Unleashing the Crackin’

The weather here has FINALLY gotten nice on a consistent basis, which means that in spite of the move I’ve been trying extra hard to get out and enjoy the sun (you know, while it lasts and it’s not so hot that I think my face is melting off).

For most people, “getting out to enjoy the weather” might mean a walk, a picnic, a round of Frisbee with friends in the park… while I enjoy most of these things (except for Frisbee… what is even the point of Frisbee? Frisbees were like the thing man made to prove that other men were dumb because they could never get the darn thing to fly much less fly in the direction they wanted it to… not that I’m bitter about a piece of plastic or anything), the nice weather more means that I get to break out my toys on a consistent basis.

I’ve already touted the importance of lateral thinking and study breaks that encourage physical activity. When I was studying for my German exam, I taught myself to play the ukulele during study breaks because it was the only thing that would reset my brain for MORE FLASHCARDS when I felt that gray matter was going to start leaking out of my ear any minute. Also, since I’m a pretty awful guitar player (self-taught during high school… I can eke out about four chords on a good day), I figured I’d be a passable ukulele player (so far, this theory has proven to be true).

When I was studying for my comps last summer, I opted for something a little more fighty and a little less musical. My sister and her now-husband are pretty much experts in the art of bullwhip cracking and have shown me a few things over the years. With their help, and the assistance of several youtube videos, I managed to coerce my body into learning the finesse and art of the bullwhip.

First things first: I would never advocate playing with weapons

This is my object lesson about why eye protection is important

This is my object lesson about why eye protection is important

without careful professional supervision. This is PARTICULARLY true when you’re dealing with projectiles, or weapons that are fluid/non rigid. Swords are much easier to control than bullwhips. If you want to take up a dangerous hobby, try swords first. You’re much less likely to hurt yourself. In other words: don’t try this at home unless you understand that playing with any weapon involves an innate risk, and that your risk is much greater if you lack proper supervision and understanding of said weapon.

I’ve cracked myself several times over the course of learning the bullwhip and don’t foresee this stopping anytime in the near future. Understanding how to control a six-foot length of kangaroo hide moving faster than the speed of sound has a definite learning curve. Always wear eye protection, and be prepared that you’re going to get yourself good probably sooner rather than later and probably more than once.

If you encounter people cracking in public parks, here are a few good rules of thumb: don’t sneak up close to them while they are practicing. If you’re interested and would like to ask questions, chances are we’re used to hearing those questions and would be happy to answer them. Wait patiently at a healthy distance (at least 15 feet; if you feel “unsafe” then you are probably in the danger zone), and approach respectfully (not because we are innately violent people, but because wouldn’t you like people to be nice to you if they wanted to know things about your hobbies?). While the cracker is (we hope) HIGHLY aware of people in her zone, do keep an eye on your kids. Most children have a healthy self-preservation instinct, but you never know when someone is going to fail a Darwin check. Honestly, when I practice in public, I try to find a place far away from small children (as a safety precaution, but also because I can’t always give my “don’t try this at home” speech to passers-by and the last thing I want is for a child to injure itself trying to be as cool as Indiana Jones). This is not always possible. Crackers need grass (concrete or stone chews up whips and they are investments; especially leather ones), we need open spaces away from low-hanging trees or branches, and we need a place away from people. If I can find all of these things AND no four-footers in sight, I’ll always opt for that. But if my only choice is to be somewhere within eyesight of a family with children, there’s not much I can do about it.

Really, all you need to do is be aware that someone is practicing a martial art nearby. So long as you keep yourself away from the hurty end of the whip, you’ll be fine. And you’ll probably get a neat show to boot; whippersnappers are nothing but show-people. You don’t really take up a hobby like the bullwhip and not expect to get stared at a lot.

Happy cracking!

A Little Chaos

Things are a little nuts around here.

I just got back from my sister’s wedding (which was lovely, by the way, and might have included such things as a wedding-party-using-weapons photo shoot, a swordfight between the bride and groom, and a ukulele flash mob organized by yours truly in lieu of a

Me in said awesome library

Me in said awesome library

Maid of Honor toast since it just seemed easier). While away, we saw some beautiful things (including an AWESOME public library), and managed not to stress out about the oncoming move.

Oh yea I’m moving in two weeks. This has meant many things. Not the least of which being my library is currently in boxes. This mostly doesn’t affect me EXCEPT for the syllabus that I forgot I’m helping to craft and so will have to rely upon my memory and library copies of some of my more beloved teaching texts. At least for the next two weeks after which I may liberate said library to graze in its new field and multiply creating a bigger, stronger, faster herd from amongst the ashes of its box prison.

Since I started packing early, I’m not really in any kind of time crunch and moving stress is a cakewalk compared to wedding stress. At least at this juncture. Ask me again when I’ve finished the process and I can give you a better panoramic view of the entire issue. I’m still reasonably certain that moving trumps wedding since moving doesn’t involve any high-anxiety members of my family freaking out about completely mundane things which, on any other day, would be simply completely mundane things. Apparently weddings do this to people.

Through it all, I’m still working. I’m back at Apollinaire choreographing a piece of violence for their summer in the park production of ¡Bocón!. The fight is really an opportunity to do

This is the world's BIGGEST ROLL OF BUBBLE PAPER and it's MINE MINE! MWAHAHA!

This is the world’s BIGGEST ROLL OF BUBBLE PAPER and it’s MINE MINE! MWAHAHA!

something incredible and I’m taking full advantage of it; I’ve got sixteen cast members (almost all of whom have previous fight experience), leave to create supernatural elements, and enthusiasm from all parties involved. Really I could make anything. I think that what we’ve put together is truly special and I highly encourage you to get out and see it.

By the way and for the record, I absolutely do not recommend working six jobs while simultaneously moving and dealing with a family wedding. I’m reasonably sure that, though I have things pretty well under control now, there will be at least one downward spiral that I can only partially control before this is all over. Especially because less than a month after my move I am leaving for a one-month research trip to New York City courtesy of a generous fellowship given me by Tufts University.

And on that note, I really should go get ready for fight call. Can’t wait to throw my actors around a bit tonight; they’re always good for some stress relief after a day of packing!

For the Children

As you may or may not recall, I’ve just come off a project at the Charlestown Working Theatre.  It has been my pleasure to fight direct their Advanced Youth Ensemble’s production of Macbeth.  The show opens on Saturday the first and runs weekends through the ninth (for more information, check out the CWT website).  This production has given me the opportunity to think about a great many things (not the least of which being “What’s the best way to kill a child, but not the infant he’s carrying, onstage?”; “How badass are the Banquos?”; and “If I were the King of Scotland, what would my signature broadsword move be?”).  One of the more poignant issues came up the other day in rehearsal, and I’d like to take a moment to discuss it.

This show is a production with teens.  The cast is (mostly) aged 13-18.  CWT plays host to several youth programs for children of varying ages and it’s truly a family place.  As a result, the director mentioned to me that she has been asked by parents if this show is appropriate for their younger children.

Alright, look.  Macbeth is a violent show that deals with adult themes.  Depending on the production company and the director’s imagination, sometimes the show is more violent than other times.  This version of Macbeth happens to be “bloodless” (by this I mean that, while murders are staged, we are not using blood or gore effects) and the violence is relatively straightforward (the murders are “clean” without being psychotic or sociopathic; the murderers take no apparent relish in their task but rather perform it as a duty).  Honestly, I think that this Macbeth is extremely appropriate for children of a certain age.

 

Me working with the cast.  Photo Credit: Jennifer Johnson

Me working with the Macbeth cast (specifically Macbeth and Young Siward). Photo Credit: Jennifer Johnson

Because bad things do happen in the world; and sometimes they happen to good people.  There isn’t a single news channel that wouldn’t show coverage similar to what we’re producing onstage.  This world is not always a safe place to be, and coming to terms with that is a part of growing up.

We go to the theatre to be transformed.  The old adage that philosophers unto ancient times have touted is that good theatre is meant to educate and entertain.  What better way to teach your children about violence than to expose them to violent acts in a safe space, where no one will really get hurt, and where the consequences are reversible?  Will young children feel disturbed by what they see in Macbeth?  I hope so.  If you can witness these kind of deeds without feeling some kind of stirring in your gut, then I don’t think you’re fit for humanity.  But what a teaching moment for them; what a place to learn is a theatre.

Besides which, there’s nothing we are showing that they can’t see in to even greater extreme on television, in movies, or in video games.  Did you know that gun violence in PG-13 rated films has tripled since 1985?  I’ve seen enough faceless murder victims on the big screen to know that killing isn’t a thing Hollywood takes seriously.  Blood, gore, assault… these are issues which we should be discussing with our children.  And, luckily, they are issues which Shakespeare takes seriously.  I think that Macbeth is a learning opportunity.  It’s an outlet for conversation about some BIG TOUGH issues which are and are not pieces of our daily lives.  Because, let’s face it, even though we are confronted with depictions of violence on an almost-daily basis, how often do we talk about it?

So I encourage you to take the opportunity that theatre has presented.  Teach your children about violence in a meaningful way in hopes that they can come to respect it and, in turn, realize how impactful it can be.  And, hey, maybe come see Macbeth.  Just to find out what that signature move I invented might be.

Not Dead Yet

As you may or may not have guessed by now…

I’m not dead.

I’m taking a break to spend some much-needed time relaxing and catching up on my life outside of academia.

Two more classes before the semester is over (not that I’m really “breaking” over the break, but at least things will slow down a bit).

I’m Fight Directing a show at Apollinaire; you should come check it out (Songs of the Dragons Flying to Heaven opens December 27th).

I’ll be back to your regularly scheduled programing after next week (one more week of sweet sweet solace).

For now, here’s the Swedish Chef attempting to cook a turkey:

Not-so Mortal Kombat

Alright, folks.

I don’t usually get fight directorly in this forum, but a recent resurgence of interest in this portion of my life/training has caused certain issues to be high on my mind.  This, in conjunction with seeing a few cringe-worthy safety issues onstage recently, has made me feel like a few things need to be said.

First and foremost: hire a fight director.  If you don’t think you need a fight director, I can almost guarantee that you do.  Does anyone do any of the following things in your production: slap someone, fall to the ground, faint or otherwise slide out of a chair, drop to his knees, carry someone, come into direct physical contact in any way with another actor, point a gun at someone, use a gun period, pick up a weapon with the intent to use it on another actor, actually use the weapon on another actor, tie someone to a chair, do something to an actor tied to a chair?  If any of these things happen, YOU NEED A FIGHT DIRECTOR.

Just this week, I saw a show in which there were several faints, slaps, and physical bits.  The program didn’t list an FD working on the project which led me to believe that perhaps the director had some fight training (which is often the case).  The slaps and faints looked okay in my book, so besides being slightly grumpy that an FD was out of work I didn’t much mind.

It only made my hackles rise when, in the second act, there was a long drawn out torture scene involving contact gut punches, poorly executed slaps, and (most disturbingly) the use of a heavy-duty wire cutter applied to an actor’s fingers.  The victim was tied to a chair and the aggressor held his hand down while hovering with the weapon.  The victim’s fingers were BETWEEN THE BLADES of the REAL wire cutters.  Despite this being in a frozen tableau, it seriously made me squirm in a “I, as a professional FD, am worried for the safety of these actors” way rather than a “good audience member suspends disbelief” way.

I really can’t stress this enough: weapons are weapons.  It doesn’t matter if the weapon is a found weapon, a nonconventional weapon, or a weapon you may think is “safe” (dulled-down razor, etc.).  If you pick up an object and intend it to do harm to another living thing, that object becomes a weapon.  This is why self-defense classes recommend keeping a heavy duty Maglite by your bed in case of home invasion.  Just because you’re not using a sword, gun, or knife does NOT MEAN you are not involved in a weapon combat sequence.

Directors, stage managers, actors: there are ways to keep yourself (and your company)

my own recent object lesson in safety with weapons: bull whip practice is better with eye protection, folks.

my own recent object lesson in safety with weapons: bull whip practice is better with eye protection, folks.

from getting sued by the union.  There are ways to keep yourself (and your actors) safe from any mishap, no matter how unlikely seeming.  There are theatre professionals who can help make your violence good, believable, and a lot more brutal than it would look if you were “just doing it”.  When people “just do it”, they necessarily pull punches.  Most individuals simply aren’t comfortable hitting another person full-force in the face.  Thus, your attacks will look stilted, awkward, and frankly sloppy and counter to your artistic intentions.

At the risk of giving up industry secrets, budget concerns are not a factor here.  Thing one: it is a LOT cheaper to hire an FD for a few hours than to deal with the legal and insurance fees innate in actually harming an actor working on your project.  Thing two: there are many FDs who have students who, while perhaps lacking in experience, do not lack in training.  These students will likely be happy to work on your project for no more payment than a resume byline and some good networking.  While you won’t get the name-brand association that comes with a fully-fledged FD and you won’t get the complex violence experience/background someone like that can bring to the table, you will definitely get a safe show for your actors, and something much better coordinated than anything that came out of an untrained head.

If you are an actor working on a project and think that your safety may be compromised, SAY SOMETHING.  Too many actors are willing to do anything to make the show go on.  This is your HEALTH, your physical WELL-BEING that you are gambling with.  If that doesn’t matter to you, consider the age-old axiom of “your body is your instrument”.  You will not be able to do the same kind of work in the short-term (or even the long-term maybe) if your eardrum is blown out by a full-force contact slap, or you receive a giant powder burn on your face from an improperly used stage revolver (true stories, unfortunately, and ones that happens more often than you would think).  You would never stay at a desk job where your coworkers physically abuse you and you come home with injuries every day, why would you stay in an acting job that does the same because your employer (for whatever reason) doesn’t want to hire a safety expert?

Suffering for the sake of art is one thing, putting your life and limb at risk for a show which you probably aren’t even being paid to do is another.  Theatre is a collaborative process and the more talented individuals who execute it, the better that the theatre in general becomes.  Why wouldn’t we want to keep each other safe and healthy when doing projects together?

My Life with a Fight Director

In an effort to bring you non-comps related material, here are some anecdotes about  how my crazy, beautiful life has some wonderful adventures in it.  Enjoy!

Over the course of the past few months, I’ve been slowly re-integrating pieces of my life that I had taken a long break from. Primarily due to the efforts of a certain individual who, as is my wont, shall remain nameless in order to protect the innocent, I’ve been rediscovering the wonderful world of fight choreography.

Staged violence is a strange and interesting thing. Part dance, part illusion, it’s something that caught my attention at a young age and has held it since. Because knowing how to execute even the most rudimentary stage combat is not something that everyone knows how to do, the individual who has even a modicum of training is often the person in the room most qualified in the art. I’ve been that person many times (though, while I wouldn’t call my experience “exhaustive”, I definitely fall into the category of “someone who knows things” rather than “someone with a modicum of training”).

Hanging out with fight directors is a special pastime in its own right. We come from diverse

very recent picture of me fighting (as part of my now award-winning film!)

very recent picture of me fighting (as part of my now award-winning film!)

backgrounds as movement artists: martial artists, fencers, the few and far between dancer (this is my particular gateway). What we share in common is an interest in safety, an interest in illusion, and an interest in making cool stage pictures. What this means effectively is that talking shop happens often and can be just the thing for making the poor diners at the next table have the most unforgettable date of their lives.

When I was still working out of New York, I remember one particular lunch during which I was meeting with an FD to talk about a project. The topic of “found weapons” came up and he took a moment, picked up his fork, then proceeded to rattle off a list of about twenty-five ways he could injure, kill, or otherwise subdue various patrons with said implement of food-shoveling.

Recently, such gems as “it was my first lynching” and “this was my first school shooting” have been texted or otherwise uttered to me.

In the past month, I’ve been (literally) swept off my feet mid conversation several times because my partner wanted to take a moment and demonstrate a technique we had just been discussing (…being a responsible partner, he makes sure to check if there’s a soft landing place if he intends to take me to the ground, but the most common stage combat throw actually works better with somewhere firm to land so that particular instance was on concrete).

This series of encounters led to me having to think about (and voice) one evening: “Oh, just FYI, please don’t throw me tonight – I have an injury I’m healing.” Because, you know, everyone should check in with themselves when they know who they are dining with on a given evening and ensure that they are physically up to the task.

We’ve discussed eye gouges over hummus and coffee.

Very old picture of me fighting (circa 2005)

Very old picture of me fighting (circa 2005)

We’ve also had lengthy talks about blood and how neither of us particularly care for working with it. I’m reasonably certain that the other café patrons thought we had a Dexter-mobile outside.

Perhaps the most amusing of these instances was a late-night encounter with Tufts Campus security. We were reviewing grappling techniques and take-downs on the big, soft lawn at midnight (because, well, that’s what you do when you’re not otherwise gainfully employed). We realized through this process that there were, in fact, several security-mobiles circling. We managed to behave ourselves like normal people while being hit with the headlights, and ironically enough it wasn’t until we were sitting and yapping at each other about historical fencing manuals that an officer actually approached us. Luckily we’re nicely dressed, intelligent people so it wasn’t much of an issue at that juncture.

My point today is this: if you, in your travels, are searching for a little adventure and variety in your social life, I highly suggest befriending a stage combatant (or, if you’re really looking for some spunk, an FD). We’re cuddly people with good stories to tell and you never know when you may need to not kick someone’s ass.

Say Goodbye to Hollywood

Over the weekend, I had the good fortune to work on Malarkey Films’ entry into Boston’s 48 hour film festival.  Without giving too much away, I can tell you this: our movie was an action movie fairy tale, there was a copious amount of violence in it, and I played a rapier-wielding fairy princess.

I believe I’ve previously expressed the oddness of returning to acting.  I had well and truly

working out a sequence with the fight director

working out a sequence with the fight director

thought that the portion of my life as a performer was over indefinitely and was slowly coming to the realization that that may be okay.  For that, over the course of this year I’ve been hard at work as an actor, combatant, and general theatre-maker.

And I must admit that it’s been much more fun than I could have hoped.  Being back in the theatre is extremely nurturing to my work and my little artist’s heart is lifted every time I get the chance to work on a project.

This project in particular was a challenge on several levels: first off physically.  It’s been a few years since I’ve done any serious fight work (and this was serious fight work).  We were on location shooting for nine hours, the bulk of that entailed either learning or performing choreography.  Despite it being May, New England hasn’t quite gotten the “it’s Spring!” memo yet so the last few hours of our day turned much colder than what was truly optimal given the costuming I was wearing (though admittedly I was one of the more covered-up ladies in the entourage).  Eventually, mental and physical fatigue just won over and to have that happen right when the weather started turning towards “not so comfortable anymore” was extremely disruptive to my groove.

Since this was a film, we were also shooting the story in not-necessarily-chronological pieces.  Which meant that one of the last shots we got was one of the first shots in the film.  Which meant that, despite being tired and cold, we had to muster the energy to be glowingly happy.  It also means that I have a sneaking suspicion that my hair is going to look all kinds of strange in the opening scenes since they were shot after I had spent the day rolling around in forest foliage fighting for my life.

performing part of our badassery; the dress was surprisingly easy to fight in

performing part of our badassery; the dress was surprisingly easy to fight in

…hilarity also ensued when a grappling sequence meant that the DP, sound guy, and my fight partner were stuck picking leaves out of my hair for a good three minutes before and after every take of this phrase of our fight.

Another specific challenge with a film is the speed with which it requires committing dialogue to memory.  In this instance, the writer was also the fight director and so was on set for the entirety of the shoot and gave us leave to adjust as necessary (with the exception of the one line which we were required to include as part of the parameters of the film festival…which of course happened to be my line).  Short term memory is a funny and amazing thing and mine was well exercised over the course of Saturday.  For that, it’s strange for a Shakespearean like myself to feel comfortable with adjusting dialogue to suit my own needs.  The vast majority of my experience treats the text as doctrine: changing it is sacrosanct.  Film, however, is a medium entirely different from stage and this was just one of the things that I had to accept and move on.

The finished product should be available on Malarkey’s website by week’s end.  I have to say, I’m extremely excited to be seeing it on the big screen tomorrow.  If nothing else, it was a welcome break from finals-writing.

For those keeping track, my last paper of coursework is due tomorrow.  During the afternoon, I’ll be at Tufts speaking at the Graduate Research Symposium in the 2PM time slot if you happen to be around and want to hear about my work for ten minutes.

…just keep swimming.