Canoeing is one of the first physical activities I remember being captured by. I love the water, and there was something powerful and graceful about navigating a craft with a simple flat piece of wood through the chaotic eddies and currents of a river or inlet. This interest may never have taken hold if it…
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Swordplay from the Ground: The Four Thrusts of the Sword The knight's sword was not just a cutting weapon. A well-aimed thrust delivered with the impulsion of a moving horse was a deadly combat technique. It was also an effective attack from the ground. There are four basic types of thrust, defined by the orientation…
Swordplay from the Ground: Wrist, Elbow & Shoulder Cuts Not only are there eight lines on which to cut, there are three places from which to cut, wrist, shoulder and elbow. For the Green Spur you are required to demonstrate all three types with the sword in one hand, and wrist and elbow cuts with…
Every day is boxing day for me. It’s just coincidence that in Canada we also celebrate the day after Christmas by the same name. Is it Boxercize? If you’re not taking some punches, hardening your abs for impact, and feeling your fist contacting an opponent (or a heavy bag to simulate one), then you’re doing…
Victim control. It is an essential element of stage combat, but often misunderstood, and more often performed badly. It means that when there is physical contact between two actors, the apparent victim is in charge. This principle applies to pushes, pulls, grabs, strangulation, hair pulls, and most falls and throws. Tyler Durdan Take a lesson…
Swordplay from the Ground: The Eight Cuts In the last three posts I've covered posture, movement and turns of the body, with or without a sword in hand. Now we'll turn our attention to the sword and look at cutting and thrusting in the next few posts, beginning with the eight cutting lines. Terminology Our…
Swordplay from the Ground: Turns of the Body Last week's post on the Mounted Combat Green Spur Curriculum covered moving forward, back and side to side. This week we're adding turns to menu. Demonstrate the three turns of the body. 'Volta' is the Italian word for 'turn'. (Dressage riders will recognize it from 'volte', which…
Swordplay from the Ground: Movement Last week I covered the essentials of a balance and martial stance. Now we need to add mobility, without losing the effectiveness of that grounded posture, for the second item in the mounted combat checklist: Demonstrate methods of movement The movements we are looking for are: 1. Advance: take a…
Last week I gave an overview of the Mounted Combat portion of the Green Spur program, which includes Swordplay from the Ground, Swordplay Knowledge and Mounted Swordplay Knowledge. For the next little while we'll look at each of those checklist items in a bit more detail, starting with Swordplay from the Ground: Stance and Posture…
An important insight into practicing forms: how should they be practiced? Assuming we're doing a form that involves cutting (eg. Marozzo's first assalto of sword and buckler) I recommend the following progression of study: 1) learn the cuts and how to do them smoothly 2) memorize the sequence 3) practice the transitions Points…
Like the Mastery program, we have five ranks within the Cavaliere program, denoted by Spurs: Green, Blue, Red, Silver and Gold. To acquire each rank you need to be a triple threat, demonstrating your skill in Horsemanship, Riding and Mounted Combat. Now that we’ve covered all the things you need to know and be able…
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We say that the first rule of stage combat is safety. All stage combat must be safe so that actors will never be hurt in rehearsal or performance. Focusing on safety also gives actors the confidence to move at high speed with full acting. When safety is deprioritized, actors start to flinch or otherwise compensate.…
Or rather, safety with numbers, is this week's topic. In other words, how do you 14. Identify and maintain safe distance in group while riding and halted It's not enough to simply maintain the pace and direction of your own mount in relation to the fixed objects in the ring; you also need to be…
Sorry, it's a dreadful pun, but I couldn't resist. The stirrup is arguably one of the most important inventions in the history of mounted warfare, and of riding in general. The advent of the stirrup allowed a rider to mount more easily (making it feasible to wear heavier armour into battle), to rise out of…
Stanislavski's primary book on Method Acting is called "An Actor Prepares," which points to the central question: How to be an actor? In one sense, what he's saying is: "Don't neglect rehearsal. You can't control what happens on stage and you can't rely on your raw talent in the moment to save every show. A…
Last week I talked about freeing the sword hand by using the reins in one hand. This week we'll deal with what to do with that free hand as we 12. Safely carry and move a long object (dressage or buggy whip, flag, sword etc) at the walk and trot The purpose of this part…
Up till now all discussing of the Riding 1 curriculum has implied the use of two hands on the reins. This is because we ride with English tack in the Cavaliere program and teach English style riding (for the reasons for this see these previous posts: English or Western pt I and pt II). However,…
How do I choreograph a fight scene? To me, the question is the same as "How do I put on a magic show?" We're going to ignore issues of your venue, your lighting and backstage capabilities, the number of people to help you, and the critical props (in our case, weapons). We'll assume: You have…