |
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Definition
| The development of sound patterns that reinforce the activity, the situation and the circumstances of the character and the conflict. These sounds include the voluntary and involuntary sounds emitted by the vocal instrument from body striking body or the floor or set, props and furniture falling, smashing, cracking within the battle and, of course, the cries, hollers, screams, grunts, groans and dialogue of the combatants and observers of the fray. All these variables contribute, not compete with one another to orchestrate the overall sound of the fight. The characteristics of all these sounds can be found in their Pitch, Rhythm, Duration, Volume, Quality and Intelligibility. |
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