Battles staged by : the development and organization of stage combat in Canada

This dissertation traces the history and development of stage combat in Canada. The Canadian Theatre Agreement of 2002 recognized fight directors as professional theatre artists for the first time. However, the first recorded professional fight director in Canada was Douglas Campbell at the Stratfor...

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Main Author: Harrison, Nicholas John
Language:English
Published: University of British Columbia 2012
Online Access:http://hdl.handle.net/2429/43304
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spelling ndltd-UBC-oai-circle.library.ubc.ca-2429-433042018-01-05T17:26:09Z Battles staged by : the development and organization of stage combat in Canada Harrison, Nicholas John This dissertation traces the history and development of stage combat in Canada. The Canadian Theatre Agreement of 2002 recognized fight directors as professional theatre artists for the first time. However, the first recorded professional fight director in Canada was Douglas Campbell at the Stratford Festival in 1953. The fight director has been part of a long theatrical tradition that involves both artistic interpretation of dramatic texts and practical skills. To date there has not been a thorough investigation of the history of the fight director in Canada. Chapter One defines the role and function of the fight director and introduces the people interviewed as part of my research. In Chapter Two explores the origins of modern stage combat. Chapter Three concerns the roles that Douglas Campbell and Patrick Crean played in the establishment of professional stage combat in Canada through their involvement with the Stratford Festival. Chapters Four and Five explore the emergence of the two major Canadian fight associations and the training syllabi they created to properly train actor combatants. Through a series of interviews with professional Canadian fight directors, Chapter Six focuses on the role of the fight director as artist, dramaturg, instructor and choreographer, and analyzes their experiences staging fights for various Canadian productions of Hamlet. Chapter Seven explains the varying methods of fight notation instrumental in archiving a fight director's work for reference. Chapter Eight summarizes the role and function of the fight director in modern Canadian theatre. These elements are placed in context through personal interviews, newspaper articles, existing scholarship on stage combat and fencing, as well as current training methodologies used by Fight Directors Canada. Arts, Faculty of Theatre and Film, Department of Graduate 2012-09-28T21:59:17Z 2012-09-28T21:59:17Z 2012 2012-11 Text Thesis/Dissertation http://hdl.handle.net/2429/43304 eng Attribution-NonCommercial-NoDerivs 3.0 Unported http://creativecommons.org/licenses/by-nc-nd/3.0/ University of British Columbia
collection NDLTD
language English
sources NDLTD
description This dissertation traces the history and development of stage combat in Canada. The Canadian Theatre Agreement of 2002 recognized fight directors as professional theatre artists for the first time. However, the first recorded professional fight director in Canada was Douglas Campbell at the Stratford Festival in 1953. The fight director has been part of a long theatrical tradition that involves both artistic interpretation of dramatic texts and practical skills. To date there has not been a thorough investigation of the history of the fight director in Canada. Chapter One defines the role and function of the fight director and introduces the people interviewed as part of my research. In Chapter Two explores the origins of modern stage combat. Chapter Three concerns the roles that Douglas Campbell and Patrick Crean played in the establishment of professional stage combat in Canada through their involvement with the Stratford Festival. Chapters Four and Five explore the emergence of the two major Canadian fight associations and the training syllabi they created to properly train actor combatants. Through a series of interviews with professional Canadian fight directors, Chapter Six focuses on the role of the fight director as artist, dramaturg, instructor and choreographer, and analyzes their experiences staging fights for various Canadian productions of Hamlet. Chapter Seven explains the varying methods of fight notation instrumental in archiving a fight director's work for reference. Chapter Eight summarizes the role and function of the fight director in modern Canadian theatre. These elements are placed in context through personal interviews, newspaper articles, existing scholarship on stage combat and fencing, as well as current training methodologies used by Fight Directors Canada. === Arts, Faculty of === Theatre and Film, Department of === Graduate
author Harrison, Nicholas John
spellingShingle Harrison, Nicholas John
Battles staged by : the development and organization of stage combat in Canada
author_facet Harrison, Nicholas John
author_sort Harrison, Nicholas John
title Battles staged by : the development and organization of stage combat in Canada
title_short Battles staged by : the development and organization of stage combat in Canada
title_full Battles staged by : the development and organization of stage combat in Canada
title_fullStr Battles staged by : the development and organization of stage combat in Canada
title_full_unstemmed Battles staged by : the development and organization of stage combat in Canada
title_sort battles staged by : the development and organization of stage combat in canada
publisher University of British Columbia
publishDate 2012
url http://hdl.handle.net/2429/43304
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